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It's a great picture! Just as impressive as the images you see from the James Webb telescope! I like it!
Comment by KeldMikkelsen posted on Full on Camera Astro at 29/11/2023 - 16:31
The photo brochures from Pentax have always presented their cameras and camera equipment in a matter-of-fact and informative way - matter-of-factly and straightforwardly. This Pentax brochure from 1976-77 lives up to this tradition. Below a link to Pentax's 1976-77 range of the new K-Mount lenses.
link
link
Comment by KeldMikkelsen posted on Pentax K-Mount Lenses 1976 at 24/12/2020 - 19:09
The photo brochures from Pentax have always presented their cameras and camera equipment in a matter-of-fact and informative way - matter-of-factly and straightforwardly. This Pentax brochure from 1965 lives in particular up to this tradition. Below is a link to Pentax's 1965 range of lenses.
link
link
Comment by KeldMikkelsen posted on Pentax Lenses 1965 at 24/12/2020 - 16:13
On May 20, 2009, Pentax announced the K-7 (available from July 2009) as a replacement for the K20D. It introduced an updated version of the Samsung CMOS sensor, but with an entirely new compact design. Notable new features included full metal body construction, a pentaprism viewfinder covering 100% of the frame, a quieter and faster shutter mechanism, and the ability to apply automatic corrections for lens distortion and lateral chromatic aberration. The below article from the www (2009) may be of interest - even today (and also for historical reasons).
"July 17, 2009
The PENTAX K-7 Designers’ Story
Toshihiro Hamamura
Design Group
Development Department
PENAX Imaging System Division
In charge of product desngn of K-7
The goal is a camera body that is the perfect partner for exclusive Limited-series lenses
At first glance, the PENTAX K-7’s body may look quite different from that of previous K-series models. Unlike the delicately contoured, streamlined design employed from the K10D to the K-m, it makes use of more straight lines and shape-angled edges. However, the K-7 is not a sudden, accidental metamorphosis from previous K-series models: it is the proud successor of a PENTAX legacy that dates back to the peak days of film photography.
At the beginning of the development of the K-7, the camera body designers assigned to the project team were given two formidable goals to achieve. First was to design a camera body that would make it the perfect partner for top-of-the-line Limited-series lenses — invaluable assets for PENTAX. Second, to downsize the camera body to the dimensions of the *ist-D (as the K20D was felt by many to be too cumbersome). In short, these goals were set to make the K-7 the flagship model of PENTAX’s digital camera lineup.
The *ist-D certainly was a good standard for size, because it was — and is — one of the smallest digital cameras ever sold. The times have changed since it was released, however. The body designers had to pack many more components — including a large three-inch LCD panel, in-body shake-reduction unit and new aperture-control mechanism — into the same dimensions. If the body designers had made a conventional approach to the design of the K-7 chassis, it was obvious even at the pre-design stage that everything wouldn’t fit into the space available.
Collaboration between design and engineering teams
The K-7 design team began a collaboration with the mechanical engineering team, even before the actual design process began. This included the sharing of 3D CAD data, and joint efforts to devise the most space-efficient layout and placement of all the components. Simply packing everything into the available space was not good enough; this might have a negative affect on the camera’s appearance or operability. The designers knew that good camera design had to start with a well-conceived chassis, before they could then begin adding on other parts and housings.
One of the fruits of this collaboration was a shortening of the forward protrusion of the built-in flash storage compartment. In previous models, the flash discharge unit was positioned in the very front, meaning that the storage compartment also had to protrude considerably toward the front end. After reviewing and revising the positioning and layout of all internal parts, they were able to reduce this protrusion. Another stroke of luck was that one of the mechanical engineers designing the unit was relatively new to SLR design. So, unlike more experienced engineers, he was freer to use his imagination rather than be bound by conventional ideas.
Making conclusions based solely on design plans often means poor results. Because K-7 designers modeled the camera using three-dimensional CAD technology at every stage from the start of work, mock-ups were available from the initial stages.
Simple is best
The most important design goal for the K-7 was a camera body that would be a perfect partner for Limited-series lenses. In other words, the camera body had to have a design simple enough to make the Limited-series lens mounted on it stand out.
The pentaprism unit — a focal point of the camera body — was traditionally polyhedron-shaped, symbolizing the glass pentaprism it housed and demonstrating the camera’s role as a precision instrument. The K-7 shares the same characteristics as the LX, PENTAX’s flagship camera in the film photography era: both have been designed to be compact and lightweight, and feature sturdy, water resistant bodies. Out of respect for this renowned masterpiece, the trapezoid motif over the PENTAX logo mark was revived.
This trapezoid was also used in other models in the past, including the MZ-5, MZ-S and *ist-D. The cameras carrying this shape had varied product concepts — some were compact, lightweight models developed by returning to PENTAX’s starting point as an SLR pioneer, while others were epoch-making models born out of bold challenges. They were all, however, the first models of new lineups and marked a deviation from the past. Although designed simple and plain, the trapezoid plane featured in the K-7 symbolizes the fact that this new camera belongs to the same category as those predecessors and shares the same PENTAX identity and legacy with them.
Looking at the K-7 from the side, the ridge line of this pentaprism unit is simple and straight, without any obstructing indents or folds. Stair-step indents can in fact make the body appear smaller, but this visual approach was rejected with the K-7 because it could spoil the simplicity of design. The main body was trimmed down to the point where the chassis was nearly exposed in some sections. All these features make the K-7’s optical finder, with 100% field of view, appear prominent, and give the body a prestigious and dignified look, despite the compact dimensions.
A touch of analog in digital design
Many cameras in recent years have been designed using only three-dimensional CAD technology. For the K-7, however, there was one section that could not be designed using digital tools only: the grip. Despite today’s state-of-the-art computer technology, camera body designers cannot stick their hand into the CAD screen and actually touch the product or feel its weight. And, in fact, when the designers first picked up a mock-up constructed using only three-dimensionally digital data, the feeling was rather uncomfortable. They then added modeling clay to the grip section of the mock-up and redesigned it. When a designer is familiar with the hand-modeling process, it is in fact much faster and easier to reshape by hand, rather than revise the computer data. Once they were satisfied with what they were feeling, the mock-up was laser-scanned and the 3D measurement data was fed back into the CAD system. Because of this, the K-7’s grip was designed to be as comfortable and easy to hold as a K10D grip with a special rubber replacement grip (installed as an after-service by a PENTAX service center). “This is actually a problem for us, because we can no longer expect much profit from the grip replacement service!” joked one of the designers — but the fact is that the K-7’s grip is designed to be just that good.
Mr. Takeharu Shin
1st Development team
Development Department
PENTAX Imaging System Division
In charge of User Interface of K-7
Single-hand operation system for enhanced operability
Once the basic camera body design was completed, the user-interface designers turned their attention to the K-7’s operation system. Again, the downsized body and the incorporation of a large three-inch LCD panel on the back were major challenges, and the designers soon realized that they could not use the controller layout employed in the K20D and other models.
The solution was found rather easily, in the single-hand operation system featured in the K-m, an entry-class model that went through drastic downsizing. After discussing the feasibility with the camera body designers and mechanical engineers, it was confirmed that they were working in the same direction. Soon, the user interface designers started designing for the ideal positions to install two electronic dials, so that they could adopt the two-dial configuration used in PENTAX’s medium-class models to accommodate single-hand operation.
In fact, a medium-class model requires more controllers than an entry-class model, so it was physically impossible to place all of them on the grip side. Even if they could be fit them within a limited space, they would be placed so close together that they would be impractical in use. The decision was made to classify the controllers into two groups: those for shooting, and those for playback. The former group would be placed on the grip side of the camera’s back panel, while the latter would be positioned at the left shoulder of the back panel. This layout successfully allowed single-handed control of all shooting modes.
New independent ISO button, added to complete the direct-access exposure control system
One PENTAX concept is to promote the active use of ISO sensitivity as a parameter for deciding exposure in digital photography. To support this, we have created the innovative Sv and TAv exposure modes for the K10D. This concept has been inherited by every PENTAX digital SLR camera marketed since.
However, the conventional operations for setting sensitivity were somewhat troublesome, because they were classified only as one of the settings controllable via the Fn (function) button. That's why we have incorporated more efficient control to it through firmware update: the desired ISO sensitivity can be selected manually by rotating the front electronic dial while depressing the OK button; the auto sensitivity control mode can be set by pushing the green button while depressing the OK button.
To further facilitate sensitivity-setting operations, a new ISO button was added to the K-7, positioned side-by-side with the ± (exposure compensation) button just behind the shutter release button. This layout gives the user direct access to all essential exposure parameters — aperture, shutter speed, sensitivity and exposure compensation.
To make user customization of the PENTAX-original two-dial control system easier, the K-7’s status screen is programmed to display aperture, shutter-speed, sensitivity and exposure-compensation settings as its main data. As a result, the user can check the customization status of the two electronic dials with just a quick glance.
More versatile four-way controller
Following the thorough review of controller layout, several shooting functions are now assigned to the K-7’s four-way controller keys, with each of the four keys featuring an icon representing the function assigned to it for easy, at-a-glance recognition. These keys also give direct access to the desired functions to facilitate setting changes, further enhancing the camera’s operability.
One setback, however, was that these controller keys are also used to shift the AF sensor point during shooting. To solve this problem, the four-way controller keys can be switched back and forth to perform two different functions: either to recall shooting functions, or to shift the AF sensor point. The user-selected function can then be easily confirmed on the status screen and in the viewfinder. One benefit of this double-function system is that the user can lock the AF sensor point, after it is shifted to the desired position.
The making of a true multi-function camera that satisfies diversified different user requirements
In addition to the drastic layout change of the controller system, a wide range of user interfaces had to be newly developed for the K-7, including start-up, control and ending steps of different modes and display steps of various information — especially to handle real-time live-view shooting and movie recording. Along with the new design and upgrading of hardware, many of the camera’s software programs had to be reviewed and reprogrammed as well to handle the new or upgraded functions. Since the K-7’s controllers have a different layout than with previous models, a great deal of time and effort was needed to synchronize them and make them user-friendly.
For instance, the digital filter function — very well received with the K-m — had to be revised, because the user could not review which filters had been used after the image was processed. The K-7’s digital filter function was designed to be far more user-friendly and practical, including new features such as the history function of digital filters applied, review function of multiple filter application steps, and a quick search function for an original image before any application of digital filters. This should encourage users to make more aggressive use of the digital filter function and create more dramatic, personalized images. And, thanks to the incorporation of the PENTAX-original SR (Shake Reduction) mechanism, the K-7 features new fine image-composition adjustment and auto level compensation functions. Add to these such sophisticated functions as digital level, HDR (High Dynamic Range) and lens optical characteristics compensation, it’s easy to understand just how much the K-7 design and development team had to pack everything into the camera’s compact body!
A wide range of user customization is available with the K-7, giving it the flexibility to meet nearly every user requirements. With so much to choose from, the photographer will be able to find the exact combination of settings to meet their specific visual goals and operational preferences.
PENTAX paid very close attention even to the most minute elements of camera design, because we believes that even the smallest feature could affect the K-7’s operability and maneuverability. For instance, the front electronic dial is slightly slanted for easier access by the index finder, and both electronic dials are completely coated by a rubber material to prevent slippage. The design of the wing — the hollow finger hook area to accept the photographer’s left-hand fingers — was redesigned to provide a firmer, more comfortable hold of the camera.
The meaning of the single digit
The K-7 is the first PENTAX K-series digital SLR camera with a single-digit product name — and there’s a good reason for this. The strength of a single number signifies PENTAX’s pride and confidence in this new camera, and once you start shooting pictures with the K-7, you’ll immediately understand why.
Newly equipped ISO button. All the necessary setting for exposure is now able to be access directly by one push of the button."
"July 17, 2009
The PENTAX K-7 Designers’ Story
Toshihiro Hamamura
Design Group
Development Department
PENAX Imaging System Division
In charge of product desngn of K-7
The goal is a camera body that is the perfect partner for exclusive Limited-series lenses
At first glance, the PENTAX K-7’s body may look quite different from that of previous K-series models. Unlike the delicately contoured, streamlined design employed from the K10D to the K-m, it makes use of more straight lines and shape-angled edges. However, the K-7 is not a sudden, accidental metamorphosis from previous K-series models: it is the proud successor of a PENTAX legacy that dates back to the peak days of film photography.
At the beginning of the development of the K-7, the camera body designers assigned to the project team were given two formidable goals to achieve. First was to design a camera body that would make it the perfect partner for top-of-the-line Limited-series lenses — invaluable assets for PENTAX. Second, to downsize the camera body to the dimensions of the *ist-D (as the K20D was felt by many to be too cumbersome). In short, these goals were set to make the K-7 the flagship model of PENTAX’s digital camera lineup.
The *ist-D certainly was a good standard for size, because it was — and is — one of the smallest digital cameras ever sold. The times have changed since it was released, however. The body designers had to pack many more components — including a large three-inch LCD panel, in-body shake-reduction unit and new aperture-control mechanism — into the same dimensions. If the body designers had made a conventional approach to the design of the K-7 chassis, it was obvious even at the pre-design stage that everything wouldn’t fit into the space available.
Collaboration between design and engineering teams
The K-7 design team began a collaboration with the mechanical engineering team, even before the actual design process began. This included the sharing of 3D CAD data, and joint efforts to devise the most space-efficient layout and placement of all the components. Simply packing everything into the available space was not good enough; this might have a negative affect on the camera’s appearance or operability. The designers knew that good camera design had to start with a well-conceived chassis, before they could then begin adding on other parts and housings.
One of the fruits of this collaboration was a shortening of the forward protrusion of the built-in flash storage compartment. In previous models, the flash discharge unit was positioned in the very front, meaning that the storage compartment also had to protrude considerably toward the front end. After reviewing and revising the positioning and layout of all internal parts, they were able to reduce this protrusion. Another stroke of luck was that one of the mechanical engineers designing the unit was relatively new to SLR design. So, unlike more experienced engineers, he was freer to use his imagination rather than be bound by conventional ideas.
Making conclusions based solely on design plans often means poor results. Because K-7 designers modeled the camera using three-dimensional CAD technology at every stage from the start of work, mock-ups were available from the initial stages.
Simple is best
The most important design goal for the K-7 was a camera body that would be a perfect partner for Limited-series lenses. In other words, the camera body had to have a design simple enough to make the Limited-series lens mounted on it stand out.
The pentaprism unit — a focal point of the camera body — was traditionally polyhedron-shaped, symbolizing the glass pentaprism it housed and demonstrating the camera’s role as a precision instrument. The K-7 shares the same characteristics as the LX, PENTAX’s flagship camera in the film photography era: both have been designed to be compact and lightweight, and feature sturdy, water resistant bodies. Out of respect for this renowned masterpiece, the trapezoid motif over the PENTAX logo mark was revived.
This trapezoid was also used in other models in the past, including the MZ-5, MZ-S and *ist-D. The cameras carrying this shape had varied product concepts — some were compact, lightweight models developed by returning to PENTAX’s starting point as an SLR pioneer, while others were epoch-making models born out of bold challenges. They were all, however, the first models of new lineups and marked a deviation from the past. Although designed simple and plain, the trapezoid plane featured in the K-7 symbolizes the fact that this new camera belongs to the same category as those predecessors and shares the same PENTAX identity and legacy with them.
Looking at the K-7 from the side, the ridge line of this pentaprism unit is simple and straight, without any obstructing indents or folds. Stair-step indents can in fact make the body appear smaller, but this visual approach was rejected with the K-7 because it could spoil the simplicity of design. The main body was trimmed down to the point where the chassis was nearly exposed in some sections. All these features make the K-7’s optical finder, with 100% field of view, appear prominent, and give the body a prestigious and dignified look, despite the compact dimensions.
A touch of analog in digital design
Many cameras in recent years have been designed using only three-dimensional CAD technology. For the K-7, however, there was one section that could not be designed using digital tools only: the grip. Despite today’s state-of-the-art computer technology, camera body designers cannot stick their hand into the CAD screen and actually touch the product or feel its weight. And, in fact, when the designers first picked up a mock-up constructed using only three-dimensionally digital data, the feeling was rather uncomfortable. They then added modeling clay to the grip section of the mock-up and redesigned it. When a designer is familiar with the hand-modeling process, it is in fact much faster and easier to reshape by hand, rather than revise the computer data. Once they were satisfied with what they were feeling, the mock-up was laser-scanned and the 3D measurement data was fed back into the CAD system. Because of this, the K-7’s grip was designed to be as comfortable and easy to hold as a K10D grip with a special rubber replacement grip (installed as an after-service by a PENTAX service center). “This is actually a problem for us, because we can no longer expect much profit from the grip replacement service!” joked one of the designers — but the fact is that the K-7’s grip is designed to be just that good.
Mr. Takeharu Shin
1st Development team
Development Department
PENTAX Imaging System Division
In charge of User Interface of K-7
Single-hand operation system for enhanced operability
Once the basic camera body design was completed, the user-interface designers turned their attention to the K-7’s operation system. Again, the downsized body and the incorporation of a large three-inch LCD panel on the back were major challenges, and the designers soon realized that they could not use the controller layout employed in the K20D and other models.
The solution was found rather easily, in the single-hand operation system featured in the K-m, an entry-class model that went through drastic downsizing. After discussing the feasibility with the camera body designers and mechanical engineers, it was confirmed that they were working in the same direction. Soon, the user interface designers started designing for the ideal positions to install two electronic dials, so that they could adopt the two-dial configuration used in PENTAX’s medium-class models to accommodate single-hand operation.
In fact, a medium-class model requires more controllers than an entry-class model, so it was physically impossible to place all of them on the grip side. Even if they could be fit them within a limited space, they would be placed so close together that they would be impractical in use. The decision was made to classify the controllers into two groups: those for shooting, and those for playback. The former group would be placed on the grip side of the camera’s back panel, while the latter would be positioned at the left shoulder of the back panel. This layout successfully allowed single-handed control of all shooting modes.
New independent ISO button, added to complete the direct-access exposure control system
One PENTAX concept is to promote the active use of ISO sensitivity as a parameter for deciding exposure in digital photography. To support this, we have created the innovative Sv and TAv exposure modes for the K10D. This concept has been inherited by every PENTAX digital SLR camera marketed since.
However, the conventional operations for setting sensitivity were somewhat troublesome, because they were classified only as one of the settings controllable via the Fn (function) button. That's why we have incorporated more efficient control to it through firmware update: the desired ISO sensitivity can be selected manually by rotating the front electronic dial while depressing the OK button; the auto sensitivity control mode can be set by pushing the green button while depressing the OK button.
To further facilitate sensitivity-setting operations, a new ISO button was added to the K-7, positioned side-by-side with the ± (exposure compensation) button just behind the shutter release button. This layout gives the user direct access to all essential exposure parameters — aperture, shutter speed, sensitivity and exposure compensation.
To make user customization of the PENTAX-original two-dial control system easier, the K-7’s status screen is programmed to display aperture, shutter-speed, sensitivity and exposure-compensation settings as its main data. As a result, the user can check the customization status of the two electronic dials with just a quick glance.
More versatile four-way controller
Following the thorough review of controller layout, several shooting functions are now assigned to the K-7’s four-way controller keys, with each of the four keys featuring an icon representing the function assigned to it for easy, at-a-glance recognition. These keys also give direct access to the desired functions to facilitate setting changes, further enhancing the camera’s operability.
One setback, however, was that these controller keys are also used to shift the AF sensor point during shooting. To solve this problem, the four-way controller keys can be switched back and forth to perform two different functions: either to recall shooting functions, or to shift the AF sensor point. The user-selected function can then be easily confirmed on the status screen and in the viewfinder. One benefit of this double-function system is that the user can lock the AF sensor point, after it is shifted to the desired position.
The making of a true multi-function camera that satisfies diversified different user requirements
In addition to the drastic layout change of the controller system, a wide range of user interfaces had to be newly developed for the K-7, including start-up, control and ending steps of different modes and display steps of various information — especially to handle real-time live-view shooting and movie recording. Along with the new design and upgrading of hardware, many of the camera’s software programs had to be reviewed and reprogrammed as well to handle the new or upgraded functions. Since the K-7’s controllers have a different layout than with previous models, a great deal of time and effort was needed to synchronize them and make them user-friendly.
For instance, the digital filter function — very well received with the K-m — had to be revised, because the user could not review which filters had been used after the image was processed. The K-7’s digital filter function was designed to be far more user-friendly and practical, including new features such as the history function of digital filters applied, review function of multiple filter application steps, and a quick search function for an original image before any application of digital filters. This should encourage users to make more aggressive use of the digital filter function and create more dramatic, personalized images. And, thanks to the incorporation of the PENTAX-original SR (Shake Reduction) mechanism, the K-7 features new fine image-composition adjustment and auto level compensation functions. Add to these such sophisticated functions as digital level, HDR (High Dynamic Range) and lens optical characteristics compensation, it’s easy to understand just how much the K-7 design and development team had to pack everything into the camera’s compact body!
A wide range of user customization is available with the K-7, giving it the flexibility to meet nearly every user requirements. With so much to choose from, the photographer will be able to find the exact combination of settings to meet their specific visual goals and operational preferences.
PENTAX paid very close attention even to the most minute elements of camera design, because we believes that even the smallest feature could affect the K-7’s operability and maneuverability. For instance, the front electronic dial is slightly slanted for easier access by the index finder, and both electronic dials are completely coated by a rubber material to prevent slippage. The design of the wing — the hollow finger hook area to accept the photographer’s left-hand fingers — was redesigned to provide a firmer, more comfortable hold of the camera.
The meaning of the single digit
The K-7 is the first PENTAX K-series digital SLR camera with a single-digit product name — and there’s a good reason for this. The strength of a single number signifies PENTAX’s pride and confidence in this new camera, and once you start shooting pictures with the K-7, you’ll immediately understand why.
Newly equipped ISO button. All the necessary setting for exposure is now able to be access directly by one push of the button."
Comment by KeldMikkelsen posted on The Pentax K-7 Designers' Story (article, 2009) at 06/11/2020 - 17:27
The last Pentax high-end film camera was the flagship MZ-S (2001-2006), although the previous flagship, the Pentax Z-1p (1994-2001), was a much more advanced camera. The data imprint unit though was unique to the MZ-S and a great and very useful feature.
Below an article from the www (2001). Might be of interest even today - and for historical reasons.
"The Pentax MZ-S Designers' Story
The Product Concept
"In the development of the Pentax MZ-S, our product concept was simple and clear from the very beginning: we wanted to create a top-class 35mm SLR camera that would combine solid, reliable performance with the ultimate operability.
At the same time, we did not want to sacrifice the compact dimensions of the camera body, which photographers from around the world have come to expect from our MZ-series SLRs. In the past, we introduced both a high-tech digital control system (as in the Pentax Z-1p) and a user-friendly dial control system (as in the MZ-3 and the MZ-5N). Both systems, however, had their pros and cons. Designed for advanced photographers, the Z-1p's digital system offered such sophisticated features as a centralized display system and the "Hyper" exposure modes, but its state-of-the-art control system was a little too complicated for some of users to get accustomed to in a short period. On the other hand, the MZ-3 and MZ-5N's analog-type direct-access dial control system was easy to understand and operate even for beginners, but some of the features did not function as flawlessly as the digital system's. Frankly speaking as camera designers, we thought it would be much easier to standardize the entire control system one way or another. For the optimum benefit of our users, however, we decided to harmonize the best of both worlds to develop a totally new hybrid control system for the new MZ-S.
"First, we made a thorough review of each and every function and selected the functions which we believed were absolutely necessary to achieve the level of performance we expected from this camera. To keep the compact dimensions, there was no room for frills or gimmicks. Then, we decided which function went best with which control. Naturally, some functions suited the digital system, while others were easier to operate with the analog system. Finally, based on the importance and frequency of use, we divided the selected functions into two groups: the first group of functions, which are required frequent on-the-spot setting changes, must go onto the camera body for quick access. The second group, which are fundamental in essence and don't require frequent changes after the initial settings are made, were assigned to the Pentax Functions (PF). The Pentax Function feature also contributes to the elimination of accidental setting changes during shooting.
Top Panel Design
"When we talk about the camera's operability, we are most concerned with two important factors of the camera design: accessibility and readability. Accessibility involves the shape and position of switches, buttons and dials; readability is mostly affected by the body design and display method. We knew from our experience that, in order to improve these factors, we must do something drastic to the MZ-S camera body design. After some research and discussion, we found the ideal solution rather easily: we just needed to slant the top panel toward the photographer by approximately 30 degrees and position the control dials on this slanted plane. Imagine, for instance, that you have a computer, a clock, stationery and several family pictures on your desk. You feel more comfortable by positioning some of them diagonally, so all of them are facing you, rather than setting them parallel to the front edge of the desk. Or imagine your car. It's much easier to drive and get the information you need if all the meters and switches are facing toward you. Likewise, we concluded that this unconventional design could considerably improve both the accessibility and readability of the controls and displays on the top panel. We also figured the rest of the body design and the interior layout would follow accordingly. But it was easier said than done. This drastically slanted top panel was the core of our body design concept. It allows you to read the settings and make changes more easily from various angles: there is no need to raise your eye level when you take your eye from the viewfinder, and you don't have to stand on tiptoe or use a chair or box during high-angle shooting with the camera set on a tripod.
"Next came the design of two control dials. It's unusual to have a digital-type dial on one side and an analog-type dial on the other, but this was the result of our extensive review of the camera functions. We concluded that the functions that the user decides by absolute numerical value, such as shutter speed, aperture and exposure frame number, were better accommodated by digital operation. Consequently, these factors were assigned to the digital dial on the right side and their settings are displayed on the LCD panel positioned inside this dial. In comparison with the Z-1p's centralized display system, which is positioned on the top of the pentaprism and away from the control system, this in-the-dial display system makes data reading and setting changes much easier. On the other hand, the factors that are decided by relative value, such as exposure compensation factor and auto bracketing factor, were assigned to the analog dial on the left side. In addition, the two reference points of this analog dial (the "zero-point" index on one side and the "PF" mark on the opposite) are colored with green and red, respectively, for at-a-glance confirmation.
Exterior Design
"Once the design of the top panel was completed, we turned our attention to the overall body design. The MZ-S's novel top panel design greatly affected the rest of the body design, and we had to design everything from scratch using our advanced three-dimensional CAD technology. Most of the pentaprism housing was set into the raised front line of the top panel - in other words, protruding less over the line - creating a unique appearance from the front. Unlike conventional cameras, we designed the MZ-S to be asymmetric on both sides of the pentaprism because it looked a little awkward when we first designed it to be symmetrical. The two dials were sized differently because, due to an optical illusion caused by the difference in color and shape, the digital dial looked much smaller than the analog one, even though they were the same size. So, we designed the digital dial to be considerably larger and added a small protrusion right in front of the digital dial to refine the design. Finally, we made other minor design adjustments here and there to make the MZ-S look sharp and pleasing from every angle.
The Control System
"Our next assignment was to decide the best layout of buttons and levers, apart from the two large dials, to ensure optimum operability and accessibility. By this time, we were more confident with our design concept and became much bolder in designing these parts than we were at first. The shutter release button, for example, is not only slanted toward the front, but also tilted slightly outward because we felt it was a more ergonomically efficient design. We moved the electronic preview lever from its traditional position on the lens mount section to a spot right next to the shutter release button for easier access at the shooting position. Because of the unique top panel design, some of other buttons and levers had to be slanted to a certain extent as well. For instance, the exposure mode button, which is used to instantly jump the exposure mode from the Shutter-Priority AE back to the Programmed AE, was placed on the slanted plane on the upper right side of the front panel - an area which previously was seldom used for such buttons. We also installed the shutter-speed hold switch on the back panel, which locks the digital dial in order to prevent the accidental shift of exposure modes or shutter speeds.
Magnesium Diecast Body
"Once the basic body design was completed, we had to decide on the material used for the body casing. It had to be strong, durable and lightweight and also convey the high-class image of the MZ-S. Aluminum and zinc didn't meet these requirements. The material also had to be flexible enough in molding to reproduce the MZ-S's complicated shape with great precision. For this reason, titanium was eliminated. Eventually, we were left with only one choice: magnesium diecast, used for the first time in a Pentax camera and available in only a handful of high-end SLRs on the market today. We used this magnesium diecast material for four major components of the body casing. Compared with commonly used plastic, this material provides outstanding strength. Take the arms of the built-in RTF flash unit, for example. They are designed to be very thin, yet they are exceptionally resistant to twist and distortion.
"We also paid attention to the body coating to make it extra-durable and give the MZ-S an distinctive appearance. In our exclusive three-layer, three-bake coating process, we first apply a black base layer, and then a second flat layer. After each layer is applied, the body parts are carefully baked to provide maximum protection. The third and final layer is applied by hand to create a sandy surface texture and outstanding holding comfort. The parts are baked for the third time to perfection. Since the final layer is hand-applied, a careful inspection shows that each MZ-S has a slightly difference texture, providing sense of personality for the user.
Interior Design
"Of course, the MZ-S's eye-catching design, including the slanted top panel, greatly affected its interior design. We found that we could use only a handful of parts from other MZ-series models. As a result, we had to design almost all blocks, both electronic and mechanical, and wiring patterns from scratch to fit into the unusually shaped spaces. Many buttons and levers had to be installed on slanted planes, requiring careful calculations and minute design adjustments. So we had to think very flexibly and creatively to make the best use of available space. Our industry-leading mechanical and electronic technologies were very much needed to pack everything into a compact body, which is nearly as small as the MZ-3's.
New Features
"In addition to its solid performance and unique appearance, the MZ-S offers some outstanding new features. The first is a new six-point AF system, which has five focusing points aligned horizontally and one additional point just above the middle point. With these five horizontal points, this AF system offers the widest AF coverage of all 35mm AF SLRs currently on the market. It also comes equipped with a back-up mechanism. When the optimum focusing point has difficulty focusing on the subject because of extremely low contrast or complete monotone, the neighboring point is automatically activated to enhance focusing accuracy. You can also switch to the spot AF mode to select one of the six points for pinpoint focusing on a small area.
"The second notable feature is on-the-film data recording, which is incorporated in a Pentax 35mm SLR camera for the first time. This new feature allows you to imprint useful data (exposure mode, metering mode, shutter speed, aperture value, exposure compensation value, and auto bracketing) onto the film's blank spaces between the perforations. It also imprints the film number onto the film leader section.
"Another useful feature is an exposure frame designation function, which automatically advances the film to the designated exposure frame when the film is reloaded into the MZ-S. This allows you to rewind the film midway through, switch to a different type of film, then reload the original film and resume shooting from the first blank frame - without worrying about accidentally double-exposing already exposed frames at all.
"Finally, there is a single-action AF lock button - another first for a Pentax 35mm SLR. With a conventional AF lock mechanism, you have to first press the shutter release button halfway down to activate the AF system, then press the AF lock button to lock the focus. However, this convenient button, which is located on the back panel, allows you to activate the camera's AF system and lock the focus with just a single push. Since there is no need to touch the shutter release button, you don't have to worry about accidental shutter releases. This is also very helpful when wearing gloves in cold weather.
Accessories
"In order to maximize the MZ-S's outstanding capabilities and cope with a wide range of photographic applications, we designed a new set of accessories that includes a battery grip, flash unit and cable switches.
"The BG-10 Battery Grip not only dramatically extends the operation time of the MZ-S, but comes also equipped with a shutter release button for vertical-position shooting, an electronic preview lever, an AE lock button and an infrared remote controller. Its ergonomic design further enhances the MZ-S's holding comfort and stability, while its single-action lever mechanism allows for quick, effortless installation and removal. We strongly recommend that our users pair this grip with the MZ-S camera body.
"The AF360FGZ dedicated auto flash is another great partner for the MZ-S. With a large guide number of 36 at 85mm (at ISO100/m) and a maximum discharge angle of 24mm (20mm with a wide-angle panel attached), this powerful flash unit supplements the built-in RTF flash in many flash situations. Its wireless data-transmission capability with the RTF unit automatically adjusts the discharge level with great precision, even under confusing lighting conditions.
"We also offers cable switches (in two different lengths), a release timer switch for pre-programmed interval shooting, quick shoe adapters, and soft camera cases - all made of the finest material and for maximum performance. Of course, the MZ-S is compatible with all SMC Pentax FA- and F-series interchangeable lenses and most of existing accessories, just like all other MZ-series models.
The Future Form of 35mm SLR Cameras
"If you think a camera's control system is too complicated or troublesome for the first time you use it, you may start to dislike the camera and seldom use it afterward. Eventually you may stop enjoying photography altogether - even if the camera offers the finest performance and quality. That's why we were particularly concerned about the MZ-S's control system. Because of its unconventional styling, people may at first glance be a little hesitant to try it out. But once you lay your hands on this camera, you will be surprised by its outstanding feel and flawless operation. We wanted the MZ-S to be the camera that people take with them everywhere they go. If you still prefer a camera with either a digital or analog control system, that's fine - because we believe our users deserve choice. Pentax offers all three types in its 35mm SLR lineup to meet every user's preference. But, by incorporating the new hybrid control system and a host of sophisticated features into one of the most compact bodies available today - without any frills or gimmicks - we are confident that we have successfully developed a truly epoch-making camera, which points to the future of 35mm SLR photography. We hope all photographers - both advanced and beginners - will take the opportunity to experience the MZ-S firsthand, and see and feel the real difference!"
July 26, 2001."
Below an article from the www (2001). Might be of interest even today - and for historical reasons.
"The Pentax MZ-S Designers' Story
The Product Concept
"In the development of the Pentax MZ-S, our product concept was simple and clear from the very beginning: we wanted to create a top-class 35mm SLR camera that would combine solid, reliable performance with the ultimate operability.
At the same time, we did not want to sacrifice the compact dimensions of the camera body, which photographers from around the world have come to expect from our MZ-series SLRs. In the past, we introduced both a high-tech digital control system (as in the Pentax Z-1p) and a user-friendly dial control system (as in the MZ-3 and the MZ-5N). Both systems, however, had their pros and cons. Designed for advanced photographers, the Z-1p's digital system offered such sophisticated features as a centralized display system and the "Hyper" exposure modes, but its state-of-the-art control system was a little too complicated for some of users to get accustomed to in a short period. On the other hand, the MZ-3 and MZ-5N's analog-type direct-access dial control system was easy to understand and operate even for beginners, but some of the features did not function as flawlessly as the digital system's. Frankly speaking as camera designers, we thought it would be much easier to standardize the entire control system one way or another. For the optimum benefit of our users, however, we decided to harmonize the best of both worlds to develop a totally new hybrid control system for the new MZ-S.
"First, we made a thorough review of each and every function and selected the functions which we believed were absolutely necessary to achieve the level of performance we expected from this camera. To keep the compact dimensions, there was no room for frills or gimmicks. Then, we decided which function went best with which control. Naturally, some functions suited the digital system, while others were easier to operate with the analog system. Finally, based on the importance and frequency of use, we divided the selected functions into two groups: the first group of functions, which are required frequent on-the-spot setting changes, must go onto the camera body for quick access. The second group, which are fundamental in essence and don't require frequent changes after the initial settings are made, were assigned to the Pentax Functions (PF). The Pentax Function feature also contributes to the elimination of accidental setting changes during shooting.
Top Panel Design
"When we talk about the camera's operability, we are most concerned with two important factors of the camera design: accessibility and readability. Accessibility involves the shape and position of switches, buttons and dials; readability is mostly affected by the body design and display method. We knew from our experience that, in order to improve these factors, we must do something drastic to the MZ-S camera body design. After some research and discussion, we found the ideal solution rather easily: we just needed to slant the top panel toward the photographer by approximately 30 degrees and position the control dials on this slanted plane. Imagine, for instance, that you have a computer, a clock, stationery and several family pictures on your desk. You feel more comfortable by positioning some of them diagonally, so all of them are facing you, rather than setting them parallel to the front edge of the desk. Or imagine your car. It's much easier to drive and get the information you need if all the meters and switches are facing toward you. Likewise, we concluded that this unconventional design could considerably improve both the accessibility and readability of the controls and displays on the top panel. We also figured the rest of the body design and the interior layout would follow accordingly. But it was easier said than done. This drastically slanted top panel was the core of our body design concept. It allows you to read the settings and make changes more easily from various angles: there is no need to raise your eye level when you take your eye from the viewfinder, and you don't have to stand on tiptoe or use a chair or box during high-angle shooting with the camera set on a tripod.
"Next came the design of two control dials. It's unusual to have a digital-type dial on one side and an analog-type dial on the other, but this was the result of our extensive review of the camera functions. We concluded that the functions that the user decides by absolute numerical value, such as shutter speed, aperture and exposure frame number, were better accommodated by digital operation. Consequently, these factors were assigned to the digital dial on the right side and their settings are displayed on the LCD panel positioned inside this dial. In comparison with the Z-1p's centralized display system, which is positioned on the top of the pentaprism and away from the control system, this in-the-dial display system makes data reading and setting changes much easier. On the other hand, the factors that are decided by relative value, such as exposure compensation factor and auto bracketing factor, were assigned to the analog dial on the left side. In addition, the two reference points of this analog dial (the "zero-point" index on one side and the "PF" mark on the opposite) are colored with green and red, respectively, for at-a-glance confirmation.
Exterior Design
"Once the design of the top panel was completed, we turned our attention to the overall body design. The MZ-S's novel top panel design greatly affected the rest of the body design, and we had to design everything from scratch using our advanced three-dimensional CAD technology. Most of the pentaprism housing was set into the raised front line of the top panel - in other words, protruding less over the line - creating a unique appearance from the front. Unlike conventional cameras, we designed the MZ-S to be asymmetric on both sides of the pentaprism because it looked a little awkward when we first designed it to be symmetrical. The two dials were sized differently because, due to an optical illusion caused by the difference in color and shape, the digital dial looked much smaller than the analog one, even though they were the same size. So, we designed the digital dial to be considerably larger and added a small protrusion right in front of the digital dial to refine the design. Finally, we made other minor design adjustments here and there to make the MZ-S look sharp and pleasing from every angle.
The Control System
"Our next assignment was to decide the best layout of buttons and levers, apart from the two large dials, to ensure optimum operability and accessibility. By this time, we were more confident with our design concept and became much bolder in designing these parts than we were at first. The shutter release button, for example, is not only slanted toward the front, but also tilted slightly outward because we felt it was a more ergonomically efficient design. We moved the electronic preview lever from its traditional position on the lens mount section to a spot right next to the shutter release button for easier access at the shooting position. Because of the unique top panel design, some of other buttons and levers had to be slanted to a certain extent as well. For instance, the exposure mode button, which is used to instantly jump the exposure mode from the Shutter-Priority AE back to the Programmed AE, was placed on the slanted plane on the upper right side of the front panel - an area which previously was seldom used for such buttons. We also installed the shutter-speed hold switch on the back panel, which locks the digital dial in order to prevent the accidental shift of exposure modes or shutter speeds.
Magnesium Diecast Body
"Once the basic body design was completed, we had to decide on the material used for the body casing. It had to be strong, durable and lightweight and also convey the high-class image of the MZ-S. Aluminum and zinc didn't meet these requirements. The material also had to be flexible enough in molding to reproduce the MZ-S's complicated shape with great precision. For this reason, titanium was eliminated. Eventually, we were left with only one choice: magnesium diecast, used for the first time in a Pentax camera and available in only a handful of high-end SLRs on the market today. We used this magnesium diecast material for four major components of the body casing. Compared with commonly used plastic, this material provides outstanding strength. Take the arms of the built-in RTF flash unit, for example. They are designed to be very thin, yet they are exceptionally resistant to twist and distortion.
"We also paid attention to the body coating to make it extra-durable and give the MZ-S an distinctive appearance. In our exclusive three-layer, three-bake coating process, we first apply a black base layer, and then a second flat layer. After each layer is applied, the body parts are carefully baked to provide maximum protection. The third and final layer is applied by hand to create a sandy surface texture and outstanding holding comfort. The parts are baked for the third time to perfection. Since the final layer is hand-applied, a careful inspection shows that each MZ-S has a slightly difference texture, providing sense of personality for the user.
Interior Design
"Of course, the MZ-S's eye-catching design, including the slanted top panel, greatly affected its interior design. We found that we could use only a handful of parts from other MZ-series models. As a result, we had to design almost all blocks, both electronic and mechanical, and wiring patterns from scratch to fit into the unusually shaped spaces. Many buttons and levers had to be installed on slanted planes, requiring careful calculations and minute design adjustments. So we had to think very flexibly and creatively to make the best use of available space. Our industry-leading mechanical and electronic technologies were very much needed to pack everything into a compact body, which is nearly as small as the MZ-3's.
New Features
"In addition to its solid performance and unique appearance, the MZ-S offers some outstanding new features. The first is a new six-point AF system, which has five focusing points aligned horizontally and one additional point just above the middle point. With these five horizontal points, this AF system offers the widest AF coverage of all 35mm AF SLRs currently on the market. It also comes equipped with a back-up mechanism. When the optimum focusing point has difficulty focusing on the subject because of extremely low contrast or complete monotone, the neighboring point is automatically activated to enhance focusing accuracy. You can also switch to the spot AF mode to select one of the six points for pinpoint focusing on a small area.
"The second notable feature is on-the-film data recording, which is incorporated in a Pentax 35mm SLR camera for the first time. This new feature allows you to imprint useful data (exposure mode, metering mode, shutter speed, aperture value, exposure compensation value, and auto bracketing) onto the film's blank spaces between the perforations. It also imprints the film number onto the film leader section.
"Another useful feature is an exposure frame designation function, which automatically advances the film to the designated exposure frame when the film is reloaded into the MZ-S. This allows you to rewind the film midway through, switch to a different type of film, then reload the original film and resume shooting from the first blank frame - without worrying about accidentally double-exposing already exposed frames at all.
"Finally, there is a single-action AF lock button - another first for a Pentax 35mm SLR. With a conventional AF lock mechanism, you have to first press the shutter release button halfway down to activate the AF system, then press the AF lock button to lock the focus. However, this convenient button, which is located on the back panel, allows you to activate the camera's AF system and lock the focus with just a single push. Since there is no need to touch the shutter release button, you don't have to worry about accidental shutter releases. This is also very helpful when wearing gloves in cold weather.
Accessories
"In order to maximize the MZ-S's outstanding capabilities and cope with a wide range of photographic applications, we designed a new set of accessories that includes a battery grip, flash unit and cable switches.
"The BG-10 Battery Grip not only dramatically extends the operation time of the MZ-S, but comes also equipped with a shutter release button for vertical-position shooting, an electronic preview lever, an AE lock button and an infrared remote controller. Its ergonomic design further enhances the MZ-S's holding comfort and stability, while its single-action lever mechanism allows for quick, effortless installation and removal. We strongly recommend that our users pair this grip with the MZ-S camera body.
"The AF360FGZ dedicated auto flash is another great partner for the MZ-S. With a large guide number of 36 at 85mm (at ISO100/m) and a maximum discharge angle of 24mm (20mm with a wide-angle panel attached), this powerful flash unit supplements the built-in RTF flash in many flash situations. Its wireless data-transmission capability with the RTF unit automatically adjusts the discharge level with great precision, even under confusing lighting conditions.
"We also offers cable switches (in two different lengths), a release timer switch for pre-programmed interval shooting, quick shoe adapters, and soft camera cases - all made of the finest material and for maximum performance. Of course, the MZ-S is compatible with all SMC Pentax FA- and F-series interchangeable lenses and most of existing accessories, just like all other MZ-series models.
The Future Form of 35mm SLR Cameras
"If you think a camera's control system is too complicated or troublesome for the first time you use it, you may start to dislike the camera and seldom use it afterward. Eventually you may stop enjoying photography altogether - even if the camera offers the finest performance and quality. That's why we were particularly concerned about the MZ-S's control system. Because of its unconventional styling, people may at first glance be a little hesitant to try it out. But once you lay your hands on this camera, you will be surprised by its outstanding feel and flawless operation. We wanted the MZ-S to be the camera that people take with them everywhere they go. If you still prefer a camera with either a digital or analog control system, that's fine - because we believe our users deserve choice. Pentax offers all three types in its 35mm SLR lineup to meet every user's preference. But, by incorporating the new hybrid control system and a host of sophisticated features into one of the most compact bodies available today - without any frills or gimmicks - we are confident that we have successfully developed a truly epoch-making camera, which points to the future of 35mm SLR photography. We hope all photographers - both advanced and beginners - will take the opportunity to experience the MZ-S firsthand, and see and feel the real difference!"
July 26, 2001."
Comment by KeldMikkelsen posted on The Pentax MZ-S Designers' Story (article, 2001) at 06/11/2020 - 16:24
