Image Size / File Quality Options
The *ist D provides a wide variety different image size
/ quality combinations. Image size choices are by default 3008 x 2008
(Large), 2400 x 1600 (Middle) and 1536 x 1024 (Small). In addition the
Small size can be set via custom function to either 1536 x 1024, 1152
x 768 or 960 x 640. Image size choices can be combined with either TIFF
(8 bit) image format or JPEG image format with three quality level indicated
by a number of stars (,
In addition the *ist D also has a RAW image format (.PEF extension), this
contains a RAW 'dump' of the data directly from the sensor (12-bits per
pixel). Most people consider the RAW format to be the 'digital negative'
because it is lossless and has had no image processing applied to it (tone,
white balance, sharpening etc.) all of which can be adjusted at a later
date before outputting the final image (Pentax include Photo Browser and
Photo Laboratory for this purpose).
Standard Test Scene
To give an impression of what some of the combinations of image size and quality produce the table below is a cross reference of some of them:
- 3008 x 2008 RAW (to TIFF using Photo Laboratory 1.0)
- 3008 x 2008 (L) TIFF
- 3008 x 2008 (L) JPEG
- 3008 x 2008 (L) JPEG
- 3008 x 2008 (L) JPEG
- 2400 x 1600 (M) JPEG
- 1152 x 768 (S) JPEG
Crops below are of the same 240 x 100 area of each image nearest neighbour magnified 200%.
Settings: ISO 200, FA 50 mm F1.4 @ F8
|3008 x 2008|
13,608 KB .PEF (not available for download), VGA crop - 718 KB .TIF
17,708 KB .TIF (not available for download), VGA crop - 762 KB .TIF
|2400 x 1600|
|1536 x 1024|
TIF output from a RAW converted in Pentax's Photo Laboratory and TIF output from the camera were virtually identical, although obviously RAW is more flexible and approximately 4 MB smaller (I'm not sure many people will be using the TIFF option). JPEG quality has no visible artifacts, drop down to and you can begin to see "mosquito artifacts" around areas of detail. Also interesting (although not strictly relevant here) is that both RAW and TIFF modes produce visibly sharper images than JPEG, hinting that either the camera doesn't sharpen JPEG images as much as TIFF or that the JPEG encoding algorithm itself is somehow affecting the sharpness of the image (I know no technical reason for this).
The camera's downsampling interpolation algorithm appears to be of a high quality with clean sharp images at the smaller image sizes.
The *ist D provides output color space options of sRGB and Adobe RGB. My only niggle about this is that the option is tucked away on the last page of the custom functions menu, it really should be on the main menu with the other image parameters (contrast, sharpness, saturation). Also like many other digital SLR's the *ist D does not embed the color space profile into the image file so you will have to either remember which shots were taken in which color space or use the Pentax Photo Browser to verify the color space used.
Settings: ISO 200, FA 50 mm F1.4, 1/40 sec, F7.1
|sRGB||Adobe RGB -> sRGB|
Place your mouse over the labels below the image to see a ColorChecker chart taken in each color space. Note that the Adobe RGB image has been converted to the sRGB color space for correct color on your monitor. Below are two studio shots taken as both sRGB and Adobe RGB. Note that in these samples the Adobe RGB image has NOT been converted to sRGB and so to view it correctly you will have to load it into a color space aware photo application and assign the Adobe RGB color space. Below each sample is that image's CIE u'v' Color Distribution chart; larger gray triangle approximately represents the range of color which the human eye can resolve, the inner triangle the available gamut in each color space (sRGB or Adobe RGB).
Settings: ISO 200, FA 50 mm F1.4 @ F14 (Studio Strobe), Small/
Feb 8, 2005
Oct 28, 2003
Feb 26, 2003
Oct 19, 2006
|Smile by Olymguy|
from Ultra Asian Indian Female Faces
|Space Shuttle Cockpit- by vbuhay|
from Aircraft Control Stick
Just a guy wearing a VR headset, smashing invisible Goombas in Central Park.
NASA's Mars Reconnaissance Orbiter captured this gorgeous aerial photo of the Martian landscape. And if you look really close, you can actually see the Mars Curiosity rover in the very middle.
The city of Laguna Beach, California has provided some clarification around the kinds of photography permits it offers.
Later this year, a VR180 camera will be Joining Yi's Halo and 360 VR cameras, which will offer stereo 3D capture, yet be as easy to use and compact as a 2D camera.
Caltech researchers have developed an 'optical phased array' chip that uses time delays instead of a lens to focus the incoming light.
Pricing and shipping have finally been revealed for two highly anticipated lenses from Sigma, announced in February.
These macro photos of clouds of paint billowing through clear water might look like high-quality CGI, but they're real photographs. And photographer Alberto Seveso told us how they were made.
Facebook is testing a feature that prevents people from saving, sharing, or even taking a screenshot of your profile picture.
We've reshot the Sony a9 in our studio. The short story: it's sharper! The long story... well you can read it all here.
The collection will be officially launched during the Europeana Transcribathon Campus Berlin 2017 crowdsourcing event which will be held on 22 and 23 June at the Berlin State Library.
Light gives us some insight into the preparations for the launch of the pre-order shipments of its much anticipated L16 multi-lens camera.
OnePlus co-founder Carl Pei has confirmed in a tweet that the second lens on the back of the OnePlus 5 uses a 1.6x optical zoom and that digital zoom is used to reach the claimed 2x zoom factor.
Fujifilm recently unveiled the second in its series of affordable cine lenses, the MK50-135mm T2.9. We got our hands on it for a couple days and took it for a spin.
Leica's first attempt at an M-series digital rangefinder was rough around the edges, but set a pattern for all of the cameras that came after it. In this week's Throwback Thursday article, Barney remembers the M8.
No stranger to extreme situations, legendary climber and filmmaker Jimmy Chin talks to Outside Magazine about his career, and the challenge of filming Alex Honnold's rope-free solo climb of El Capitain.
A company backed by Android co-founder Andy Rubin is attempting to make video conferencing less terrible.
Rangefinder magazine asked five professional portrait and wedding photographers about posting on Instagram; no surprise, they got five different answers.
This captivating stop motion film was created by stripping away one layer of wood at a time. It's hard to look away.
It will enable users to simulate the presence of the sun, moon and Milky Way and see how they interact with an area's topography.
Since its introduction in November last year Instagram's live streaming feature has been used by millions, but videos could not be archived for watching at a later stage. A new update has now added the capability.
CopyTrack's study also found that the second most-stolen image is a woman wearing painted jeans. That's apparently a thing.
Forget expensive lenses with fancy coatings and special lens elements – photographer Robin de Puy took these portraits using just a water drop for a lens.
Adobe reports a record quarterly revenue of $1.77 billion for the second quarter fiscal year 2017 ended June 2, 2017.
Zeiss says its new lens is particularly suited for portrait photography but also a good all-rounder and can be used in video applications.
We present to you the top photos from the Kennel Club's 2017 Dog Photographer of the Year photo contest – take a look at 10 of the award-winning puppers.
In case you were looking for any more inspiration to go fly one.
Following a couple of successful Kickstarter campaigns, Videre 35mm's creator has re-tooled the camera with sturdier components and a simpler user assembly process.
The two hour long video covers everything an aspiring drone pilot needs to know.
This is what happens when a Canon 17-85mm F4-5.6 lens meets 60,000 PSI of water pressure. Spoiler Alert: the water jet always wins.
Andrew Harnik discusses the challenges – and rewarding moments – of a career making images for the Associated Press in his native DC.