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HD PENTAX-DA FISH-EYE10-17mmF3.5-4.5ED

A versatile fish-eye zoom lens,
featuring HD Coating and a removable lens hood to assure a greater range of creative expression

Based on the smc PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED[IF], which provided a maximum angle of view of 180 degrees and a distinctive image rendition, this fish-eye zoom lens is designed to deliver sharp, clear images with minimal flare and ghost images against backlight, thanks to a thorough review of all lens coatings and the application of high-grade, multi-layer HD Coating.

This lens features a new exterior design matching those of PENTAX K-series digital SLR cameras and the latest interchangeable lenses, and a removable lens hood. When mounted on a 35mm full-frame PENTAX K-series digital SLR camera, it lets you enjoy eye-catching fish-eye photography with a nearly circular image circle.

The Origin of Fish-eye Zoom Lenses

People often associate fish-eye zoom lenses with zoom lens versions of conventional fish-eye lenses.

Going back in history to the film-photography era, when zoom lenses were first invented, only zoom lenses with a very expansive angle of view were ultra-wide-angle zoom lenses. Since these ultra-wide-angle zoom lenses required compensation for distortions over the entire zoom range, optical designers had to supply a sufficient amount of light to the edges of the image field. The result was that most of these lenses were too heavy and cumbersome to simply carry around, and their use was limited only to scenic and architectural photography.

Then came the smc PENTAX-F Fish-Eye Zoom 17-28mm F3.5-4.5 — PENTAX’s first-generation fish-eye zoom lens, and the world’s first of its kind. It was developed from a single idea proposed by the PENTAX engineering team: convert an ultra-wide-angle zoom lens into a fish-eye zoom lens.

Achieving this goal would give PENTAX three advantages in lens design:

1. A wide-angle lens has a retro-focus design, in which a concave optical element is positioned at the front. However, this design tends to cause barrel distortion. In order to compensate for this distortion, a number of additional optical elements are required, making the final product quite large and heavy. A fish-eye lens, however, doesn’t require extensive compensation because it can use this distortion to its advantage and produce unique, eye-catching images. As the result, the number of optical elements can be considerably reduced.

2. A conventional wide-angle lens has a short focal length in order to broaden its angle of view and increase the retro-focus effect, which enlarges the lens body. But a fish-eye lens can create a vast angle of view using its distortion. The result is that the unnecessary shortening of the focal length is eliminated.

3. Because distortion causes a compression effect on surrounding areas, a fish-eye lens can prevent the reduction of light level in peripheral areas, a concern with an ultra-wide-angle lens. Therefore, a fish-eye lens doesn’t require a large optical element at the front.

By applying a fish-eye optical design to a large, cumbersome ultra-wide-angle zoom lens, PENTAX successfully developed a fish-eye zoom lens which was more compact, lighter in weight and much easier to handle.

〔smc PENTAX-F Fish-Eye zoom 17-28mmF3.5-4.5〕
〔smc PENTAX-F Fish-Eye zoom 17-28mmF3.5-4.5〕

Developing a Fish-eye Zoom Lens with a Shorter Focusing Distance

The first-generation fish-eye zoom lens — the smc PENTAX-F Fish-eye Zoom 17-28mm F3.5-4.5 — left one problem to be solved: its minimum focusing distance of 0.45 meters made it difficult to close in on the subject. Since it used a front-group-extension focusing mechanism, the zoom effect during focusing operation made the angle of view wider, resulting in vignetting in close-up photography.

In the development of the smc PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED[IF], which was designed for use with APS-C-format digital SLR cameras, PENTAX aimed at shortening the minimum focusing distance — one objective left unsolved with the first-generation fish-eye zoom lens — and adopted the Inner Focus (IF) mechanism, in which the rear group of the first optical element group was shifted during focusing. This IF mechanism realized an optical system free of vignetting during close-up photography.

With a minimum focusing distance of a mere 0.14 meters, and a minimum distance of 2.5cm between the subject and the front surface of the lens, this new fish-eye zoom lens has greatly expanded the range of photographic applications.

The ability to approach the subject more closely, however, created new problems, such as dirt and scratches on the lens surface caused by the contact with the subject. To solve these, PENTAX developed a new fluorine coating to protect the lens surface. Named SP (Super Protect) Coating, it is not only repellent to water and grease and prevents dust, water drops and oil stains from adhering to the lens surface, but also makes it easy to wipe them off. First applied to the smc PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED[IF], SP Coating is also featured in the newest HD PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED.

Grease- and dirt-repellent effect of SP Coating
Grease- and dirt-repellent effect of SP Coating
smc PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED[IF]
smc PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED[IF]

Remarkable Optical Performance Made Possible by HD Coating

Thanks to the application of HD Coating, the HD PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED not only delivers clearer, sharper images than its predecessor, but also assures higher imaging performance against backlight.

〔smc PENTAX-DA FISH-EYE10-17mmF3.5-4.5ED[IF]〕
〔smc PENTAX-DA FISH-EYE10-17mmF3.5-4.5ED[IF]〕
〔HD PENTAX-DA FISH-EYE10-17mmF3.5-4.5ED〕
〔HD PENTAX-DA FISH-EYE10-17mmF3.5-4.5ED〕 A’: Higher contrast due to reduced flare
B’: Reduced ghost images
C’: Higher contrast due to reduced flare

New Exterior Design and Removable Lens Hood

The exterior features a wrinkle-finished surface, with meticulous attention paid to every detail. This totally redesigned body makes it a perfect match with the latest camera bodies and other lenses.

With previous models, the lens hood was integrated into the lens barrel. With the HD PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED, however, it is designed to be removable to provide greater options in photographic expression.

When mounted on PENTAX KP
When mounted on PENTAX KP
When mounted on PENTAX K-1 Mark II (without lens hood)
When mounted on PENTAX K-1 Mark II (without lens hood)
This lens provides fish-eye photography with a nearly circular image circle, when mounted on one of 35mm full-frame digital SLR camera bodies in the PENTAX K-1 series.
(This image was captured in the FF setting of the Crop mode, without the lens hood. Since this image contains objects outside the image circle, it may suffer reduced imaging performance and/or vignetting in peripheral areas.)

Photo Gallery

Takuma Kimura Takuma Kimura

Takuma Kimura

Freelance photographer/videographer. Born on December 5, 1984, in Okayama Prefecture, Kimura became a freelancer in 2018 after working at a local advertising photo studio for 12 years. Mainly working in his home prefecture of Okayama, he captures photographic works resembling paintings and movies without sticking to any particular theme or style. He has also attempted super-high-angle photography using a 12-meter-long monopod, and aerial photography using a drone. He has served as a photographic editor of TV dramas, videotaped documentary programs, and contributed articles to camera magazines such as Digital Camera Magazine.
https://www.takumakimura.com

Aperture
F3.5
Shutter speed
1/640sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
200
White balance
CTE(Blue 6、Magenta 2)
Finishing touch
Reversal Film

Aperture
F8.0
Shutter speed
1/200sec
Focal Length
17mm(Equivalent to 35mm format:25mm)
ISO sensitivity
200
White balance
Daylight(Blue 4、Magenta 1)
Finishing touch
Vibrant

Aperture
F16
Shutter speed
1/20sec
Focal Length
10mm
ISO sensitivity
400
White balance
Daylight(Blue 2、Magenta)
Finishing touch
Radiant

Aperture
F11
Shutter speed
1/100sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
100
White balance
Fluorescent - Daylight White(Amber 2、Magenta 2)
Finishing touch
Landscape

Aperture
F16
Shutter speed
1/1000sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
200
White balance
Daylight
Finishing touch
Vibrant

Aperture
F8.0
Shutter speed
1/40sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
200
White balance
Fluorescent - Daylight Color(Blue 3、Magenta 1)
Finishing touch
Natural

Aperture
F16
Shutter speed
1/160sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
100
White balance
Daylight(Blue 2)
Finishing touch
Radiant

Aperture
F3.5
Shutter speed
60sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
3200
White balance
Fluorescent - Cool White(Blue 7、Green 1)
Finishing touch
Natural

Aperture
F11
Shutter speed
1/40sec
Focal Length
17mm(Equivalent to 35mm format:25mm)
ISO sensitivity
200
White balance
Color Temperrature(2800K、Amber 7、Green 7)
Finishing touch
Monochrome

“I went out in the field after picking up the HD PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED, which featured a totally new design and HD Coating. Thanks to the application of HD Coating, I can expect more stable results, because ordinary fish-eye lenses tend to capture the light source in the image field. This is a pleasant improvement for me, because I often take photos against backlight.

“The most prominent feature of this lens is the zooming mechanism, despite the fish-eye design. The difference of one millimeter in focal length becomes greater as the angle of view becomes wider. So the zooming mechanism makes it easier to capture an image in the composition I want. Although fish-eye lenses are often noted for their unique distortion effect, I can minimize the effect of distortion by paying close attention to the horizontal and vertical alignment of the image, and use this lens just like an ultra-wide-angle lens. Also, by using the camera’s Composition Adjustment function, I can shift the horizontal alignment up and down to avoid placing it in the middle of the image.

“One of my special photographic techniques is high-angle photography using a camera mounted on top of a 7.5-meter-long monopod. Mounting a fish-eye lens on the camera lets me capture images which appear to be taken from a higher position — just like the spectacular photos of aerial photography. The lens’s compact, lightweight body makes it easy to maintain the camera’s balance even on top of the 7.5-meter-long monopod.

“Also by removing the lens hood and mounting the lens on my PENTAX K-1 camera body, I can capture circular fish-eye images. Practically speaking, it’s no exaggeration to say that this lens is fully compatible with 35mm full-frame cameras.”

Photo Gallery

Masaki Kuroyanagi Masaki Kuroyanagi

Masaki Kuroyanagi

Born in 1969 in Tokyo, Kuroyanagi has engaged in a wide variety of nature and advertising photography, ranging from underwater photography in the Yaeyama Islands of Okinawa to alpine photography at the summit of Mt. Daisetsu in Hokkaido. He specializes in close-up photography with expansive scenes of nature in the background. In addition to his life work of capturing insects, especially butterflies, in flight, he is also active in organizing photo-shooting events for parents and children. He serves as a director of The Society of Scientific Photography (SSP) of Japan.

Aperture
F9.0
Shutter speed
1/6000sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
1600
White balance
Multi Auto White Balance
Finishing touch
Bright

Aperture
F8.0
Shutter speed
1/6000sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
3200
White balance
Multi Auto White Balance
Finishing touch
Bright

Aperture
F11
Shutter speed
1/6000sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
3200
White balance
Multi Auto White Balance
Finishing touch
Bright

“The reason why I like to photograph butterflies with a fish-eye lens is simply because I want to capture the most beautiful image of a butterfly flying in its habitat.

“In order to capture a butterfly large enough for it to be the main subject, I must approach it as close as 20 centimeters from the camera’s image sensor. I’m pleased that, because of the short minimum focusing distance of 0.14 meters, I can even capture smaller species. A wide angle of view can be a great benefit, but it can sometimes become a weakness because it accidentally captures unwanted objects in the image. In this respect, this lens’ zooming function gives me a tremendous advantage, because it lets me take unwanted objects out of the image field.

“Another noteworthy feature of this lens is its compact, lightweight design, despite the incorporation of all these functions. If I go into a bush to photograph, I must approach the subject cautiously but quickly without contacting the leaves or branches. The smaller the photographic gear, the easier it is to avoid those obstacles. I can also hold the gear more easily and comfortably until the shutter opportunity arrives, and eventually have more fun taking pictures. This lens deserves to be my partner in every sense.”

Photo Gallery

Sonoe Sonoe

Sonoe

Born in Niigata Prefecture, Sonoe graduated from Tokyo Zokei University before becoming an apprentice to Eiji Araki. In 2003, she became independent and founded Lightinguz. She has specialized in corporate advertising photography, capturing product images, portraits and architectural interiors. Regarded as an all-round photographer capturing such diversified subjects as sweets, pets and landscapes, she has also worked on a number of assignments from camera manufacturers. She is a member of the Japan Professional Photographers’ Association (APA).
https://www.lightinguz.net/

Aperture
F11
Shutter speed
1/400sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
400
White balance
Daylight
Finishing touch
Bright

Aperture
F11
Shutter speed
1/500sec
Focal Length
10mm(Equivalent to 35mm format:15mm)
ISO sensitivity
1600
White balance
Auto White Balance
Finishing touch
Bright

Aperture
F11
Shutter speed
1/1000sec
Focal Length
17mm(Equivalent to 35mm format:25mm)
ISO sensitivity
640
White balance
Auto White Balance
Finishing touch
Bright

“With a fish-eye lens, I suggest you try the so-called ‘big-nose’ photo, in which the subject’s face is enlarged against a smaller, deformed body. The HD PENTAX-DA FISH-EYE 10-17mm F3.5-4.5ED lets you very closely approach a subject. If you approach too closely, however, the nose appears so large and deformed that the subject doesn’t look cute any longer.

“Keep a comfortable distance from the subject — a distance of about 20 centimeters — and capture the image as if you were playing with your pet. If you approach too closely, some pets might be frightened. For a pet like this, you can zoom out to the 17mm focal length to create a little space.

“You can line up two or three pets. By closing down the aperture at this distance, you can still keep sharp focus on their eyes and noses using the camera’s AF function, and capture clear, crisp images.

“If you take a photo from above, you can make the ground appear to be curved, creating an interesting line in the background. If you capture the subject from the front, buildings and walls in the background will appear to be deformed, as if they were standing over the pets. By adjusting the shooting angle slightly, a fish-eye lens can dramatically change the subject’s facial expression or the appearance of the background. Go out on a sunny day and close in on your pet, and you can capture a unique, eye-catching image with a dramatically deformed background.”

A versatile fish-eye zoom lens featuring HD Coating and a removable lens hood to assure a greater range of creative expressions
HD PENTAX-DA FISH-EYE 10-17mm F3.5-34.5ED

HD PENTAX Lens lineup

Category Type Product name Focal length

Top: in FF setting
Bottom: in APS-C setting

Aperture
Wide-Angle Lenses Zoom HD PENTAX-DA FISH-EYE10-17mmF3.5-4.5ED
NEW!APS-C
10-17mm
-
F3.5-4.5
HD PENTAX-DA11-18mmF2.8ED DC AW
APS-C
11-18mm
17-27.5mm
F2.8
HD PENTAX-D FA 15-30mmF2.8ED SDM WR
35mm Full FrameAPS-C
15-30mm
23-46mm
F2.8
Single Focus HD PENTAX-FA35mmF2
35mm Full FrameAPS-C
35mm
53.5mm
F2
HD PENTAX-DA 15mm F4ED AL Limited
APS-C
15mm
23mm
F4
HD PENTAX-DA 21mm F3.2AL Limited
APS-C
21mm
32mm
F3.2
Standard Lenses Zoom HD PENTAX-DA 16-85mm F3.5-5.6ED DC WR
APS-C
16-85mm
24.5-130mm
F3.5-5.6
HD PENTAX-DA 18-50mm F4-5.6 DC WR RE
APS-C
18-50mm
27.5-76.5mm
F4-5.6
HD PENTAX-DA 20-40mm F2.8-4ED Limited DC WR
APS-C
20-40mm
30.5-61.5mm
F2.8-4
HD PENTAX-D FA 24-70mmF2.8ED SDM WR
35mm Full FrameAPS-C
24-70mm
37-107mm
F2.8
HD PENTAX-D FA 28-105mmF3.5-5.6ED DC WR
35mm Full FrameAPS-C
28-105mm
43-161mm
F3.5-5.6
Single Focus HD PENTAX-DA 40mm F2.8 Limited
APS-C
40mm
61mm
F2.8
HD PENTAX-D FA50mmF1.4 SDM AW
35mm Full FrameAPS-C
50mm
76.5mm
F1.4
Telephoto Lenses Zoom HD PENTAX-DA 55-300mm F4-5.8ED WR
APS-C
55-300mm
84.5-460mm
F4-5.8
HD PENTAX-DA 55-300mmF4.5-6.3ED PLM WR RE
APS-C
55-300mm
84.5-460mm
F4.5-6.3
HD PENTAX-D FA70-200mm F2.8ED DC AW
35mm Full FrameAPS-C
70-200mm
107-307mm
F2.8
HD PENTAX-D FA 150-450mm F4.5-5.6ED DC AW
35mm Full FrameAPS-C
150-450mm
230-690mm
F4.5-5.6
Single Focus HD PENTAX-DA 70mm F2.4 Limited
APS-C
70mm
107mm
F2.4
HD PENTAX-DA 560mm F5.6ED AW
APS-C
560mm
859mm
F5.6
Macro Lenses Single Focus HD PENTAX-DA 35mm F2.8 Macro Limited
APS-C
35mm
53.5mm
F2.8
Converter / AF Lens Adapter HD PENTAX-DA AF REAR CONVERTER 1.4X AW - -

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