The best lens for Pentax K70 is the Pentax 17-70mm f/4 SDM. But on this list today, we will be giving you the list of the top 10 Best Lenses For Pentax K70 and all you need to know.
But before that, here is the top 10 pick of the Best Lenses For Pentax K70
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What is a Pentax K-mount lens?
Developed in 1975 by Pentax, the K-mount bayonet is presently used on all full-frame and APS-C Pentax SLR cameras.
Best Lenses For Pentax K70
Pentax 17-70mm f/4 SDM
This is an excellent conventional zoom lens in terms of optical quality. The DA* 16-50 may be the only mid-aperture camera that can compete with it.
The lens has a good amount of sharpness and contrast. Only restricted or star glass or the DA 12-24 and DA 10-17 have better color rendition.
It has a somewhat warmer color rendition than Pentax wide-angle glass (such as the DFA 100 macro and DA* 300).
Making a zoom lens with a focal length range of 17mm to 70mm that is good from edge to edge at all focal lengths is extremely difficult. In DA 17-70,
Pentax came near to meeting that criteria. Edge-to-edge performance is excellent throughout the majority of its range.
However, it does give up some long-term solutions. I haven’t put the lens through its paces to find out just how much resolution it loses.
Even at 50mm, and perhaps even at 60mm, it’s still quite good. But at 70mm, it’s not as excellent, especially at longer distances, whether or not you stop down.
When compared to other normal zoom lenses, this lens is often rated worse due to the SDM nightmares associated with it, coupled with other AF troubles that have afflicted the lens.
The lens has served me well twice. The original copy had major AF troubles since the lens couldn’t communicate the right focal length to the camera.
No matter what focal length was employed, the lens registered a focal length of 43mm in its measurements. As a result, the autofocus was rendered useless at nearly all focal lengths.
However, the SDM worked in the sense that it wasn’t responsible for the problem, but the lens floundered like a beached whale because of the misreported focal length. However, the replacement version has worked flawlessly.
Pentax 35mm f/2.8 Macro HD
However, it has red highlights instead of the green ones that I am used to seeing (HD versus SMC) – which gives the K-3 a snarky look, but it is something that all Limited lenses do…
Compared to the DA 40 Limited, the integrated hood and custom push-on front cover are well-executed. No WR, but the quick shift has quickly proved helpful for me since switching to BBF.
Aside from the fact that it is a true 1:1 macro lens, which increases the lens’ utility for me, the overall quality of the lens, color rendition, sharpness, bokeh, and general usefulness are all excellent.
I’ve noticed that subjects are captured with a distinct ‘pop’, a true separation from the background, and its ability to render fine details borders on teetering on the edge of tinkering.
This lens (Esmerelda) was a joy to use throughout the month, and I’ll probably return to it as a Single In lens later in the year.
frogs and insects may not sit still for you to invade their personal space, but other than that, there is no reason not to carry a copy of this lens around.
At this link, you’ll find the full review of the HD Pentax DA 35mm f2.8 Limited Macro, which is now available on Pentax forums, as well as some of the pros and cons of the lens.
Pentax 11-18mm f/2.8
These are a few of the top reasons I’d like to acquire this lens, in no particular order.
weatherproof Rain, thick humidity, bitter cold, snow, ice on rivers and waterfalls, a thick layer of dust, and sand.
Filtering options. Graduated (GND) and polarizing filters are all types of big stopper (ND) filters (CPL). Put together at the same time!
Mostly for use with my Pentax K1-II full-frame camera.
less flare and ghosting in comparison to other wide/UWA lenses I have.
There are no fisheye-level aberrations in this picture.
Use a focus clamp to keep a fixed focus distance while changing filters or working at night.
A fixed hood and no front filters mean that the Sigma 8-16mm F4.5-5.6 is not a full-frame camera, and it is not compatible with 100mm filter holders.
There are a lot of green “blobs” that appear in the sun, which is the main complaint. I can’t use it when there are strong light sources in the frame because it flares so badly that it irritates me at all hours of the day and night. In addition, it’s too heavy for what it does. I just use it indoors.
I can’t use my 100mm filter holder with the Pentax DA 15mm F4 Ltd since it has a non-detachable hood, and it requires 49mm circular filters. Has a lot of curvature in the field. The DA* 11-18mm’s image quality is significantly better.
I have a terrible duplicate of this lens model and can only use it for close-up work when photographing landscapes at infinity. For the starburst effect, I preserve this SMC, non-HD version.
Even though it has weatherproofing, I don’t like the Pentax DA 18-135mm F3.5 – 5.6 because of its poor image quality at the wide end (18-24).
Pentax 50mm f/1.8
It’s a small lens, but it’s well-made and comfortable to hold. The K-3’s autofocus is lightning fast, but at apertures wider than f/2.8, it is less dependable, resulting in many missed opportunities for sharp focus.
When the focus is correct, the lens is very sharp at f/2.8, making it an excellent choice for portraits. Beyond that, I haven’t put it to the test, but it’s incredibly crisp. Bokeh is fine, but it isn’t the smoothest option out there.
Overall, the quality of the images is excellent. Using f/2.8 for portraits or other subject-isolation images delivers superb sharpness and a reasonably defocused backdrop.
If you have a lot of time and are confident in your focus, you can use a wider aperture to isolate more, but you’ll lose some sharpness.
In terms of color and rendering quality, it’s excellent, as is the lens’ ability to produce images that appear to be 3D.
If you can acquire accurate focus when shooting wide open, the contrast is minimal, but the sharpness is adequate, if not exceptional. The colors are bold but not cartoonish, and the contrast is excellent.
Despite its lightweight, the lens looks great on the camera and provides a comfortable shooting experience. A hood isn’t necessary because of the front’s deep recess.
If you’re looking for a fun little lens to use, I’d recommend this one. When used with the 18-55mm kit zoom, this 50mm lens produces images that are noticeably sharper and let in far more light than the 18-55mm zoom.
Aside from build quality, my FA 43mm Limited is somewhat sharper at f/2.8 than the 50/1.8, but the 50/1.8 has a better 3D and overall rendering. Yes, the FA Limited is superior to the tiny plastic 50/1.8.
Although I have not yet scanned anything with it, I have used it on film and it works well with a Z1 or SFXn.
Pentax 55-300mm f/4-5.8
Hasn’t missed a beat since I started using it in 2011; it was my first additional lens beyond the 18-55mm kit lens. It’s still my go-to telephoto lens, capable of handling just about everything that demands a little extra reach.
Even though there are telephoto lenses with nth-degree resolution available, they are at least three times more expensive than this one.
The lens does not disappoint in terms of contrast, especially at the long end of the zoom range, where many zooms of this type have difficulty.
With the 300mm lens wide open at F5.8 and stopping down to F6.3, the apparent sharpness is fairly acceptable, and at F7.1 I have no issues with sharpness.
Because of its modest number of elements and reliable coatings, the lens produces vibrant colors. There is considerable distortion at the widest and narrowest focal lengths, but nothing alarming.
This can be remedied in post-production, as well. Generally speaking, I’d say the lens’s flare resistance is decent, although the lens hood that comes with the lens takes care of that in most cases.
Even though tracking moving subjects may not be the DA55-300strong mm’s suit, I’ve used it on a variety of occasions, including at events and in zoos, and I’ve managed to return with a reasonable number of keepers.
Even though I have two DA Limiteds in my gear, this lens is probably responsible for more well-received photographs than any other, and it’s also among the lenses that spend the most time on my camera.
Pentax 77mm f/1.8
Punchy. 3D depth is created naturally by the seamless transition between in and out of focus.
This could be the fabled ‘pixie dust.’ Because wide apertures allow you to perceive the plane of focus, this means that wide-aperture sharpness is fantastic. A problem with sharpness is more frequently caused by a lack of focus than by faulty optics!
The bokeh is nice, but not boring. It’s got some depth, but it also comes out as sympathetic. The palette has a lot of warm tones.
There has been a lot of gray around here lately. As of yet, I haven’t had to deal with too many difficulties in CA, which is good news. Maybe I’ll put something up later.
With its broad rear section, the device resembles a light hoover. It’s great for photography in low light because it prompts you to widen the aperture.
Even after taking a few photos with a lens like this, you begin to think differently about photography. More and more, you’ll want to take advantage of and promote the depth you notice in those transitions.
The thought of returning to that place seems impossible to me at this point. The £476 I spent for this lens compares favorably to the costs of Zeiss, or the Canikon 85mm portrait lenses, which by all accounts can provide this amount of creative flexibility.
Compared to the DFA100WR, I would say both are extremely crisp, especially the 100mm, which appears to have an exceptional level of resolution. Both are overflowing with 3D pop. The 100’s bokeh is smoother, but it’s not necessarily better looking.
Despite its age, I believe the 100 combines the crisp clarity of a current lens and the beautiful colors of an older lens. However, when it comes to low-light photography, the 77mm is a superior option because it has a more vintage feel and a greater feeling of depth.
Pentax 28-105mm f/3.5-5.6
Because it’s essentially a K-1 kit lens, I was hesitant to buy it secondhand. However, I planned to use it on my K-70 because of the APS-C crop factor, which transforms it into a standard to moderate telephoto zoom lens.
As I already have an earlier Tamron 28-105 that says it’s a Pentax FA! but isn’t very sharp, I wasn’t sure how useful the zoom range would be on APS-C or how excellent the lens would be.
With almost six months of use, I’ve set my skepticism aside, as I’m quite pleased with what is a reasonable cost lens for the quality you receive.
There are times when I wish it were a little faster than it is, but this has never been a problem for me because I’ve always used it in the slowest setting for landscapes.
However, despite its lack of macro capabilities, the lens has allowed me to photograph small subjects at full zoom without needing a macro lens.
Overall, I’ve been most delighted with the lens’s crispness. It’s not a prime, but it’s a big improvement over the APS-C kit zooms, and it’s a lot better than the stock lens.
The K-70’s sharpness seems to peak at f/9, although it’s not clear why this is the case.
The only green or purple fringing I’ve seen is on a few shots, but it’s not overly bothersome and can be readily fixed in post-processing.
The AF is very quiet, fast, and precise.
The lens’s very stiff zoom is the only thing I’m not a fan of. Perhaps this has to do with how well the weather seal is working? You won’t have to worry about zoom creep when using this lens; in fact, the reverse is true.
There’s no need to worry about the camera expanding if you suspend it from the lens. Like operating an automobile before power steering, the zoom ring demands a firm hand to turn. Because of the stiffness of the zoom, zoom movement can be jerky and tracking moving things can be difficult.
Fortunately, there is sufficient grip to grab onto to do so, so it’s not a significant issue.
In the future, I’d like to compare it to the DA 16-85, which is practically its counterpart on APS-C and highly respected, but that is also a more expensive lens, and if I’m prepared to live without the wider end, the D-FA 28-105 surely makes weather-sealed walk-around zoom.
It’s interesting to note that the D-FA 28-105 weighs 440g less than the DA 16-85, which weighs 488g.
For an APS-C camera, would I buy this new instead of the DA 16-85mm f/2.8? If you don’t already have the DA 16-85 or if you’re considering upgrading to a K-1 (II) and don’t already own the DA 16-85, this is a superb lens that can produce excellent photographs.
Pentax 18-135mm f/3.5-5.6
First impressions do count, and this one was excellent. As good as or better than the HD DA 55-300 (non-PLM) in terms of construction quality, with excellent fit and finish. The zoom tubes and hood are both snug and free of play or shakiness.
The 18-50 DC motor is faster, but not quite as quick as the autofocus. The motor “silently” focuses, making a small sound.
There is no slack and a good dampening effect on the manual focus ring, which makes it a pleasure to operate. The AF/MF switch is unnecessary once you’ve mastered quick-shift manual focusing.
To reduce reflections on the sensor, the rear element of the lens is coated with highly anti-reflective paint. When it comes to the KP, I’ve had great success with this lens. Wide-open, I’ve seen a TINY amount of edge and corner softness, however, this disappears when the aperture is reduced.
When doing portraits, the background and the corners are always out of focus, therefore I don’t see this as a problem at all! At all apertures, the center sharpness is outstanding, and the color rendition is excellent as well. As a result of the poor reviews, I purchased a secondhand 16-85 two years ago.
When the 18-50 kit lens failed after only 11 months of use, I returned to the 18-55 kit lens until I discovered this one was included with the K70 kit, which I was going to purchase anyhow.
I’m quite pleased with what I’ve seen thus far. I intend to utilize the lens as a “walkaround,” vacation, and hiking lens to reduce the number of lens changes in the field.
This is a fantastic perspective and one that I wholeheartedly endorse. In other words, it is not a pro-level lens, but by being aware of its limitations and putting in some extra effort, you may capture some amazing photos. I’d rate it a 9 out of 10. The lens is quite handy and adaptable.
Pentax 16-50mm f/2.8
The lens has a wide-open aperture of f/2.8 throughout the zoom range and closes to f/22 at the other end. The K-3 Mark III DSLR and the 4.6-inch long lens are surprisingly well-balanced when shooting handheld.
Although it was heavier than I am used to shooting, the combination of the camera’s ergonomics and the system’s overall balance made for an enjoyable shooting experience, despite the increased weight.
With a sturdy metal barrel and a rubber ring enclosing the focus and zoom gears, the lens has a pleasant grip and a pleasant shooting experience.
The roughness of the control rings made it easy to operate the lens from any angle, making it nearly difficult to have a “poor grip” on it.
A smooth resistance and a firm tension in the rings ensured little to no drifting. Gravity had almost little effect on the zoom of the lens, even when the lens was directed towards the ground.
Pentax 21mm f/3.2 Limited
It’s not as wide as the wide end of the kit lens, and it’s not fast enough to make a difference, but this lens wins out in terms of its compactness.
That I could carry all four of my non-macro restricted prime lenses in an over-the-shoulder bag is a testament to its TINY size, which is comparable to the legendary DA40 Pancake. When placed in a city with 19th-century architecture, it shines.
If you’re looking for an easy-to-use, fast-focusing, and high-quality lens, go no further than the Sigma 18-35mm f/2.8 Art. A small-is-beautiful art form like its 15mm and 40mm brethren
When photographing groups of people, this is perhaps the shortest Pentax prime I’ve handled that will render them as distinct individuals within their surroundings, rather than merely blending them into the background, as is often the case with other Pentax primes.
The compact size and unobtrusiveness of this lens may make it suitable for a hectic social event or party (for adults and teenagers, anyway; for younger kids, you will want a superzoom).
Although I wanted it could be faster, I think that’s what tripods were made for, and there were solid reasons why I wasn’t hauling one of them around with me. If the DA35/2.4 isn’t wide enough for you, this is the lens for you if you’re a prime fanatic and have the cash.
The camera’s manual focus is reasonable, and I’ve never had an AF problem with it. The only thing it lacks that it might make use of is WR. Because no lens is flawless, I deducted a few points, but for the purposes, I intended to use it for, it performed admirably, therefore I gave it a perfect score often.
Can I use new Pentax cameras with my old Pentax lenses?
Your Pentax K70 is compatible with older Pentax lenses (and Pentax K1000). Make that they have the proper lens mount before allowing them to use your camera. In addition, its autofocus and vibration control may not be as good as those of the competition.
Is it possible to replace all Pentax lenses?
All K-mount lenses work with all Pentax DSLR cameras. Additionally, metering, IS, autofocus, and focus confirmation are all supported. The Av and Tv modes do not operate with several older lenses from the K and M series.