Designer Behind Pentax 17 Half-Frame Film Camera Leaves Ricoh Imaging
A key designer behind the Pentax 17 half-frame film camera has left Ricoh Imaging, as the company says it is pausing the Pentax film project to evaluate the market.
Kosmo Foto reports that the designer Takeo Suzuki, who goes by the moniker TKO, made the announcement on Instagram yesterday (Tuesday, March 25).
“I have decided to leave Ricoh Imaging: the beloved and glorious brand Pentax in March,” TKO writes. “Since joining the company, I have been involved in the design and planning of many digital cameras, and especially in the past few years, in the world of analog cameras.”
“It has been an irreplaceable asset and happiness for me to have been able to interact with many people involved and fans,” he continues. “I have been very busy for several years, so I would like to take a break for a while.”
The Pentax 17 camera he worked on was one of the most-hyped cameras of last year which undoubtedly would have been a stressful time for the production team. TKO says he wants time to “read books, draw pictures, and, of course, take photos.”
Ricoh Imaging Considering its Analog Options
In response to the news, Ricoh Imaging Europe tells Kosmo Foto that it is still gauging the response to the Pentax 17 and is not rushing a decision on future film projects.
“TKO contributed significantly to Pentax design and development throughout his career, most recently playing a key role in the launch of the Pentax 17. We remain grateful for his valuable input and wish him the best as he moves on to new endeavors,” Ricoh tells Kosmo Foto.
“On the business side, film cameras currently play a smaller role than our established GR line. Because this is our first new film camera in more than 15 years, we need time to gather feedback, meet with customers, and learn what they appreciated – or felt was missing – before making decisions on future film products.”
Ricoh adds that “while TKO played a significant role in the Pentax Film Project, his departure does not affect the possibility of future film models.”
