Pentax PZ1-p: The forgotten flagship
Pentax’s impressive, one-time flagship is still an outstanding camera and can be purchased for pennies on the dollar making it one of the best deals on the used-camera market along with other autofocus film cameras of the same vintage.
Film enthusiasts missing out on ‘90s era gems
Film is back and it’s growing with a new found energy that is surprising even the most die-hard film enthusiasts.
The analogue film market is following the analogue audio renaissance by capturing the hearts and interest of a younger generation who never experienced the thrill of having to wait to see the result of their latest photo shoot.
And with its return, comes the re-emergence of decades-old film cameras. Sure, there are a smattering of new film cameras from companies like Pentax, Rollei, Leica and Lomography, but the real action is in used DSLRs, point-and-shoots and rangefinders. (Check out my recent review on the Konica C35 rangefinder).
“The film market Peaked in 2003 with 960 million rolls of film sold. It makes sense that in the decade or so leading up to that, a lot of really nice cameras were being made.”
The PZ1-P captured this tricky winter scene beautifully despite the difficult metering situation with all the pure white snow.
The new analogue shooters are looking for the full experience so they are gravitating toward the classic cameras – Leica, Nikon, Rollei, Canon and Pentax manual focus vintage cameras that have stood the test of time and continue to deliver.
Unfortunately, almost entirely forgotten are the incredibly good, extremely capable 1990s autofocus gems that helped to lead the way for the modern digital cameras.
Unlike their more vintage counterparts, these plastic fantastic cameras can be picked up on the on-line marketplace for a fraction of the cost of their all-manual-focus, all-metal cousins. Cameras that once cost upwards of $800- $1000 in 1990s prices can now be purchased for mere pennies on the dollar.
“Today, the PZ series of cameras remain one of the most cost effective purchases around and one of the best all-round film cameras available.”
These largely still-undiscovered cameras, loaded with features and capable of stunning results, are the bargains of today. Cameras like the Canon EOS 1N, released in 1994 as a 35mm SLR that became one of the last film cameras released prior to the digital revolution. The EOS 1N body style continues to resemble the body style of some of the latest Canon digital cameras.
There was the Nikon F50D or N50D, which added date/time-imprinting and a panoramic mode.
Another difficult scene that the PZ1-P handled nicely.
The incredible cameras of the 1990s
In fact, the 1990s is the perfect window into the transition from print film into digital cameras. It saw the release of some of the most advanced film cameras ever made as well as the first hints of mass market digital cameras.
From Emulsive website: “Film cameras through the ages provide us with insights into how the minds of designers and artists clustered in different parts of the world interpreted solutions to the challenges of universal interface and ergonomics – it’s fascinating. What intrigues me the most is how that simple-ish challenge of running a strip of film through a camera has been addressed in so many different ways.”
The Emulsive website went on to list what the author felt were some of the best cameras of the 1990s: including the Contax AX with its unique in-camera autofocus for manual focus lenses. The Konica AiBORG – a poorly designed and truly weird looking camera that did not compare at all to the well-designed, retro-look light meters on the top plates of the Nikon28Ti and 35Ti, which continue to sell at a premium price on the used market.
It was also the decade of the high-end compact point-and-shoots with the iconic Contax T2, Ricoh GR1 and Olympus MJU.
SLRs were still king, however, led by cameras like the Nikon F100 launched in 1999.
Pentax’s PZ-1P: A forgotten jewel in a fine line of pro DSLRs
Largely forgotten, however, except for a dedicated group of Pentax enthusiast, was the offering Pentax made to the 1990s SLRs, most notably the PZ series of cameras led by the Pentax PZ-1p. Released in 1994 as the new flagship for the venerable Japanese camera maker, the Pentax PZ-1 and its various iterations remained in production until 2000, when the new third generation auto focus MZ/ZX series of cameras were released.
Today, the PZ series of cameras remain one of the most cost effective purchases around and one of the best all-round film cameras available.
In July 1996, the highly respected photography magazine PHOTOgraphic hi-lighted the Pentax camera system and it’s flagship PZ cameras in an 8-page feature that called the PZ-1p, the flagship model in the Pentax AF-SLR line, a camera “loaded with features for everyone from the serious shooter to novice, who hopes to be a serious shooter some day. …
“For more serious users, there are a full range of exposure and focusing options, three metering patterns (eight -segment multi, center-weighted, and spot) to handle just about any lighting situation, +/- 4 stops of exposure compensation, and three-frame automatic exposure bracketing (both settable in 1/2-EV increments) and much more. Shutter speeds range from 30 seconds to 1/8000 sec. (maximum flash-sync speed is 1/250th) plus bulb mode for longer exposures (and the LCD panel indicates the time the shutter has been open in bulb mode – great when you don’t have a watch.)”
The PZ-20 is a less-featured offering than the PZ1-p but still a great option for photographers looking for a “full-frame” print camera with autofocus, multi-metering and other more modern features.
The article went on to praise many of the features in the camera concluding: “The idea behind the PZ1-p is to provide maximum interaction between the camera’s automation and the photographer’s creativity.”
Much of that statement was attributed to the unique approach Pentax took to creating a camera that offered the photographer a simple, intuitive approach to obtaining the proper exposure and adjusting the camera’s settings on the fly while maintaining proper exposure.
“Thus the camera offers Hyper program and hyper manual modes, which lets the photographer enter the automated process whenever desired. Hyper Program is essentially a shiftable program AE mode with a safety shift – the camera will automatically select both shutter speed and lens aperture for correct exposure, and if the shutter speed or aperture you select will cause the other control to go out of range, the camera will choose a setting that will retain proper exposure…”
The magazine went on with effusive praise of the Pentax flagship model pointing out the long list of lenses the camera can use from the modern, high-end autofocus marvels like the 250-600mm f/5.6 ED (IF) SMCP-FA* to the vintage and exquisite manual focus M and A lenses.
The PZ1-p is a highly capable camera, able to handle everything from sports and action photography to landscape scenes such as the one above.
Why these cameras have been left out of the analogue revival
So why has this exceptional, pro-level flagship camera been almost forgotten during the recent analogue revival?
Let me explain.
Back in the 1990s I owned a PZ1-P. Coming off of a Pentax LX (three to be exact) and an unforgettable Pentax MX, the PZ1-P was a monster of a camera and a technological marvel that pretty much left me scratching my head over how to operate this thing.
Fast forward about 30 years and countless digital cameras, and the PZ1-P isn’t so daunting. In fact, it seems quite simple to use – should I say almost elegant.
The PZ1-P is a very capable camera that can handle everything from wildlife, to sports
Compared to the multiple menu windows on the back of most – if not all – digital cameras, the PZ1-p’s well-placed LCD panel on the camera’s top plate seems almost too simple. The focus is strong, almost too strong. The built-in winder lets you know it means business and the Hyper program and hyper manual modes are brilliantly executed.
There’s TTL flash, flash compensation, mirror lockup using a 2-second delay exposure, double exposure, built-in intervalometer, full manual, and even snap-in focus firing with manual-focus lenses. There are more lenses both manual and autofocus than you could ever hope for and a build quality that is as good as it gets for cameras of this vintage.
What more could one ask for?
Oh, and did I mention that people can’t seem to give these cameras away and they can be had in some cases for the price of a couple rolls of film.
The Pentax PZ line of cameras offer more and better features than any of the older manual cameras, including the magnificent LX and MX fully manual cameras.
The problem, however, is most photographers returning to film are looking for a truly retro experience. They want to feel the heavy, cold steel of the vintage cameras in their hands. They want to cock the shutter rather than have it done for them electronically.
In other words, they are not looking for a film camera that feels and operates like a digital camera.
This image of a vintage car was captured beautifully on print film, scanned with an Epson flatbed to convert it to digital and then pre-processed in Lightroom.
Today’s analogue camera users want to experience all the pops, scratches and skipping that their vinyl counterparts experience listening to their favourite albums on vintage vinyl.
I get it, I truly do. If that’s your vibe, pick up a K1000, LX or MX. They were great cameras and still are today. But you will pay for that privilege.
If you are looking for a more modern, vintage vibe with stunning results that allow you to use all those older manual focus lenses on a “full-frame” autofocus film camera, there is no better option than the PZ line of Pentax cameras, or a similar vintage camera from one of the main brands such as Nikon, Canon, Minolta…
The Pentax PZ line of cameras offer more and better features than any of the older manual cameras, including the magnificent LX and MX fully manual cameras. The problem, however, is most photographers returning to film are looking for a truly retro experience. They want to feel the heavy, cold steel of the vintage cameras in their hands. They want to cock the shutter rather than have it done for them electronically.
A Sandhill Crane captured with the PZ1-p and the Pentax 300mm f4.5* lens. The lineup of lenses for the PZ1-p stretches from the earlier all-manual lenses to more modern, high quality autofocus prime and zoom lenses.
Initial impressions in my return to the PZ1-p
Like I said, I owned this camera years ago and never really appreciated all its bells and whistles. This time around it is completely different.
It’s time to embrace these bells and whistles to ensure that expensive film I’m shooting is exposed properly and the images are razor sharp. (My eyes are not what they used to be and manual lenses are not my go-to option any longer)
Luckily, I kept a number of my film-era lenses and am having a terrific time trying them out again and experiencing their original focal lengths rather than the sensor-cropped focal lengths.
There is the white 300mm F4.5 * lens, Tokina 20-35mm, 28-105mm autofocus lenses and manual focus 40mm f2.8, 50mm 2.8 macro, 100mm F4 macro and my 105 Kiron f2.5 macro just to name a few.
Closed for the season. The long list of lenses available to photographers with th PZ1-p makes it a great choice for those who already own some of the high quality
The results… so far
To date, I’ve shot only three rolls of film with the camera during these winter months but the results (see images above and in my Pentax PZ photogallery) have been impressive.
More importantly is the performance and feel of the camera. It’s comforting to know that you have a professional-build camera in your hands that can deliver even in difficult situations.
I have been using the PZ1-P alongside digital cameras for comparison, often using the exact same lens on both the Pentax K5 digital and PZ1-P.
I choose to do my own scanning with an Epson 500 scanner and then process the images in Lightroom and Photoshop.
KEH Cameras description of the PZ1-p
KEH cameras give a very thorough description of the camera in its listings. KEH is an excellent camera reseller if you are interested in obtaining one of these outstanding cameras. Here is their description of the former flagship camera.
A high performance, multi-featured 35mm autofocus SLR for the advanced amateur and professional photographer. Intelligent Power Zoom Lens System with 'Zoom Effect', 'Image Size Tracking, and Zoom Clip Modes'. Panorama image format mode can be used in mid-roll for eye-catching compositions Fifteen Pentax Function settings allow the photographer to customize factory settings to his or her preferences. Six comprehensive exposure modes which include Shutter Priority, Aperture Priority, Multi-Programmed AE TTL Program Flash Mode and two innovative interactive modes, Hyper Program and Hyper Manual The PZ-1P features a choice of eight segment metering system, spot metering or center weighted metering on demand A high speed motor drive which advances at four frames per second, and the option to choose from eight different drive modes: 3 self-timer options, intervalometer, multiple exposure and auto bracketing Interchangeable focusing screens, built-in TTL RTF flash with red-eye reduction and manual depth-of-field preview
Barn in snowstorm.
What others are saying about the PZ camera line.
I could go on and on about why film users are missing out if they are not considering the PZ line of cameras, but I think I’ll let the Pentax users group forum have their say about the PZ cameras.
Here are just a few choice quotes from users about the camera:
All in all, a fantastic camera for the price I paid. I find this more comfortable and enjoyable to take out and shoot these days than my MX, which is sacrilege and I hate myself, but there you go.
And it *is* a good camera - it feels good in the hand, is robust and well weighted, and AF and the built-in flash are surprisingly good …. It has just about every feature under the sun (for its age), meaning it's a very practical professional tool for the advanced photographer willing to learn its quirks. Sadly you *will* have to learn its quirks …
By many accounts, I'd say this is the most fully featured, advanced film camera Pentax ever made. Aside from the single point AF, the camera is arguably better than its successor, the MZ-S. The two-dial system, combined with Hyper Program and well laid out buttons means that all of your aperture/shutter settings, metering and metering modes, focus, exposure compensation, and memory lock can be adjusted without moving your eye from the viewfinder. Brilliant. Not sure if they ever went back to this setup but they really really should.
Overall, it's a gem: Every bit as good or better than anything from Canon or Nikon early/mid 90s at a fraction of the price because Photog hypebeats haven't picked up on it yet. Buy one if you can.
The Z-1P has all shooting modes and the Hyper Program is my favourite. By turning the aperture or shutter speed wheels, I can instantly get into Av or Tv mode and pressing the IF button returns the camera to the Program mode. Great idea! The test roll turned out perfect. It appears that the camera works properly and the metering is accurate.
Read more forum comments here.
In Conclusion
This comment from a Pentax forum user looking for a more traditional feel shooting film is a good example of how film shooters are feeling these days. The comment both praises the PZ line of cameras while explaining why it may not be the choice of new film users.
“ My only problem - and it isn't a criticism - is that I don't really want a digital camera experience when I'm using film. I would rather be using my ME F or my Electro. But if some law was passed that I could only own one film camera it might well be this one.”
I think this comment is an important reason for the PZ line of cameras as well as other cameras of this vintage, not gaining in popularity among the modern analogue shooters. I believe, however, that it is only a matter of time before cameras like the PZ series are rediscovered by photographers for the incredible features they offer and the ridiculous low prices you can get them for today.
For someone whose eyes are not as good as they once were, the autofocus is almost a must these days. Hyper program makes these cameras a joy to use and their operation being so close to today’s modern digital SLRs makes them the perfect choice for photographers willing to forfeit the truly vintage vibe for accurately focused, properly exposed film.
Pentax PZ1-p specifications
Format 24x36mm and panorama 13x36mm
Lens Mount: KAF2
Focus: SAFOX II AF with sensitivity from -1 to 18 EV
Meter: SPD photocell with average, evaluative and spot modes
Exposure Modes: HyM, M, P
K and M Lenses: spot
A, F, and FA Lenses: 6-segment in P mode, spot: in M and HyM modes.Exposure compensation: +/-4 EV in 1/2 or 1/3 step
Metering range: 0 to 21 EV
Film speed: Auto DX; 6 to 6400 ASA
Shutter: Electronic; shutter speeds from 30s to 1/8000, B
2s mirror prefire avialable
Remote control E and F
Motorized film advance, up to 4fps
Multiple exposures
Viewfinder: 0.80 x [92%], with shutter and aperture LED
Interchangeable screens
Flash: Built-In; GN: 14
Flash Synch: 1/250
Power: 1x 6V 2CR5 battery
Self Timer: 12 seconds
Dimensions: 152 x 95.5 x 74 mm
Weight: 650 g
Accessories
Fitting Case(s) soft case: Fd(s), soft case: Fd(m),soft case: Fd(l)
FTP grip-strap.
From Wikipedia: The Z-1p (aka PZ-1p) is a high-end 35mm SLR with autofocus introduced by Pentax in 1995. It was the flagship camera for Pentax until the introduction of the MZ-S in 2001. It is a well laid-out camera, with 2 wheels which can be used to select most functions. The Z1-p extended the KAF2 mont by adding power-zoom support; while maintaining compatibility with lenses with earlier versions of the K-mount:
KAF lenses support almost all features of the camera except powered zoom and related functions.
KA lenses can be mounted with the 'AF Adapter 1.7X' and will then support autofocus, provided they are f/2.8 or wider. Without the adapter they do not support autofocus, but the Focus Indicator (FI) feature can still be used (with lenses of f/5.6 or wider). Shutter-priority AE and programmed AE modes can all be used.
Manual-aperture K mount lenses can be mounted with AF Adapter K, or use the FI feature as above. They do not support shutter-priority AE or the programmed AE modes, but can be used for aperture-priority AE and in manual exposure.
42mm screw-mount lenses can be mounted using 'Mount Adapter K'. The FI feature can be used if the lens aperture is wide enough. Aperture-priority AE and manual exposure are possible.
