You don’t often hear professional system camera in the same sentence as Pentax. But Pentax cameras have had their place in professional photography since the ESII, it is only that Pentax hasn’t always marketed cameras towards the professional market demographic. The Pentax MZ-S would be the last 35mm SLR to fit into that marketing segment and be the last camera to be developed under the original Asahi Optical Co. name (it was officially changed to Pentax in 2002). My review of the Pentax MZ-S is a long time coming, it was first promised in 2022 but the timely CCR 10th Anniversary and the visit of John to the GTA brought the MZ-S finally to Ontario. Thanks to John Roberts to loaning this beauty and the lenses out for a review!
Camera Specifications
Make: Asahi Optical Co.
Model: Pentax MZ-S
Type: Single Lens Reflex
Format: 135 (35mm), 36x24mm
Lens: Interchangable, Pentax K-Mount (KAF2)
Shutter: Electromagnetic Release, Vertical Travel, Metal focal plane, 30″ – 1/6000″ (Stepless) + Bulb
Meter: TTL Six-Segment Metering, EV0 ~ EV21 @ ASA-100
Autofocus: Phase Matching TTL 6-Point Autofocus
Power Source: 2x CR2 Batteries
Dimensions (WxHxD): 136.5x95x64
Weight: 520g (w/o battery and lens)
Year of Manufacture: 2001-6
Background
Founded in 1919 the Asahi Optical Co focused initially on lenses for eye-glasses and then added binoculars. From there it was not a far leap into projector lenses and by the 1930s camera optics. Asashi would provided lenses for Japanese camera makers including the one that would become Minolta. During the war, Asahi produced the Coronar and Promar lenses used in Chiyoda Kogaku Seiko cameras which were used for military applications. Being based in Tokyo, almost the entire manufacturing base for the company was destroyed during the American bombing campaigns of 1945. The company returned to full production starting in 1948 and continued to produce optics, but also began work on manufacturing a camera. The Asahiflex, released in 1952 featured a 35mm SLR with a waist-level finder and interchangeable lenses. Over the course of the manufacturing the camera received several updates including an instant return mirror and slow shutter speeds. By 1957 Asahi introduced the Pentax which added a pentaprism eye-level finder and the improved M42 lens mount. The Pentax could also use a clip-on external meter and in 1964 the updated Pentax Spotmatic added an internal meter with Thru-The-Lens (TTL) metering. But the Spotmatic remained an all manual camera at least until 1971 with the release of the Pentax ES or Electro-Spotmatic that added not only open-aperture TTL metering but aperture-priority auto-exposure. The ES was followed up by the ESII in 1973.
But Asahi continued to use the M42 thread mount for their lenses while most camera makers were using bayonet-style lens mounts. The bayonet offered a far faster method of changing out lenses, so in 1975 Asahi redressed several Spotmatic models to match their new bayonet K-Mount. Initially released with three models, the KX, KM and K2 these cameras were strictly manual with TTL metering. But in 1976, Asahi introduced a new line of small-form SLRs to match the Olympus OM-series, with the Pentax MX and the Pentax ME. The MX was a metered manual camera while the ME returned some automation with aperture-priority auto-exposure. While the MX was considered the flagship model from Asahi it was far from what the professional market expected especally with cameras like the Nikon F2 and Canon F-1 on the market. To mark Asahi’s 60th Anniversary in 1980, the Pentax LX hit the market. The LX was Asahi’s first true professional system camera and aimed at the professional market. The LX featured interchangeable finders and focusing screens, it had a robust build quality and was fully weather sealed. You could also get auto-winders, motor drives and even a 250-shot magazine. It made use of metered manual and aperture priority auto-exposure all driven by a new integrated direct metering system which used a photo cell to take the reading directly off the film plane, similar to how the OM-2 took meter readings. A year later, Asahi would introduce their first auto-focus system with the ME-F, which used a modified K-Mount the Kf-mount that added some electrical contacts but had all the autofocus systems in the lens rather than the camera body. Further automation came in 1984 with the introduction of the A-Series of cameras the Super A and Program A which took advantage of the new KA-Mount that added the ability for full auto-exposure program mode, this continued with the P-Series.
While the Pentax ME-F remained a dead-end system, Pentax released their first successful autofocus SLR in 1987, the S-Series featured the new KAF-Mount that required the autofocus sensor and motor to be in the camera body, similar to the systems used by Minolta and Nikon. The initial model, the SFX (SF-1) featured full PSAM controls and the first integral TTL flash. One interesting design feature is that the LCD is located on the back to the pentaprism rather than the traditional placement on the top plate. Two other models in the S-Series were released in 1988 and 1989 the SF-7 and the SFXn (SF-1n) respectively. In 1991 the new Z-Series with the improved KAF2-Mount were released with the flagship Z-1 and consumer Z-10 models. While the Z-1 was aimed at professionals, Asahi continued to manufacture and market the Pentax LX to the professional market. The Z-Series also featured the pentaprism location for the LCD screen. The Z-series also featured a matrix metering system known as Segmented metering. The MZ-Series of autofocus SLRs first hit the markets in 1996 with the MZ-5 and MZ-10 for advanced amatures and entry-level photographers. These continued to use the KAF2-Mount but added power-zoom functions. An interesting aside, the MZ-Series would be the platform for the prototype digital SLR the MZ-D in 2000, which was never released instead would serve as a proof of concept for the *ist D in 2003. When Pentax stopped production of the LX in 2001, they introduced their newest professional SLR, the MZ-S. The MZ-S, despite coming from Asahi could stand-up to other autofocus SLRs available including the F5 and Maxxum 9. Plus with the K-Mount it meant that users could mount older manual lenses and they could work in a limited fashion. One stand-out feature is that the MZ-S would imprint the exposure information in the rebate between the frames something only seen on the Pentax 645n (and other cameras). Asahi would rebrand itself to Pentax Camera Co in 2002 and production of the MZ-S and the entire MZ-Series would cease in 2006 with the last model introduced, the MZ-60 in 2002.
Impressions
When a camera is marketed as a professional body, certain expectations arise. The first two things that came to mind were that it would be a large, heavy camera body, similar to the Nikon F5 and the Minolta Maxxum 9. But the first time I picked up the MZ-S, I was surprised at how small and lightweight the MZ-S is, even with the optional battery grip. But doesn’t feel cheap or flimsy. You can’t use the camera as a personal defence weapon. It certainly can handle itself in heavy use. The MZ-S also looks different from many of the similar cameras from the era. If I had to put a finger on it, the MZ-S resembles a weird hybrid of the Leica R8/9, the Minolta Maxxum 9, and the Nikon F4. You’ll notice a few things that make the MZ-S stand out. First, the top plate is angled backwards, allowing for easy operation of the controls and viewing of the single LCD screen. Most of the main controls on the camera are manual,, with only custom settings accessible through a simple menu system. The optional battery grip is well-made and ergonomic, with the shutter release located about a quarter of the way down from the top, a feature I’ve only seen on the VC-9 and VC-7 grips from Minolta. The controls are well labelled and laid out, and you can easily pick up using the camera without needing to read the manual. The one odd thing that struck me is that there is no dedicated mode dial (PSAM); instead, you change modes based on how you adjust the exposure controls. There is a button to reset to Program. Overall, the MZ-S is a unique camera that stands out in a crowd; it’s an eye-catching camera. But it’s also easy to handle and fits well in the hand without taking up too much extra space or weight in your camera bag.
Experiences
The best thing going for the MZ-S is that it is smaller and lighter than most other professional SLRs of the era, making it an easy-to-carry camera that doesn’t take up much room in your camera bag and that gives plenty of room for extra film and additional lenses. The camera feels right in your hands. It’s well-made and doesn’t feel cheap, and the optional grip makes the camera feel even better. And that angled top plate works rather well, making it intuitive to see the small screen and adjust the control. Right off the bat, the MZ-S will have some quirks that you might struggle with if it’s your first time using the camera. Loading the film is automatic, but don’t stick that tail too far in; the camera will automatically load to frame one when you close the back. The lens mounts in the same way as any other K-Mount lens, line up the red dot on the mount to the dot on the body and twist away. The one thing that threw me off was that there is no traditional mode dial; instead, you switch modes by adjusting the control surfaces. For shutter priority, start moving the command dial. Shutter priority is listed as Tv (Time Value, similar to Canon). For Aperture priority, move the lens aperture ring off the “A”. For manual mode, do the same thing and then use the command dial to adjust the shutter speed. Then, to move it back to auto exposure, put the aperture ring to “A” and press the green dot near the display. Setting the ISO manually is also a bit tricky. The option is hidden on the EV adjustment dial, so you have to remember to set it back to “0” once you’re ready to go. Of course, this will all become second nature the more you work with the camera, and even by the third roll, I was handling things well. In the field, the camera does its job and does it well. The auto-exposure mode is excellent, with a solid metering system in any mode that will deliver accurate results. When working with Pentax-FA lenses, it will lean towards the apertures that will provide the best image results. The autofocus is accurate but a little noisy, I’m not sure if that’s the camera body or the lenses, but it isn’t a deal breaker. And there is a big focus indicator in the viewfinder for if you’re using manual focus lenses. The viewfinder is bright with the focus points indicated, and all the exposure details are listed. Probably the best is that the camera has a lovely shutter and film advance noise. Despite these little things, I got rather comfortable with the camera, with its nicely molded grip and the battery grip with the secondary release positioned perfectly for comfort. The MZ-S, like other professional cameras I’ve used, does its job and lets me focus on getting the frame right, keeping a tab on the moment and the area rather than worrying about the exposure. It’s fun, it’s different, but it delivers professional results all at the same time.
Optics
The MZ-S is designed to work with the second-generation autofocus Pentax lenses, officially called the KAF2-Mount. These lenses are close to the 1st generation KAF-Mount, but add two extra contacts to the mount and lenses. But the MZ-S is also a K-Mount and retains the needed mechanical linkage to operate older K-Mount lenses. Which means you can use any K-Mount and KA-Mount lenses with the MZ-S. Now if you are using older lenses you are limited in the camera’s functionality, you’ll be able to autofocus with KAF and KAF2 lenses and make use of all PSAM modes, along with full metering (Matrix, Centre-Weighted and Spot) and autofocus functionality. With the KA lenses, you’ll get full metering (Matrix, Centre-Weighted and Spot) along with PSAM modes. When you reach the original K lenses (including the Pentax-M series), you have access to metered manual and aperture priority modes, but are limited to centre-weighted metering. For best results you do want to go with the lenses labelled SMC Pentax-FA and the MZ-S has the ability to do their best to choose the aperture that will deliver the best results in Program mode by using baked in programming of the lenses and the camera. And there are plenty of excellent standard Pentax-FA lenses out there and they can be had for a relatively low cost most in the 100-200$ range for even prime lenses between 28mm and 100mm. But Asahi also released a series of three Limited edition lenses with the MZ-S. It was these lenses that were also loaned out with the MZ-S, these include the 31mm f/1.8, 43mm f/1.9, and 77mm f/1.8. And yes, the strange focal lengths and fast and carry a high price tag at the same time with most going for more than 800$ and that’s on the low-end of things. These limited edition lenses are based on the KAF2-Mount and you do get what you pay for with these. The lenses and results. I also took the chance and used five of my favourite manual focus lenses on the MZ-S and the one thing that surprised me was how well the lenses worked how they looked on the camera. Thanks to the small size, even the comically small 40mm f/2.8 pancake lens didn’t seem too small on the MZ-S body. The camera metered well and ran easily in aperture priority mode something I’m comfortable with already.
Lowdown
Like any camera, if you combine rarity, a professional label, and a short production run, they will not be cheap on the used market. Surprisingly, I found several for sale, primarily from Japan, and most of them were without a lens. Many did, however, come with a battery grip; the prices range from 350-570$, with most body-only offerings averaging around the 400$ market. Some are over 1,500$, but these are often new-old-stock and come with a box and manuals. The real cost is with the lenses;. If you’re looking at the limited edition lenses (31, 43, and 77), they’re running around 500-800$ on the used market. However, there are plenty of standard lenses available that are affordable, with many priced between 150-250$, including options such as 28mm, 35mm, and 50mm, as well as those that extend into the short telephoto range. As I’m already running plenty of other camera systems, adding an autofocus Pentax kit is not on the radar. However, I could be happy with the MZ-S, especially with standard lenses rather than the limited edition ones. Nevertheless, I cannot deny the image quality that comes with the combination.
Video Review Coming – November 2025
Further Reading
Don’t just take my word on the MZ-S, you can check out the reviews by other awesome camera reviewers!
Emulsive – Camera review: The unlovely (but very good) Pentax MZ-S
35mmc – Pentax MZ-S and 31mm, 43mm, 77mm Limited lens trio review
James Lee Photo – A Little Time with the Pentax MZ-S
ePhoto Zine – Pentax MZ-S Film SLR Review
Camera Legend – Tuesday Titans: The Pentax MZ-S
Christopher J Osborne – Classic cameras: Pentax MZ-S