The Thinking Man’s Compact

Pentax Espio 160

After having maybe ten Pentax Espio compacts, I can confidently say that they all perform pretty well and are enjoyable to us. Looking for a later era (’90s on) 35mm film compact, you wouldn’t go far wrong with any of this popular and almost endless range.

The latest I have been using is the Pentax Espio 160 (aka the IQZoom 160). 

In many ways it’s the best Espio I’ve used, and indeed one of the best compact film cameras I’ve used.

“Best” is of course always a subjective term. So to be less vague, here are some of the reasons I’ve enjoyed the 160.

23973459579_0689c77048_cFirst, and of course crucial with any camera, it takes decent photographs. 

Sharp enough (especially for a compact), with great detail, and without any obvious flaws, softness or vingetting, you can happily rely on the Espio 160 to take well exposed and accurately focused photographs time and time again.

I would suggest trying a few different films, as most cameras have certain films they just seem to fuse with a little better. I tested it with trusty AfgaPhoto Vista Plus 200 (rebranded Fuji C200), and I was more than happy.

The core specs of the camera are the 38-160mm zoom lens with a heady 11 elements in 7 groups, and minimum focusing of 0.8m at the wide end. Not the closest focus, but ok most of the time. 

The fastest aperture is f/4.5 at 38mm, not fast by any means when there are a wide range of 35 and 38mm f/2.8 compacts out there, but it’s not an issue at all when shooting. Whilst you’re never going to get any of the stunning depth of field or bokeh possible with an SLR, you can see from the sample images here that the camera does a fine job of softening the background to bring out the sharpness in the subject of focus.

24233033662_5fe59a4610_cTechnical specifications are important to a point, but ultimately to me mean little in relation to how a camera actually feels to use. 

The Espio 160 is a great pleasure to use, and this can be summed up by the feeling that it was designed by photography enthusiasts, people who had the end user (ie other photographers) at the forefront of their minds throughout the design and creation of the camera.

Looking through my absolute favourite cameras in my collection, this theme is common. I love cameras that feel thoughtfully and passionately designed, ones you can just pick up and use with confidence from the first time you touch them.

The Olympus XA and Pentax KM come to mind, two cameras that featured in my recent Last Three Standing post.

The Espio 160, whilst not quite deserving the same legendary status, certainly brings more than a few smiles in use though.

The overall size is pretty small in width and height, though chunky in depth – presumably housing that 160mm of collapsed lens. You’d never squeeze it in a trouser pocket and still be able to walk, but it’s fine for a coat pocket or bag, and holding it, it does feel quite compact, and pretty ergonomic.

23973459099_e4211f77ea_cOne of the best features (and unique amongst the Epsios I’ve used before) is the mode dial.

This eliminates the need for an on/off switch, and with a quick turn of the dial you’re in Auto and ready to shoot in an instant.

There are a number of flash modes, most crucial to me being the flash off mode, which I used for every shot of the test roll and likely will do for virtually every shot I ever take with the camera.

Once you get used to the position of this mode, in practice the three soft clicks to get there are as quick as one click to Auto mode.

Other features I like are a multiple exposure mode (something you’ll need to check with any Espio spec list if you’d like it, as only a few of them have this feature), and an infinity/landscape mode which locks focus at infinity.

There’s also a spot Auto Focus mode, which when chosen overrides the five point Multi AF. The focus also locks with a half press of the shutter button – a common feature and always good to have.


The Espio 160’s viewfinder is not the largest or brightest, but works fine once you’ve used it a few times. There’s a diopter adjustment to fine tune the clarity of the VF.

What I really love is the intelligence of the VF. 

Firstly, when you’re in the standard MultiAF mode, you get square brackets in the centre of the frame showing which part of the image the camera will focus on. When you switch to Spot AF mode, these brackets become smaller and closer together. On infinity/landscape mode they disappear altogether giving a clear view to compose your photograph.

The AF confirm and flash lights are just below the bottom of the main composition frame, and the AF light flashes if the camera can’t focus (usually because you’re too close to subject).

I like the clarity of these lights – some cameras have them as lights on the outer body of the camera outside of the VF window, and in bright light they can be hard to see.

Something else the VF does very intelligently is change the frame for close shots, ie it provides parallax correction.

When you’re close up, a black bar pops down from the top, providing a new reduced composition area. It even does this in the Panoramic mode, where the view is already greatly reduced vertically with black bars top and bottom. Nearly all compacts have parallax correction markings with the main frame lines, but it’s easy to forget to use them. Not possible with the Espio 160!

This VF feedback, the fast and easy to use (and see!) mode dial, the range of modes, the quality feel (for a plastic compact) and the fact it takes good photographs make the 160 one of the very best Espios Pentax made.

It feels like it’s your companion, your friend, willing to do all it can to make the experience of making photographs as smooth and easy as possible for, whilst giving you a few creative options in the process.

No camera of course is perfect, and if I was being super picky, I would change two things about the 160, which are essentially the same thing. 

I don’t much like zooms, and rarely use them on anything but the widest setting. Past about 1985, nearly all manufacturers produced only zoom cameras, especially in the mainstream consumer market. So to get a 35/38/40mm lensed compact from this era, you usually end up with a 35/38/40-somethingsillybeyond100mm lens.

Having 160mm at the tele end is pretty impressive if you like that sort of thing. But I would far prefer having say 35-70mm in a camera that can then be far more compact depth wise as its not housing so much lens barrel.

Another Espio I have, and am currently running a film through, is one of the earliest models, the Espio AF Zoom from around 1992, with a 35-70mm lens, incidentally.

This camera also has flash off, multiple exposure and infinity/landscape modes, in a much smaller package. It focuses closer at 0.6m too. If it takes pictures as well as the Espio 160, then it will become the only one of the two I need to keep.

If you do come across the 160 (like all Espios, they’re usually very cheap), it genuinely is one of the best Epsios made and offers all you could want, if you don’t mind a bit more bulk.

If you’re seeking a zoom specifically, with a long telephoto lens. it makes even more sense.

15 thoughts on “The Thinking Man’s Compact”

  1. Hello James I would like to know what kind of film you would suggest I use for shooting a vintage grainy shot with this same camera ( Espio 160 ) and if you have any suggestion on what to ask for at the lab in order to get that effect

    1. Hi Paul, thanks for your comment. Are you talking about colour film or black and white? If you want grainy I would go with a faster film – ISO400 or 800 at least. You find expired films lean towards giving greater grain and sometimes unexpected colour shifts. You don’t really ask the lab for anything – the work is done mostly by the film you use. If you underexpose a stop or two you get a more grainy look too, but you lose contrast and it becomes more washed out.

      You might find it helpful to browse through my photos on Flickr, and if there are particular ones you like, see the description and tags to see what kind of film I used.

      Let me know if you find any (or indeed any images by anyone on Flickr) and maybe I can give you some more specific pointers towards getting that kind of look.

  2. hello james! how did the roll from the zoom af turn out? i’m currently deciding between 160 and the zoom af, and would love to hear your input!

    1. Chin, thanks for reading and your comment. I wrote this post about 20 months ago, and much has changed, not least of all that I rarely shoot film now. I do remember that the Espio AF Zoom was as good in the final image, had most of the same features and was quite a bit more compact. If you need the extra zoom reach of the 160, then go for that. But if you’re happy with the 35-70 (I think) of the AF Zoom, that’s what I would personally prefer. In truth there are plenty of Espios that perform well, I would first decide on the focal length range you need. I had one that started at 24mm, and another at 28mm, but most are 35 or 38mm. If you need that extra wide angle, let me know and I can point you to specific cameras.

      This site is very informative too –

      Happy hunting!

  3. Hi, nice review there! I almost couldn’t find anything regarding this camera online, under Espio but I found you when I referred to it as Iqzoom.

    I have run a roll through it and what I observed is the camera doesn’t seem to expose properly for the shots at the long tele end (100-160mm). The same shot of the same subject at 38mm would be correct exposure but not so for the tele. I wonder is it because the metering did not compensate for the long lens barrel… Or my unit is broken.. Cos I see your shots seem fine.


    1. Thanks Stan. I try to tag Espio posts with IQZoom too, as I know they’re called that in a few places, and Espio in Europe and Japan I think. We still see some IQZooms appearing over here (in the UK), I guess people bought them on holiday and brought them back, or bought them on eBay internationally etc. I understand the only difference is the branding.

      Did you see my more recent post on Espios?

      I can’t comment about the tele end of the zoom on the 160 I’m afraid. I don’t really like zooms and use most compacts as a fixed lens camera. With the 160 I think 38mm is the wide end, so I just left it at that. Most lenses get worse (and much slower, aperture wise) the longer you go, and with compacts with built in lenses they often suffer more than interchangeable lenses, so in my experience it hasn’t been worth using them at anything other than the widest focal length.

      One of my very favourite Espios is the simple Espio AF Zoom, one of the fist they made, because it starts at the classic 35mm, rather than 38mm as with most later zoom compacts, and only zooms to a sensible 70mm. Even fully zoomed in, this camera made decent photos, because they didn’t try to make it ridiculously long like the 160 (I think there’s an Espio that goes to 200mm too!!). That said I still treated the AF Zoom like a fixed 35mm lens camera and for that it was excellent. Well worth checking out.

  4. Hi im new to film and this will be my very first film point and shoot cam. I just want to ask can this be used for portraits? If yes, how much should i zoom for portraits? I’ve never used zoom lenses always prime on digital. Thanks

    1. Hi Jr, thanks for reading, and your comments. Well the lens on the 160 goes from 38mm to 160mm so plenty of scope there for portraits – and indeed a range of other subjects. This is an auto exposure camera though, so you can’t control the aperture yourself, for example if you want to force a shallow depth of field you can’t do that, but could get around it by ensuring the scene behind the person is far away, so more likely to be out of focus.

      Most people talk about portrait lenses being from around 70 or 80mm, to maybe 135mm, so I’d say if you shoot a couple of test rolls at different focal lengths, make notes on what you do, and then from the results you can see what worked best.

      I’m not a big fan of zooms really, because mostly they don’t tell you what focal length you’re at. There are some cameras that do, for example the older Pentax 70 series. I wrote about them here –

      With these you could do a test roll and try shooting the same portrait scene at different focal lengths and then see which you like best.

      The 70s have these settings – 35, 38, 42, 46, 50, 55, 60, 65 or 70mm – so maybe you could try 35, 42, 50, 60 and 70, then compare the photos afterwards, to learn the differences, and which you like best. There are other film compacts that do this, I had a Konica that did, but they’re few and far between.

      With digital zoom compacts it’s way easier, even if you don’t choose a camera that tells you like one of the excellent Ricohs (eg the GX100 – which have a step zoom option, so each time you press the zoom button it goes to the next step (24mm, 28mm, 35mm, 50mm, 72mm in the case of the GX100).

      There are also plenty of digital compacts that have a “zoom resume” function. Once you find a focal length you like, you activate the zoom resume and next time you switch the camera on it zooms to the same focal length automatically. Panasonic have a number of these in their Lumix range. Then it’s like you’ve converted a zoom lens camera to a prime. I wrote about that here – So you can locate say 70mm on the zoom, then switch on the zoom resume and use it for a series of portraits as if it’s a prime lens.

      I don’t think there’s an equivalent function with a film compact, unless you have one like the Pentax 70 series like I said above, that tells you the focal length. With digital you can see from the exif data what you’re zoomed to, so with experimentation you can work out the equivalent 35mm focal lengths with any half decent digital camera (and there are thousands to choose from!)

      For casual portraits, just experiment and see how it goes. But if you want to try specific focal lengths consistently (wit a zoom lens), I’d suggest a camera that tells you where it’s zoomed to, again like the Pentax 70s. This would please the more logical and scientific part of my brain more, rather than zooming to random focal lengths and hoping you get good results.

      But if you want high(er) quality portraits with shallow depth of field and dreamy bokeh, there’s no substitute for an SLR or DSLR with a prime lens, shooting aperture priority and choosing a wide aperture, like f/2 or less.

      Hope that helps!

  5. If the Espio 160 has faults, they include 1. no wide angle, 2. massive size, 3. A silly flash that bounces out everytime it is powered up, and 4. a telephoto which would be near useless for sports because the maximum aperture would be small and the shutter speed would be low (even if it didn’t need a tripod)
    Minolta made a Riva Zoom 150 and 160 which were comparable in size to the Espio 120SW. Olympus made Superzooms 140 and 160, and the mju 140, which are all of similar size. (Refer Appareils Anciens by Sylvain Halgand) ” IQ Zoom” was the alternate name for the Espio series in north America.

    1. Yeh I’ve found one or two bargains under the IQ Zoom moniker over here, I guess people had bought them on holiday or something and brought them home, and these days those on eBay in the UK are searching for Espio not IQ Zoom.

      The 160 had loads going for it, but I agree with you, probably the biggest let down was the fat bulbous shape which meant it wouldn’t fit in any pockets, and the, in my view, unnecessarily long zoom, part of the reason for its size. The original Espio AF Zoom was probably the optimum lens range for most – 35-70mm, with a compact profile because of it.

  6. I just bought one for 50 swiss francs (40£) online here in Switzerland. My first film camera since probably 30 years! Can’t wait to test it.
    It looks like it’s quite difficult to find films online (out of stock, etc.) Saddly the last camera shop in my hometown closed 1 or 2 years ago.

    Thank’s for the nice review!

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