Konica 50mm f1.7 Hexanon as a Portrait Lens

My uncle Bob gave me a very nice gift recently, his Konica TC-1 camera, Tokina zoom, and 50mm Hexanon AR 50mm f1.7 lens. I have not cleaned the camera up yet, but did immediately pick up a "Fotasy" adapter for Konica Hexanon lenses on Micro 4/3 cameras. This morning, I mounted up the 50 Hexanon on my Panasonic Lumix DMC-GX7 Micro 4/3 body. Here's how it looks:

Konica 50mm Hexanon f1.7 on GX7

 

The Fotasy adapter made movement of the aperture ring on the Hexanon a little tight, but it's loosening up with exercise. I bought mine on Amazon, and the price is quite reasonable (see link to purchase yours on Amazon below).

 

With the Micro 4/3 sensor, the Hexanon provides an equivalent field of view to a 100mm lens on full frame 35mm format. A nice, fast portrait lens. Here's a shot of my daughter by window light, at f2.8.

 

My Favorite Model, by Reed A. George

Panasonic Lumix DMC-GX7, Konica Hexanon 50mm f1.7 Lens

iso 400, f2.8, 1/50 sec.

 

I have always loved Konica lenses. This one is no exception. I'm quite pleased with the color and sharpness of this image.

 

Thanks, Uncle Bob!

 

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Low Tech Wonder - Konica C35 Rangefinder

Konica C35

Photo Attribution: Lewis Collard

 

Looking at this camera, you may wonder why it made it under the "Low Tech Wonder" label, rather than into my "Skeletons From The Closet" series. The answer is simple, and it has to do with the little badge on the front of the camera that reads "automatic." Produced in 1968, the Konica C35 has many makings of a great little rangefinder camera, and in some ways, it is. However, being automatic, the camera selects both your f-stop and shutter speed for you. Even though the Hexanon 38mm f2.8 lens is really nice and sharp, this automatic "feature" turns the camera into a point (focus) and shoot camera. I couldn't live with that lack of flexibility for a month of shooting.

 

My C35 came from an antique shop in Ohio (thanks to Mom!). It took some disassembly, lighter fluid, and a new battery to get it working again. I was concerned that the exposure may be off, as the little indicator that shows the combination of shutter speed and f-stop didn't seem to change enough as I changed the ASA setting. But, I decided to try it out. I shot a roll of drug store iso 200 color print film at a local civil war historic site, the Mount Zion Church in Aldie, Virginia.

 

(Click Here) to read more about the Mount Zion Historic Park in Aldie.

 

Here are my results:

 

The shot above is my favorite from the roll.

 

 

 

 

I find the gravestone above quite creepy.

 

So, what are my impressions of the Konica C35? First, bitingly sharp lens, as I've come to expect from Konica. Second, the exposure seems to be pretty much spot on, at least within the latitude of color print film. I didn't try a really wide range of exposures, but this lighting level seemed to work just fine. So, what I think I've got here is a slightly less compact version of an Olympus XA, with perhaps even better image quality and definitely better rangefinder focusing, but sadly no overexposure switch like the XA has. Not bad, not bad at all. Now if it only had manual exposure override. Then I would carry it around for a month.

 

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Skeletons From The Closet (SFTC) Results - July's Camera, the Konica I 35mm Rangefinder

Well, July is behind us now. I shot my Konica I 35mm rangefinder camera for the month.

 

(Click Here) to read about the camera.

 

It has been a Konica summer, with my June camera also a Konica, the later model Auto S1.6.

 

Here are some shots from the Konica I. First, several from an evening in Leesburg, VA:

 

 

 

 

The image below is from the National Cathedral. It's an unintended test of the dynamic range of color print film. I'd say it did pretty well.

 

I took the remaining shots on a morning walk in DC's Eastern Market.

 

 

 

So, what is my assessment after shooting the Konica I for a month? First, it's a fun little camera. The collapsible lens makes it very compact; it fits just about anywhere. The rangefinder works very well, and hits the focus point correctly. I think the image quality is quite good for a camera from 1950, and Konica's first 35mm rangefinder. It's very sturdy, but the metal covers do seem to get marked rather easily. This is a drawback for carrying it in a coat pocket, for example.

 

As you'll see over and over in my writing, f3.5 is not quite wide enough for me as a maximum aperture. The Hexar 50mm lens on this camera is pretty sharp, but not quite like the razor sharpness from the later Konica Auto S1.6. One more criticism - there's no accessory shoe, so I have to carry my CV light meter in my camera bag or pocket, rather than slipping it into the shoe so it's always with the camera.

 

So, the Konica I is a great little addition to my collection, and quite functional. The Auto S1.6 is a better shooter overall, in my opinion. In fact, that Auto S1.6 is hard to beat with any other fixed lens rangefinder.

 

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Konica I Rangefinder is July's Skeletons From The Closet Camera!

 

Konica I 35mm Rangefinder Camera with Hexar 50mm f3.5 Collapsible Lens

 

I had so much fun with last month's SFTC camera, the Konica Auto S1.6, I decided to make it a Konica summer. So, July's camera is an older brother to the S1.6, a Konica I 35mm rangefinder with 50mm f3.5 collapsible Hexar lens.

 

This is a fairly late example of the first Konica-named camera, most likely produced in 1950. It features the later Konirapid-S shutter, with speeds up to 1/500 second. The Konica I has the rangefinder and viewfinder integrated into one, which is handy, compared to say a Barnack Leica, where they're separate (except in the IIIG).

 

This is a beautiful little camera, and everything works like clockwork. Very smooth, precise, quiet. It's also quite small compared to the S1.6, mainly due to the f3.5 lens and collapsible design. It does not have lugs for a strap of any kind, which is a drawback in my book. I presume it came with some sort of half-case with strap, but that's no longer around.

 

I have not shot this camera in years. I bought it because I really like old Japanese rangefinders and you don't see these particular ones every day. That's not to say it's rare; Konica sold hundreds of thousands of them. In any case, I shot a roll or two through it, and put it away. I also think I was trying to preserve the condition of the camera - it seems like the metal case would be easy to scratch. But, it's time to give it another try.

 

There's still a full roll of C41 black and white Kodak film in it, unexposed. I'll take my chances with that old film. I don't think I've ever seen that particular film degrade over time. But, I suppose there's some risk. Cross your fingers for me.

 

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Shenandoah Riverside Festival - My Photos and Writeup at Cosmic Vibes Live!

I recently wrote another piece for my favorite live music blog, Cosmic Vibes Live.

 

(Click Here) to read it and see all of my pics at cosmicvibeslive.com.

 

I'll use my own blog here to share a little info about the photographic details.

 

First, I decided to take it easy at this show, and shoot what I felt like. That included a Leica IIIC with Summitar 5cm f2 (the lens I've picked to pair up with my M9 for the Whole Lotta Leica series this month). Here's a shot from that combination:

 

The Woodshedders, by Reed A. George

Leica IIIC, Leica Summitar 5cm f2 Lens

 

I also shot my Skeletons From The Closet Camera for June, the Konica Auto S1.6, with color film:

 

Banana Express, by Reed A. George

Konica Auto S1.6

 

When nighttime came, I switched from the fun film cameras to the workhorse - Nikon D700.

 

The Hackensaw Boys, by Reed A. George

Nikon D700, Nikkor 85mm f1.4 AF-D Lens

 

Like I mentioned above, click over to Cosmic Vibes Live to read the full story and see a lot more pics.

 

It was great fun shooting the Leica and Konica, especially wandering around backstage. The Nikon came through as always.

 

I am still really enjoying the combination of great live music and my photography hobby!

 

Happy Crowd, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

 

 

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Skeletons From The Closet Results For June - Konica Auto S1.6 35mm Rangefinder

I've had a blast shooting my Konica Auto S1.6 this month. So much so, I'm convinced that this camera could be my one and only Japanese fixed-lens rangefinder.

 

(Click Here) to read about the camera.

 

Let me show you why I'm so impressed with this camera.

 

The Kid, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

The 45mm f1.6 lens on the Auto S1.6 is awesome. Sharp as a tack, it also has excellent color representation. As I've said in the past, when looking at modern fixed lens large chip cameras like the Fuji X100S, I prefer a lens closer to 50mm than 35mm if I'm going to buy a fixed lens camera. The 45mm focal length on the Konica is just about perfect for me.

 

Shenandoah Sunset, Color, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

 

Shenandoah Sunset, Monochrome, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

This camera is a little bigger than most Japanese rangefinders of its day, but not too large by any means. It's solid, quiet, fast. A minor complaint is that while the shutter is extremely quiet, the film advance is ratcheted, so it clicks rather loudly as you wind on to the next frame.

 

Stageside, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Bubbles, Diptych, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Friends, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Mind Boggler, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

 

Can you figure out the image above? Shot inside a restaurant bar, it's a mirrored ceiling.

 

Modern Youth, Diptych, by Reed A. George

Konica Auto S1.6, 45mm f1.6 Lens

Rangefinder focusing on the S1.6 is easy and accurate. This is really one capable little camera.

 

I read online that the f1.6 lens was soft compared to the f2 lens on the later Auto S2. I simply can't believe that to be the case. Even wide open, I find the f1.6 lens to be astonishingly sharp. And I'm comparing to world-class glass from Leica, Zeiss, and others.

 

As I mentioned in my original post on this camera, I did send it off to Greg Weber for service a couple of years back, tested it, and put it away in the closet. I am happy to report that the Skeletons From The Closet effort motivated me to get it back out and shoot it. This is one little camera that won't sit idle again for a while. I'm not likely to consolidate my camera collection anytime soon, but if I did, as I said above, the Konica S1.6 could be the best and sole representative of an entire class of cameras that I love.

 

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Skeletons From The Closet - June's Camera is the Konica Auto S1.6 Rangefinder

My Konica Auto S1.6 Rangefinder

 

I am waiting for some film to come back from The Darkroom so that I can share some results from May's SFTC camera, the Minolta Autocord. I've seen the low res scans, and hope to have a few nice images to share soon.

 

For this month, I've selected the Konica Auto S1.6. This model was only offered from 1968-1969, and is less common than the S2 that followed.

 

I have always been intrigued by Konica. Their optics are first rate. In fact, I see some of the Konica lenses for Leica M mount go for as much or more than their corresponding Leica counterparts. The 45mm f1.6 lens on my S1.6 is spotless. It is fast, sharp, and contrasty. I also like the way Konica lenses represent color.

 

One of the Few S1.6 Images I've Taken, by Reed A. George

 

I bought this camera in essentially new cosmetic condition. I didn't pay much for it, but it needed its 40 year checkup. So, I sent it off to the best name in the Konica repair business, Greg Weber.

 

(Click Here) to go to Greg's site. If you need service on an old Konica camera, he's the guy.

This was not an inexpensive service, but it was worth it for a camera that came in such good cosmetic condition. Greg made it once again 100% functional, including tuning the light meter to newer battery technology.

 

As I sit here with the camera in front of me, I can't honestly say why I haven't used it more. I have only had it out a few times. Maybe subconsciously I am worried about damaging it, but that's just silly. If I ran it over with a truck, that would be less financially damaging than a dent in a Leica.

 

So, that's exactly the purpose of the SFTC series - to help me get some of these old jewels out of the closet and into action. I think I'm going to have some fun with the Auto S1.6 in June!

 

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