The Likeable Konica Autoreflex T

<p>I've finally had the chance to run a couple of films through this fine combination of camera and lens, both items having been cleaned and adjusted. It's a Konica Autoreflex T with the 57mm Hexanon AR f/1.4 lens.</p>

<p>Camera</p><div></div>

<p>I have to say I'm delighted with this outfit; the camera is a pleasure to use and the lens is somewhere approaching superb. Originally, it was only the lens I wanted, but since it came with the camera attached, one thing sort of led to another, and I ended up spending rather too much in bringing everything up to near-new condition. The camera was faultless from a cosmetic aspect but it jammed half-way through a test film; I debated the pros and cons of sending it off for repair but I really liked the feel of the beast, and I ended up sending it away.</p>

<p>The Autoreflex T appeared in 1968, following the original Konica Auto-Reflex, the first focal-plane auto-exposure SLR, an interesting camera that allowed the user to swap between full or half-frame formats, mid-roll. This copy is actually an Autoreflex T2, introduced in 1970; the main change being the shifting of the on/off switch for the meter from the back of the camera to a collar around the shutter release. The meter was designed to run on two PX675 mercury cells, but I find it works just fine on two LR44 button cells, with a 50% upwards adjustment of the ISO rating set into the meter. Of course, that adjustment may be specific to this particular camera. The "EE" (automatic exposure) feature works well; it's a shutter-preferred system with the aperture pointer swinging up and down a scale in the very bright viewfinder, in which the selected shutter speed is also displayed. In manual mode one just sets the aperture to the mark indicated by the meter pointer, which is cross-linked to the shutter speeds. Focusing is assisted by a very sensitive central microprism spot, one of the brighter examples.</p>

<p>The lens turns out to be as good as it's reputation suggests, extremely sharp and contrasty with excellent colour rendition, no doubt assisted by some excellent coating. It's superb on a DSLR; I might post some samples in the future, but in the meanwhile I'll post some frames from a couple of rolls of B&W. The camera handles very well, smooth in it's actions and very nicely assembled; it has the solid, boxy sort of heft reminiscent of the Topcons. It also has one of the most efficient film-loading systems, with a multi-slotted take-up spool that unfailingly grabs the leader. Little features like that endear a camera to a user. The film was Ilford FP4 developed in PMY Pyro, scanned on an Epson V700 using Silverfast SE software. I hope you find something of interest.</p><div></div>

<p>No.2</p><div></div>

<p>No.3</p><div></div>

<p>No.4</p><div></div>

<p>No.5</p><div></div>

<p>No.6</p><div></div>

<p>No.7</p><div></div>

<p>No.8</p><div></div>

<p>No.9</p>

<p>Oops! A "Time Out"...No.9 again..</p><div></div>

<p>No.10</p><div></div>

<p>I have a couple of Autoreflex T3's and they have always been pretty nice to use, though I never found the viewfinders as good as those on a Nikon F (but then what is?). The shutters are also pretty loud. But the metering is very well done, and the things are big, heavy, robust and brassy. The lenses are legendary, and it can run happily with no battery.</p>

<p>For those unfamiliar with this setup, it has a battery check function in which the ASA value is a part. For that reason, one can put in any of a number of different types of batteries, run the test, and simply turn the ASA dial until the test needle lines up right. I always liked a pair of zinc-air hearing aid batteries, which on both of mine hit spot on at 2/3 ASA offset. The only disadvantage here was their short life, made shorter by a sensitive on-off switch. For many years, I carried the Konica as my "always in the car" camera, and often found it had turned itself on kicking around the back seat. Spare batteries are always a good idea on this one. </p>

<p>Very beautiful and perceptive photos, Rick. Even on a monitor one can see the great tonality you have obtained. Yellow filter in some of your images? I am encouraged to try FP4 in the pyro developer. Do you make up the developer or is it obtainable commercially? The camera is indeed a classic from a great company (I used the equally excellent and more recent Konica RF camera and its 50mm lens at one point with much pleasure), It is interesting how many good system 35mm SLR cameras were made at its time. Photographers today would do well to use them as they are a very different and rewarding approach with minimal automation and maximum implication. So-called retro digital cameras do not offer the same approach.</p>

<p>Had a T3, Great camera. Sold It when I moved, had to thinout the collection. Wish I still had it.</p>

<p>This is the exact camera and lens set-up I started with in the fall of 1971. The lens version with the silver and black barrel and the EE lock pin was only made for a short time. By early 1972 the lens barrels were all black. I used the T2 all through High School and by the end of my first semester of college I had worn out the body and the lens. I traded both for a T3 with the new 50/1.4. Years later when I started collecting I added back many T and T2 versions. I first came to know Greg Weber in 1992. Since then he has overhauled many Konica cameras and lenses for me and has become a good friend. Last week I got a 100/2.8 (all black, all metal focusing ring) back from him. Winter is a slow time for my picture taking and it's cool but "cloudy bright" today. In a few days we'll be in the 70s (F) so the 100 will get some use.<br>

The 57/1.4 was available back to 1965 with the Auto Reflex (Autorex in non-US markets) and its coating was improved by the time it was discontinued in late 1972 or early 1973. It is a six element lens. The 50/1.4 is a seven element lens. Is one better than the other? Greg prefers the 57. They are both very good. I must have taken more pictures with the 57 because it was my only lens for a while. By the time I had the 50 I had other focal lengths to choose from. Some time in the 1990s I had Greg remove the focusing screen from a black T2 body and replace it with a Nikon 'E' screen [grid type] from the FE. Part of the clip holding the screen is visible in the finder, giving it a jury-rigged look, but it works fine. It makes using slower lenses and doing macro work much easier. The T2 finder is not terribly bright but it is certainly fine with an f/1.4 lens. In 1984 I had a Nikon E screen transplanted into an FT-1 body. I still use that one too.<br>

I did not find the T3 as well made as the T2. The T3 also had a film advance problem with non-Konica lenses. My collection includes many other brands and formats but I will always have a special feeling about a chrome T2 with the silver and black 57/1.4 with the EE lock pin. When I look at a print or a slide made early on with that T2 I see what a nice camera it was. Sometimes I have a dream that my original T2 is sitting at the bottom of a huge barrel in Greg's basement. Greg's dedication to Konicas has enabled those of us who appreciate them to keep enjoying them. </p>

Great post. When my family opened a camera shop in 1974 Konica was the first SLR line we carried. For many years

most of the local SLR converts were using T3 and A3 cameras.

<p>Thanks for the responses. <strong>Jeff</strong>, the information you posted regarding the camera and particularly the lens really fleshed the post out; it must have been rather nice, meeting up with an old friend again. I'm pleased you liked the images, <strong>Arthur</strong>; no, I didn't use a yellow filter, though I might have had I not forgotten to bring one! The PMK Pyro is a Photographers Formulary product and I buy mine in powder form from Freestyle Photographic Supplies, whom I've found really helpful for overseas customers. Good tip for battery compensation, <strong>Matthew </strong>and thanks, <strong>Mike</strong> and <strong>Roger,</strong> for your input.</p>

<p>Nice pictures!! I can't wait to get my T3's light meter in serviceable condition. Trying to use a hand held meter at the dog park wasn't working so well haha. </p>

<p>Nice work as always, Rick. I've got a 58/1.4 MC Rokkor PF for my Minolta SRT/XE kit, and it looks <em>exactly</em> the same as your 57/1.4 in size, design, layout, chrome aperture ring, and 55 mm filter size, but is evidently a five-element lens. I like the Minolta 58 and it seems you've had a good time with the Hexanon 57. Seven or eight millimetres may not seem like much, but I do sometimes notice the difference in angle of view between the 58 and a 50; did you? I will accordingly attach my 50 rather than the preferred 58 if I suspect I'll find myself in a small space. (There are confounding variables though; my 50 is a much lighter, partly plastic unit, so it sometimes gets selected for weight savings, or deselected explicitly for plastickiness; and it is a 1.7--not 1.4--so may get deselected if I'll need every last photon of available light.)<br>

<em>--Dave</em></p>

<p>Thanks, <strong>Dave</strong>. Yes, there's definitely quite a difference in the angle of view between 50mm and 58mm, despite the small numeric difference,and I find I can take quite decent portraits with the longer focal length as opposed to feeling a little dubious about the shorter. Having bought into the Sony Alpha 7 system a while ago, mainly because it's such a superb system for using old manual lenses, I've been doing some informal testing of these old SLR lenses, and while the 58/1.4 Rokkor is in the top rank, this 58/1.4 Hexanon is just a tad sharper and more contrasty. Top of the list so far is the great Canon FD 50/1.4 SSC, though (surprisingly) a couple of examples of the old 55/1.8 SMC Takumar come very close, just edging out their vaunted f/1.4 brother.</p>

<p>Lovely Rick, wonderful tones as usual, and the light on the church is just luscious. The Konicas do have a real heft to them, and are much bigger than most of the apposition around that time. The wind and release action are also a mechanical delight.<br>

I have just finished cataloging my Konica stuff, and I have the original Autoreflex plus the T and T3....what happened to the T2? Crazy assortment of standard lenses with the 50mm 1.4 at 57mm and 50mm. The others vary between 52 and 50mm, F2, 1.8, 1.7....got them all covered!<br>

I feel that I might get out the original and shoot a roll with it, does half frame too.</p>

 

<p>Thanks, <strong>Tony</strong>, "luscious light" indeed! A wonderful turn of phrase... Officially, I understand that this model<em> is</em> the T2, as I mention in the text, and there never was an Autoreflex with a "T2" badge. Sounds as if you have a great collection of Konicas and their lenses.</p>

<p>Had a Konica Autoreflex T, with Hexanon 28/2.8, 50/1.4 and 135/3.5. Its auto exposure mechanism is erratic, some times gave vastly over exposed negative, finally sold it and bought<br>

a Contax 139. with Carl Zeiss Planar 50 F1.4 and Carl Zeiss Distagon 28/2.8<br>

The Konica Autoreflex T leather case was very good, durable unlike the extremely poor quality<br>

of Contax 139 paper camera case.</p>