Konica Hexanon AR 28mm f/3.5, Worth The Keep

Cameras and Lenses: Images with a legacy Konica Hexanon AR 28mm f/3.5, a vintage wide-angle lens praised for its sharp optics, robust metal build, and true-to-life color rendition, a standard normal 56mm full-frame equivalent on the Olympus PEN E-P5.

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Another vintage manual focus prime is worth keeping in the collection. The Konica Hexanon AR 28mm f/3.5, in all its variations, is consistently acknowledged as pin-sharp, with excellent color rendition and high shadow detail. The variations, with a focusing distance of 0.31 meters, were produced circa 1965 to 1980. Konica made five versions of this lens.

The first version, the Konica Hexanon 28mm F3.5, was a preset lens. The 2nd version, the Konica Hexanon AR 28mm F3.5, from then on,  had auto aperture and was labeled EE. The third version was labeled AE, had auto aperture up to F16, and was still large and all metal with updated coatings. The fourth version, this one, is labeled AE, has auto aperture up to F22, and is smaller and lighter at 175 grams. The fifth version was plasticky (typical 80s) and could have performed better compared to its counterparts. The lens was marketed as a Hexar.

Olympus PEN E-P5, Konica Hexanon AR 28mm f/3.5

The optical design of the variations has also been altered several times, from the original 7 elements in 6 groups on the preset lens, to 7 elements in 7 groups, and finally to 5 elements in 5 groups for the final version. The filter thread for the preset was 58 mm, with the rest at 55 mm.

Konica Hexanon AR 50mm f/1.7, A Second Look

Cameras and Lenses: Images with a fully functional second copy of the Konica Hexanon AR 50mm f/1.7, a legacy celebrated as an exceptional vintage optic, a 100mm full-frame equivalent on the Olympus PEN E-P5.

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After the failure of the first Hexanon AR 50mm f/1.7, which came with a faulty aperture ring, I had a second copy ordered, and it came in through the mail a couple of weeks later. This one is definitely better physically than the earlier one and is a fully working copy with clean and clear glass, glide-smooth focus, and a fully functioning aperture ring and blades.

My first chance at testing the lens was, as usual,  out in the mini garden in front of the house, shooting away at the few and only plants available in the garden, and the mango tree just outside the yard. Initial images do show the indication that the lens may be true to its words as one of the sharpest 50mm lenses ever produced during the era.

Olympus PEN E-P5, Konica Hexanon AR 50mm f/1.7

The earlier version of the lens was first introduced in 1973 as a kit lens for the Autoreflex T3, gaining a reputation for its optical performance, particularly its sharpness. The lens was later updated as a smaller and lighter version for the Autoreflex TC, as seen here, mounted on the Olympus Pen E-P5 with a hood on the front end.

Konica Hexanon AR 50mm f/1.7, A Quick Take, II

Cameras and Lenses: Images with a non-functional (jammed aperture) legacy Hexanon AR 50mm f/1.7, celebrated as an exceptional vintage optic, though still workable for image captures, on an Olympus PEN E-P5, II.

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Continuing where I left off with the first five frames shot on the faulty Hexanon AR 50mm f/1.7, this time with the aperture manually adjusted to a smaller opening of 2.8. Have to admit that these images speak for themselves in terms of image sharpness and color rendition.

The lens is the second iteration of the series. The first, introduced in 1973 as a kit lens for the Autoreflex T3, gained a reputation for its optical performance, particularly its sharpness. The T3 was updated to the Autoreflex TC in 1976, and with it an updated version of the Konica Hexanon AR 50mm f1.7 lens.

Olympus PEN E-P5, Hexanon AR 50mm f/1.7

The later version is smaller and lighter, has a longer closest focusing distance (55cm from 45cm), and no aperture half-stops. Construction is the same: 6 elements in 5 groups and a 6-blade aperture, with the optical quality said to be the same. The aperture and focus rings are very smooth, and the build quality remains excellent, with clear lettering and a solid metal body and mount.

Konica Hexanon AR 50mm f/1.7, A Quick Take, I

Cameras and Lenses: Images with a non-functional (jammed aperture) legacy Hexanon AR 50mm f/1.7, celebrated as an exceptional vintage optic, though still workable for image captures, on an Olympus PEN E-P5, I.

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Testing out the Konica Hexanon 50mm f/1.7, which came in through the post recently. Bad luck, though, as the lens was faulty: it had oily blades that were almost stuck, a bent filter ring that refused to be removed, and a front trim that was loosened due to the pressure of trying to unscrew the filter.  These images ended up being shot at the lens's widest aperture.

The bent filter ring was resolved by knocking out the glass element with a hammer and using a pair of pliers to twist the metal part off the front trim. The oily blades, however, will have to wait for the trip to 'Uncle Wong', the part-time camera repair and service pro, who I hope can have them cleaned.

Olympus PEN E-P5, Konica Hexanon AR 50mm f/1.7

Konica Hexanon AR 52mm f/1.8, First Impression

Cameras and Lenses: Images with a vintage legacy Konica Hexanon AR 52mm f/1.8, a solid all-metal lens with natural color rendering, on an Olympus PEN E-P5, at a versatile 104mm full-frame equivalent focal length.

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The final of my three Hexanon Series with Konica Hexanon AR lenses - the Hexanon AR 40mm f/1.8 pancake, Hexanon AR 50mm f/1.8, and this post with images from Hexanon AR 52mm f/1.8.

The idea of the series was not to be overly critical or technical with image capture or the performance of each lens, but as a thought that manual focus legacy lenses, with an appropriate adapter for different brands of cameras, may still have a place within the proliferation of the new breed of manual focus lenses designed and produced for current digital cameras.

Olympus PEN E-P5, Konica Hexanon 52mm f/1.8

The Konica Hexanons were the mainstay of the Auto-Reflex series SLRs, first introduced in 1966. Of the three in this Quick Take series, the 52mm f/1.8 was the earliest to be launched, and in my opinion, it gives the mildest color rendition. Bokeh was good. Colors are sharp and contrasty, with equally good bokeh when compared to the intermediate 50mm 1:1.8. Each has its own merits; all are very affordable, and one will surely get you excited.

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Konica Hexanon AR 50mm f/1.8, First Impression

Cameras and Lenses: Images with a vintage legacy Konica Hexanon AR 50mm f/1.8, on an Olympus PEN E-P5, a versatile 100mm equivalent manual-focus lens.

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I did a digital moments session on the Konica Hexanon AR 40mm 1:1.8 a couple of weeks ago, and now it is the turn of the 50mm f/1.8, both of which were fitted to my digital Pen E-P5 with an aftermarket Konica-M43 mount adapter.

Both are manual focus primes that you might take a while to get used to. One thing you find about both of these lenses is that the aperture ring locks the lens into the AE setting just past the 1:22 stop, which can be a bit annoying to find the lock and unlock it again.

Konica Hexanon AR 50mm f/1.8

Images rendered by this 50mm are softer and are less contrasty when compared to the AR 40mm pancake, and when shot at less than wide open, bokeh tends to have a more pronounced hexagonal shape due to the Hexanon's six-bladed iris.

Olympue PEN E-P5,, Konica Hexanon AR 50mm f/1.8

I shoot in RAW, post-process the images on Olympus Viewer 3 (OV3), and have recently begun experimenting with Sharpener Pro from Google Nik Collection for final sharpening.

Konica Hexanon AR 40mm f/1.8, First Impression

Cameras and Lenses: Images with a vintage legacy Konica Hexanon AR 40mm f/1.8, on an Olympus PEN E-P5, a compact and very capable manual-focus setup.

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A digital moment session with a vintage film camera lens that will not burn a hole in your pocket: the pancake Konica Hexanon AR 40mm f/1.8, a standard lens shipped with some Konica SLRs starting in 1979, and produced throughout the early 80s.

The lens seems to be rather popular with mirrorless digital camera enthusiasts. The Konica AR mount has the shortest flange focal distance of any 35mm SLR system, and together with the M4/3 adapter that I use, the combo turns out to be a very compact package. The lens itself is a 6-element 5-group design, fairly light at 140g (5oz), with a minimum focus distance of 0.45m (1.5ft). The diaphragm has 6 slightly curved blades.

Olympus PEN E-P5, Konica Hexanon AR 40mm f/1.8

Another acknowledgment about the lens is that its build quality is rather good for such a low-cost lens. On the E-P5, the lens has an effective focal length of 80mm, which is well-suited for portrait shooters.

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