Konica Auto-Reflex

35mm MF film SLR camera

Production details

Production details
Announced:1965
Production type:Mass production
Also known as:Konica Autorex
System: Konica AR (1965)

Specification

Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Konica AR [40.5mm]
Imaging plane:36 × 24mm film
Shutter
Type:Focal-plane
Model:Mechanical
Speeds:1 - 1/1000 + B
Exposure
Exposure metering:Through the separate window
Exposure modes:Manual
Physical characteristics
Weight:910g
Dimensions:145.5x94.5x88.5mm

Manufacturer description #1

When Konica innovated the 35mm rangefinder camera with total exposure automation, that is, a camera that set the f/stop and let the photographer concentrate solely on picture-taking, we were asked why this great advantage wasn't possible for the professional photographer who used an SLR. So we did something about that, and invented the first professional SLR with exposure automation, the Konica Auto-Reflex. And while we were at it, we gave the SLR user total control of his camera. Automation without control is pretty useless to the pro. Yet that's all the other SLRs offer!

All high-quality SLRs tell you that they offer you "control", by letting you turn an aperture ring until a needle in the viewfinder lines up with another needle or mark. Then you have the correct exposure. But what is it? Is your subject still around after you twist the ring? Do you know the f/stop you are setting? Are you willing to set a blind exposure, not knowing whether you want to over-ride the automation or not? Are you certain the camera is correctly operating? Do you have f/stop information to tell you whether you have enough or too much depth-of-field? Is that control?

Not so with Konica Auto-Reflex, or its behind-the-lens metering mate, Konica Autoreflex-T. The unique viewfinder of this new-generation camera tells all. It tells you the f/stop being set by the electric eye; the maximum aperture of the interchangeable lens you are using: whether you are shooting in auto or manual mode; and of course whether you are in perfect focus. That's "control" because you can decide whether you want to change lens, f/stop or mode of operation, without removing the camera from your eye.

If it's true control you seek, plus automation, with a full system of Automatic Hexanon lenses and accessories, you'll look into the Konica Auto-Reflex or Autoreflex-T today.

Manufacturer description #2

A CAMERA IN YOUR DREAM CAME TRUE!

First In The World - As the only Single Lens Reflex of ELECTRIC EYE system, the KONICA Auto-Reflex is already acclaimed by experts as "the Camera of the Century". With the EE range from EV2 (light of a match) to EV18 (dazzling light of snow scenes), your photographic eye and ability will truly combine with the camera.

First In The World - FULL SIZE - HALF-FRAME. There will be such a time as will make you feel like taking as many pictures as possible on a film throughout or on a certain length of the film. You can switch either to HALF or FULL while shooting without opening the backlid or taking out the film loaded.

"Basket Weave" Easy Loading Take-up Spool permits instantaneous film loading.

You need not take your eye off the Viewfinder while shooting to confirm at what aperture the shutter is actuated. Now no nuisance at all! You can keep going on speedy and accurate picture-taking as a true "shutter-bug".

The Metal Focal Plane Shutter is dynamic, yet silent; fast, yet steady; rigid against extremes of heat and cold: its blade transit speed 3m/sec. Flash synchronization at all shutter speeds from one second to 1/1000 with class M flash bulbs; up to 1/125 at X setting with electronic flash.

The super-sensitive CdS Lightmeter coupled to the EE mechanism can be used for proper exposure determination even in the event of manual operation. Thus you can pursue special exposure effects and fine exposure adjustments.

HEXANON standard lenses and a complete line of HEXANON interchangeable lenses - camera fans know better than we about HEXANON's superiority - including the compact Zoom lens for half-frame filming. Micro diaprisms for extremely bright and clear focusing. Abundant accessories, attachments, auxiliary devices. Into all these and in every part of the KONICA Auto-Reflex, Konica's technology is permeated.

***

Picture Size: 24 x 36mm and 18 x 24mm (half-frame), picture size changeable.

Film: 35mm film in safety cartridge.

Mount: Konica II bayonet mount, 47mm diameter, 40.5mm flange back.

Aperture Device: Fully automatic aperture (automatic full opening), manual aperture checker for depth of focus.

Shutter: Copal Square, B, 1, 2, 4, 8, 15, 30, 60, 125, 250, 500 & 1000.

Finder: Pentaprism eye-level viewfinder. Focusing is done with micro diaprisms in the center of viewfinder. Full Size and Half Frame marks and Metering Needle visible in the viewfinder.

Exposure Adjustment: Fully automatic EE mechanism with highly sensitive CdS meter. Aperture scale on the lens barrel used for manual operation.

CdS Meter: Reflected light type with intake angle of 26 deg. (vertical) and 34 deg. (horizontal). Powered by a 1.3V mercury battery with battery checker.

Electric Eye: Coupled to EV2 - EV18 at ASA 100. Film speed scale ranges from ASA 12 to ASA 800 (DIN 12 - DIN 30).

Other Features: Automatic resetting film counter; single-stroke cocking lever, quick return mirror; full flash synch at M setting with M flash bulbs, up to 1/125 with electronic flash at X setting.

From the editor

The weight and dimensions are indicated for the camera body with the Konica Hexanon 52mm F/1.8 lens mounted.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.