Originally Posted by Tom Kershaw
At one time, Konishiroku was the premier photo product manufacturer in Japan, but a series of tragic fires destroyed their plants in WWII and then in the late 50s after they rebuilt.
I found the products to be comparable to those of Fuji at the time, and their cameras were excellent. I loved the Koni-Omega but could not get one with the features I wanted. I almost bought one though.
I'm not a greybeard w/ 40 years experience but what experience I do have says the Konica Hexar AF is one of the finest 35mm cameras ever made. Albeit something of a niche camera, the thoughtfulness and care that went into it's design is something that everyone on that engineering team should be very proud of.
Since at least 10 years I use only Konica films when it goes to color print film. I tried almost all brands, most knew and less knew, and one autumn day I dropped in my camera (at random) a Konica VX-200. When I got the results from the lab, I was astonished. Never saw more beautiful saturated colors in a print film: it looked almost like a Velvia but in print. Soon I discovered that best white skin tones, I could get from the old VX-100 (not the Super) and from the latest pro. 160 (I suspect they were the same film). For events, I found fabulous the Centuria 400 and the pro. 400 (I also suspect these two were the same film, or very close at least). And in the spring, when green and yellow are important without dropping on the red, my most beloved is the Centuria 100. The VX-400 is an all around good film, and the Centuria 200 I found to be an all around bad film. But there was no autumn in the last 10 years, I haven’t shoot at least a half a dozen of VX-200, and nothing else.
Unfortunately, two years ago, Sony (after buying Konica-Minolta) stopped the production of these films. It was at that precise moment that I decided to stop shooting color print film and move the color photography to digital. No other print film gave me what Konica did. On the other hand, at that precise moment I started to pay more attention to B&W, and decided that on this side, it is film and only film that works for me. While still having 20-30 rolls of VX-100 and 200 in the fridge, I really feel sad each time I drop one of these into the camera: it feels like grieving. Some of you might have experienced the same feeling when Kodak discontinued the Tri-X-400, or imagine what would have feel like if Fuji would discontinue the Velvia.
As written before, not all labs handled well these films. But those doing it, showed that Konica made some of the bests (if not the bests) color print films ever.
Last edited by phenix; 06-23-2008 at 12:29 AM. Click to view previous post history.
B&W is silver.
I'm sure I'll sound like a complete idiot, but what do I have to do to join this Konica group?
I'm right alongside you on that point, unless we're talking about the Yahoo group below?
Originally Posted by Chazzy
EDIT: should have looked a bit further before posting. New group is at http://www.apug.org/forums/groups/al...gs-konica.html
Last edited by Peter Black; 06-23-2008 at 05:32 PM. Click to view previous post history.
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I've been using a Konica Hexar AF for about ten years and love it. I'm not too much into equipment just for the sake of owning a particular camera, (or so I kid myself), but am very attached to this wee thing. That's one of it's benefits. It is realtively small and very light, but still sturdy. It's got a fixed 35mm f2 lens which is fine by me as that's my preferred 'standard' and is very unobtrusive. It's own dedicated, seperate flash is quite powerful and good for flash and blur. I've actually gone off using SLRs since owning it as they seem so big and look too much like a proper camera. These feelings have extended to DSLRs but that's another story. Some say it's a bit like an auto focus Leica. It's also good in low light conditions with 3200 ISO film.
I think I've joined the group correctly now.
Originally Posted by Peter Black
I just bought a K-O Rapid M kit, with four lenses and two backs, plus another back. All of the backs need to go visit Mr. Weber.
Originally Posted by Konical
I had wanted a Fuji 670, but this whole kit cost less than a used Fuji with one lens and no changeable back.
If you ever feel like donating the 135mm to an impecunious APUGer, keep me in mind.
Originally Posted by Moopheus
I owned and used the KO RF system w/all the lenses some years back and also had an Omegaflex system. The TLR was surprisingly agile and user friendly. I found myself grabbing it ahead of the KO many times. The 135mm mentioned was absolutely great in both cameras and some of my favorite old prints came from those cameras. I was fortunate and never had any trouble with the backs, but they are a known weak point.
What is the actual weak spot in the back mechanism? Is it a specific piece that could be re-engineered and possibly updated? I rather liked the quickness of the film advance and general function of it.
I was just looking at a 16X20 photo hanging at work that I recall taking with the Omegaflex picturing about 15 people. Every eyelash and clothing thread just sparkle in that picture and it reminds me of the basic goodness of that old glass!