[Leica] First feel of the Konica Hexar RF

[Jeremy Kime <jeremy.kime@bbc.co.uk>]

The rumours of this camera have bounced around for a couple of years so it
was no surprise to hear from Konica UK Product Manager, Jon
Armstrong-Millar, that the camera could have been launched 'last year'. the
release even now, he feels is still not with the total sympathy or agreement
of Leica with regard to the use of the M-mount which they refer to as a
'happy coincidence' (that the camera/lens mount is the same as the Leica-M)!
In their brochure the mount is described as the Konica KM mount!

Essentially the camera is described as a pro-quality, top of the range model
and was developed from customers requests after the (unexpected) success of
the original Konica Hexar. In creating the interchangeable lens camera
requested the decision was made that it was more sensible to go with an
existing lens mount than create a new one. Konica describe seeing a 'gap in
the market' and going for it. Myself I'm not sure there is one but we shall
wait and see. Initial dealer and customer response has been extremely
encouraging say the company. The 'gap' is always dependent on the cost and
at nearly the cost for a camera/lens/flash kit as a Leica body it will be
interesting to see whether the public agree with the company.

The camera was launched world-wide on the 13th October, here in the UK at
the PMA on the 14th but as it was unheralded few were aware of the occasion,
especially as the show is primarily the domain of the D&P brigade. Cameras
have been available for the press to view from the start of this week (15th
Nov.) and should be delivered in Mid January for retail before February
2000. The British Journal of Photography are currently working on a review
of the camera and all 3 lenses.

The camera is a blend of old and new, the brochure usefully explains lens
type and origins in glowing terms from the 30's, e.g.. Gauss type or
Ernostar type designs for the 50/2 and 90/2.8 lenses respectively, but the
rest of the camera leaves the Leica M6 in the mechanical 50's and takes the
options of the 90's on board. So digital displays and more electronics make
for an easier camera to use, perhaps at the expense of long term durability.

The 35/2 lens found on the original Hexar was strangely missing from this
first lens line up, releasing the 28mm lens was felt to demonstrate a wider
capability but I suspect that there will be an optical revision of the 35mm
lens before making it available. In comparison with it's competitors (Leica
lenses) Konica are optimistic that the 3 newly designed lenses launched with
the camera are 'as good as the competition' (brave words!) and so the 35/2
might need tweaking before it reaches those standards. There was a reluctant
acknowledgemnt that a 135 lens will appear but no views expressed on a 75mm.
the physical size of the 50/2 is noticeably larger than the Leica lens,
'designed for aesthetic consideration', I was told, 'it looks better
balanced with the camera'. The built in hood slipped out easily enough, did
not rotate and stayed put where it was. The feel of the focusing ring and
the iris are as smooth as any Leica/Leitz lens I have used, neither too hard
or soft, light or stiff.

Initial impressions were that the camera fell to hand easily, it felt solid
and reassuring, and that carried through to the lens as well. (I was unable
to see the 28 and 90mm lenses)  The moulded rubber inserts on the body seem
rather 'amateur' compared to the Leica and didn't seem (to me) to provide
anything more than a vulcanite / leatherette camera would. The black epoxy
finish on top of the titanium shells looked very classy and durable. The
lenses appeared 'cheaper' than the camera, whether this was the waffle type
focussing ring (which looks like a rubber insert) or the quality of the
engraving, surface finish or colour of engraving paint, it's hard to say,
but they lose out in looks compared to Leica.

An interesting aside is that Konica have had to hire and train new staff to
produce a camera of this quality, this is not done on regular production
lines, techniques requiring greater care and commitment have been seen to be
necessary, e.g.. the polishing of the glass etc.

Ergonomically it feels right, though I did have to remind myself not to look
for the 'missing' wind-on lever! the controls fell to hand and provided some
interesting responses. For instance, the original Hexar was known as an
eerily quiet camera due largely to its leaf shutter. The Hexar RF requires a
focal plane shutter (multi-blade electronic) and this naturally is noisier.
The wind on though is quieter than the shutter and no louder than the Leica,
though the sound lasts longer. What is strange is that the camera is quieter
in the 'c' (continous) mode than the 's' (single shot) mode. The 's' mode
seems to have an additional reset sound after the wind-on which prolongs the
noise. 
Rewind is automatic but could be initiated mid-way through a roll. A small
button for depression by a ballpoint pen will achieve this, there is the
option of opening the rear door at an appropriate time (recognise the
whirring) to prevent extracting the film from the cassette after being
rewound too much.
The AE facility takes us away from the pro-level concept but re-introduces
us to the world of the Minolta CLE and convenience, this is a camera you
could lend to a friend or assistant. There is an LED display on the top
panel showing battery life (expect 140 x 36exp. films on one set) and frame
number, inside there is a foam cushion around the film cassette to show
ASA/type. How long either of these two items will last is questionable. This
camera will be measured against those which are still active 40-50 years
later, not just 5-10.

The 'curate's egg'  I've left almost till last, the viewfinder. I was
expecting to be disappointed by the magnification, x0.6. This provides a
wider, smaller field of view than the standard M6 (0.72) and yet offers no
wider frame line than the 28mm. Showing more space around the frame lines
than the Leica does it offers the option of using to the extremities of the
frame as a 24mm finder, akin to the Minolta CLE. Perhaps this good rather
than bad for wide angle users. Where it has its drawback is in the accuracy
of the rangefinder which will not be as good as the Leica, so 50/1 and
75/1.4 lenses are not advocated on this camera. The brightness of the
rangefinder patch though was commendable, better than anticipated and as
large as the Leica, also having parralax and sharp edges to the rangefinder
window, an important and sometimes overlooked aside of the focusing process.
It's much easier to line up a telegraph pole on the viewfinder image and the
rangefinder image (or similar vertical line) than working solely with the
two images in the rangefinder window. If the rangefinder window image has a
blurred edge this takes away this additional assistance. What the downside
of the 'curate's egg', which was "good, in parts", was the overall greyness
of the viewfinder image, compared to the Leica it had less colour and
contrast.

The packaging is plush and would win no ecological awards, as Leica has, but
this is to assure the purchaser he has quality, with a Leica this is a
pre-known surity! Aside from the camera, there comes (in this big red box) a
50/2 lens, instruction book (in the ubiquitous 17 languages), a small 2 mode
compact flash capable of 28mm coverage (very light and pocketable), a strap
and lens pouch made out of the most realistic synthetic leather I have seen.
Servicing is something which although not anticipated is being taught as a
new subject to the technicians in Feltham Middlesex, courtesy of a European
training course next week near Munich.
My thanks to Sarah Estall and Jon Armstrong-Millar of Konica UK for their
help in preparing this.

Jem Kime
(jem.kime@cwcom.net, not currently subscibed)