Pekka Buttler, 03/2026
Specifications
The table below summarizes the lens’ key specifications:
| Brand: | Konica | Lens name | Zoom-HEXANON AR 35~70mm F3.5–4.5 |
| Focal length(s)1 | 35–70 mm | Angle-of-view2 | 63–34 ° |
| Maximum Aperture | f/3.5–4.5 | In Production | 1985–1987 |
| Lens mount | Konica AR | Subfamily (if applicable) | –– |
| Length3 | 60,5 mm | Diameter4 | 62,6 mm |
| Filter ring diameter | 55 mm | Weight | 213 grams |
| Lens element count | 8 | Lens group count | 8 |
| Aperture blades (S/R/C)5 | 6 S | Focus throw | 90 ° |
| Minimum focusing distance (measured) | 89 cms (@35mm) 81 cms (@70mm) 35 cms (@macro) | Maximum magnification (measured) | 1:4,4 (@macro) |
| Has manual aperture ring | YES | Has Manual focus ring | YES |
| Aperture mechanism type | Auto | Aperture click stops 6 | 3.5-5.6-8-11-16-22 |
Further notes:
• This lens was the last of three 35–70 mm zoom lenses offered by Konica.
• It replaced the heavier 35–70 f/4 (constant maximum aperture) zoom lens (1981–1985), which in turn replaced the 35–70 f/3.5 (1978–1981) [data sheet].
• This lens is among the last lenses that Konica introduced before quitting the SLR business in 1987. It was sold as a kit lens together with the Konica TC-X camera.
• According to sources, this lens uses an aspherical plastic element (the rearmost element).
• This lens is one of several Konica-branded lenses that was designed and manufactured by Tokina during the two companies’ decade-long, close co-operation.
• In many ways the 1985 introduction of the Konica TC-X camera (made by Cosina) and its kit lens (this lens; made by Tokina) already spelled the fate of Konica’s participation in the SLR business.
• The lens is at its shortest at 70 mm and lengthens when zoomed towards 35 mm.
• Likewise, the lens lengthens a bit when focused towards MFD.
• Similarly, the lens lengthens considerably when moved into the macro mode.
• The macro mode button needs to be pressed both for entering and exiting the macro mode.
Versions
Only one version of this lens existed.
History of Konica AR lenses
Konica is one of those names that will not ring any bells to those who’ve only recently started photographing, but for many years Konica was one of the ‘Great Japanese camera companies’.
After a short-lived and only moderately successful line of SLR cameras known as the Konica F-line (1960-1965), Konica hit pay dirt with the introduction of the Konica Auto-Reflex in 1965 and its new, Konica AR mount. The Auto-Reflex was at the time the first affordable system camera with integrated auto-exposure (albeit the exposure metering was not yet TTL). The Auto-Reflex was followed by a two lines of successful cameras – the more ambitious Autoreflex T-line and the more pedestrian Autoreflex A-line – before Konica (along with the rest of Japanese camera companies) stepped up the automation of their SLR cameras with the 1-series (FS-1, FC-1, FP-1, and FT-1).
But while Konica had often been at the forefront of automation (first shutter priority auto-exposure system, first SLR with integrated winder), Konica’s star had been waning, and Konica decided to not compete against the likes of Minolta, Nikon, Canon, and Pentax in autofocus technology. Instead Konica withdrew from SLR and SLR lens manufacture and focused on compacts and other optoelectronics. Two decades later Konica merged with Minolta to form KonicaMinolta, which subsequently sold its camera business to Sony. So, after a fashion, the DNA of Konica’s camera business lives on in Sony’s camera division.
Relevantly, the Konica AR mount had a relatively good and long (1965–1987) run, and stayed remarkably unchanged throughout. Hence, while Konica changed the design of their AR lenses during those years – moving towards lighter constructions, rubber focus rings, and a more modern look7, all AR lenses are physically entirely compatible with all AR-mount bodies.
Adapting
n.B! The following applies to all Konica AR mount lenses.
This lens cannot be used natively on any current SLR or dSLRs. To use it in its native environment, you will need a Konica AR-mount film body. Of these, there is a great range to choose from as Konica cameras seem to have stood the test of time remarkably well.
Thanks to being a fully manual lens (manual aperture, manual focus), the lens can be adapted to all mirrorless cameras using a suitable adapter. Moreover, Konica AR lenses are so uncomplicated that a simple ‘dumb adapter’ will do the job perfectly. However, due to Konica AR lenses not being among the most numerously manufactured, special adapters (helicoid adapters, tilt/shift adapters) are not easy to come by and speed boosters are currently unavailable.
Using Konica AR lenses on dSLRs is possible, but difficult. Due to the exceptionally short flange focal distance of the Konica AR mount (at 40,5 mm, a lot shorter than that of any full-frame dSLR mount), any adapter will necessitate some optics to achieve anything near infinity focus.
Footnotes
- Focal length is (unless stated otherwise) given in absolute terms, and not in Full-frame equivalent. For an understanding of whether the lens is wide/tele, see ‘Angle-of-view’. ↩︎
- Picture angle is given in degrees (based on manufacturers’ specs) and concerns the diagonal picture angle. Rule of thumb:
> 90 ° ==> Ultra-wide-angle
70–90 ° ==> Wide-angle
50–70 ° ==> Moderate wide-angle
40–50 ° ==> ‘Standard’ or ‘normal’ lens
20–40 ° ==> Short tele lens
10-20 ° ==> Tele lens
5-10 ° ==> Long tele lens
< 5 ° ==> Ultra-tele lens ↩︎ - Length is given from the mount flange to the front of lens at infinity. ↩︎
- Diameter excludes protrusions such as rabbit ears or stop-down levers. ↩︎
- S=straight; R=rounded; C=(almost)circular at all apertures. ↩︎
- Numbers equal aperture values on aperture ring; • intermediate click; – no intermediate click. ↩︎
- For more detail on the progress of Konica AR lens materials and ergonomics, look here. ↩︎