Pekka Buttler, 08/2022
The table below summarizes the lens’ key specifications:
|Brand:||Konica||Lens name||HEXANON AR 24mm F 2.8|
|Focal length(s)1||24 mm||Angle-of-view2||84°|
|Maximum Aperture||f/2.8||In Production||1973–1980|
|Lens mount||Konica AR||Subfamily (if applicable)||––|
|Length3||54,8 mm||Diameter4||62,9 mm|
|Filter ring diameter||55 mm||Weight||285 grams|
|Lens element count||8||Lens group count||8|
|Aperture blades (S/R/C)5||6 S||Focus throw||185 °|
|Minimum focusing distance||22 cms||Maximum magnification||1:7|
|Has manual aperture ring||YES||Has Manual focus ring||YES|
• There are two very different lenses to be found marked as “Konica Hexanon AR 24mm F 2.8”.
• The first (this lens) was introduced in 1973 and remained in production util 1980. This lens was designed and manufactured by Konica and can conclusively be identified by a) its minimum aperture being f/16 and by having a round AE lock button.
• The second was introduced in 1980, and was designed by Konica but manufactured by Tokina. It can be identified by a minimum aperture of f/22 and a rectangular AE lock button.
• While sharing the fundamental specs (24/2.8) and design (8 elements, 8 groups), these lenses share very little else – something which is especially apparent when viewed side-by-side (the later version is significantly smaller).
• This data sheet covers only the first version.
• Konica offered a rectangular, clamp-on lens hood for this lens (the same lens hood was also used on the Konica Hexanon AR 28 mm f/3.5).
History (when relevant)
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 look (for more detail, look here) – all AR lenses are physically entirely compatible with all AR-mount bodies.´
Even in the short time (1973–1980), this lens went through two cosmetic changes (from yellow EE to green EE to green AE), but the lenses are otherwise very similar (none have chrome rings and all have rubber focus rings).
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.
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.
1 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’.
2 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
3 Length is given from the mount flange to the front of lens at infinity.
4 Diameter excludes protrusions such as rabbit ears or stop-down levers.
5 S=straight; R=rounded; C=(almost)circular at all apertures.