Review: The Konica Auto S3

The 1973 Konica Auto S3 is an advanced compact fixed-lens rangefinder camera whose primary selling point is its exceptional 38mm f/1.8 lens. The Auto S3 descends from two prior Konica rangefinder products, combining the 38mm Hexanon lens from the 1966 Auto SE and the general design and ergonomics of the 1968 C35. With a good, but not perfect, combination of features, the Auto S3 still remains one of the iconic pocketable fixed-lens rangefinder cameras.

During the 1950s, Konica produced a series of high-quality fixed-lens rangefinders in the form of the I, II, and III series. With the market demanding cameras with coupled light meters, starting in 1959, Konica produced a series of excellent fixed-lens rangefinder cameras, which ultimately culminated in the 1973 Auto S3.  Here is a brief recap.

Konica S Series (1959-63): Starting in 1959, Konica introduced the first of three cameras in the “S” series, which combined a sharp and rangefinder-coupled lens, a coupled selenium light meter (match needle), a Copal SV shutter (max 1/500 shutter speed), and a parallax-corrected viewfinder. The primary differences between Models 1, 2, and 3 were the lenses. The S came with a 45mm f/2.8 lens, the S-II with a 48mm f/2 lens, and the rare S-III with a 47mm f/1.9 lens. The independent aperture and shutter speed controls were placed on the lens itself.

Konica Auto S Series (1963-66): During 1963, Konica introduced the next generation of its fixed-lens rangefinder camera in its Auto S camera. Using the same 47mm f/1.9 lens from the contemporary Konica S III, the Auto S added an off-lens coupled CdS metering system powered by a single PX625 1.3V battery, a Copal SVA shutter, a dual range exposure system that permitted an “auto mode” for shutter speed priority operation or match needle operation for aperture priority, a parallax-corrected viewfinder, and a pull out lens hood.  It was a superb (and expensive) camera for the time. In 1965, Konica released a major update to the platform in the form of the Auto S2 with a the 45mm f/1.8 lens.  The major difference from the Auto S was the relocation of the CdS meter cell to inside the ring of the lens (allowing for automatic exposure compensation when using filters). 

Side-by-side with the production of the Auto S2, Konica announced the Auto SE Electronic in 1966. The Auto SE featured a brand new, wider 38mm f/1.8 lens, a wind-up auto film advance mechanism, and automatically parallax-corrected viewfinder. The Auto SE was a “program-only” camera, whose only exposure input was the film speed, with the camera doing the rest.

Konica C35 (1968): In 1968, Konica introduced its perhaps most iconic rangefinder camera.  The C35 was a major departure from the Auto S series line.  The C35 had a coupled rangefinder, a four-element 38mm f/2.8 lens and a Copal B shutter.  The C35 was a completely automatic camera, with no manual override for either shutter or aperture settings.  The CdS meter transmitted both the shutter speed and aperture settings to the viewfinder.  The auto shutter operated from 1/30 to 1/650.  The camera also introduced a neat automatic flash system that set that automatically set the shutter speed to 1/25.  Konica sold a ton of these cameras. The C35 lived on through the 1970s in various configurations, using the same 38mm f/2.8 lens. 

Konica Auto S3

The Auto S3 combines the general ergonomics of the C35 with its excellent 38mm f/1.8 lens from the Auto SE. Other than the lens, the Auto S3’s highlights included shutter speed priority autoexposure, an exposure lock capability, and a further implementation of the guide number flash system that synced at all shutter speeds. Although the production of the Auto S3 ceased around 1977, Minolta and Vivitar introduced very similar products immediately thereafter: the 7sII and the 35ES.

Specifications

ConstructionAnodized Aluminum Body
Shutter SpeedsB, 1/8 to 1/500
X-Flash SyncAll Speeds
Aperture Rangef/1.8 to f/16
ASA Range25-800
ShutterCopal (Leaf)
BatteryPX675
Filter Thread49mm
RF Baselength14.2mm
Minimum Focus0.9m
1973 Price $199
Years of Production1973-77

Operation

38mm Lens: The multicoated, six-element, four-group 38mm f/1.8 lens on the Auto S3 is carried over from the single coated version in the prior Auto SE (which could focus down to 0.6m). The 38mm Hexanon is a fantastic lens with (I am pretty sure) a 1-2-2-1 symmetrical design and. In my opinion, the Hexanon rivals lenses like the similarly-designed 35mm f/2.8 Leica Summaron and the 35mm f/2.5 W-Nikkor. There is a little vignetting wide open but the resolution and color rendition are top-notch for a non-professional lens. I like the Hexanon so much that I had one modified to rangefinder-coupled Leica M mount.

Viewfinder: The Auto S3 has a relatively small but bright viewfinder and displays along the right side the aperture reading that would correspond to the selected shutter speed. There is no automatic parallax correction, only marks in the etched frameline for closer distances. The rangefinder patch is adequate for most situations.

Focusing: The primary shortcomings of the Auto S3 are that body’s capabilities are not commensurate with the lens performance. The combination of having a short effective rangefinder baselength, a short focusing throw, and a minimum focusing of only 0.9m limit the camera’s potential.

Exposure & Exposure Lock: The Auto S3 uses shutter-priority autoexposure. This means that the camera automatically sets the appropriate aperture at the shutter speed selected on the lens. Light metering is achieved via a CdS cell above the lens. A really nice feature on the Auto S3 is an exposure lock that is activated by a half-press of the shutter button.

Film Speed: The ASA 25-800 range was pretty good for 1973. The film speed is selected via a lever at the bottom of the lens.

Guide Number Flash System: Like the Auto SE before it, the S3 has an interesting daylight fill flash feature, that was originally designed for the Konica X-14 and X-20 flashes but will work with any flash that has a manual mode. The way it works is that you place the flash into the hotshoe and then adjust the flash guide number ring to match the flash’s guide number. With the flash attached, a dark bar appears along the aperture readings in the viewfinder. You focus and then meter the scene and then adjust the shutter speed until the aperture lines up with the black bar. Thus, this system takes into account the flash’s maximum power, the distance to the subject, and the ambient light. The Auto S3’s pre-set guide numbers (at ASA 80/125 in meters) are 7, 14, 28, and 56.

Battery: The Auto S3 requires one PX675 battery to operate.  The camera will still fire with no batteries, but the aperture will be stuck wide open at f/1.8 and shutter speed at 1/30.  Although PX675 mercury batteries of the correct voltage are no longer produced, there are adequate replacements (1) a zinc-air 675 replacement; or (2) an MR44 step down adapter, you can use a cheap 392 silver oxide battery.

Lens Hood: Konica never produced an OEM lens hood for the Auto S3. Almost all aftermarket 49mm lens hoods partially block the viewfinder, with some vented hoods actually also partially blocking the rangefinder as well.  Per the helpful comment below, there are several workarounds. The first is the lens hood from the Minolta 7sII, which also has a 49mm filter thread. The second is the original hood from the 1959 Konica S.

Always On Light Meter: The light meter remains always on as long as the lens is uncovered.  This is a major design flaw given the fact that either a switch or half-cocking the film advance could act as an “on” switch. 

Compared to Contemporary Alternatives

During the 1970s, a variety of manufacturers made similar compact, fixed-lens rangefinders. Here are a few of the more popular ones compared. Aside from a slightly-wider lens and an exposure lock, the Auto S3’s specifications are, on paper, similar to its competitors.

Konica S3Vivitar 35ESOlympus 35RDYashica 35GXMinolta 7sII
Year Introduced19731978197519751977
Lens38mm f/1.840mm f/1.740mm f/1.740mm f/1.740mm f/1.7
Min. Focus0.9m0.9m0.85m0.8m0.9m
Shutter RangeB – 1/500B – 1/500B – 1/500B – 1/500B – 1/500
Exposure ModesShutterShutterShutter/ManualApertureShutter/Manual
Weight410g465g490g580g460g
Filter Thread49mm49mm49mm52mm49mm
MeteringCdSCdSCdSSilicon DiodeCdS
Parallax CorrectionEtchedEtchedEtchedYesEtched
ASA Range25-80025-80025-80025-80025-800
ShutterCopal?Seiko?Copal
X-SyncAllAllAllProprietary FlashAll
VF Mag.0.55x?0.60x0.62x?
RF Baselength14.2mm????
Battery PX675PX675PX6252 x PX640PX675
Exposure LockYesNoNoNoYes

Accessories

The Auto S3 had two main accessories: (1) a two-part case; and (2) a close up lens called the “Auto Up 3.”  Because the Auto S3’s lack of close focusing,  I have been keeping an eye out for the close up lens but they seem to come up very rarely.   

Conclusions

There is no doubt that the Auto S3 is fine camera. Building upon the success of the C35, and incorporating the excellent wider lens from the Auto SE, the Auto S3 makes the case for being one of the better and more versatile consumer fixed-lens rangefinders on the market in 1973. Despite much internet enthusiasm for the Auto S3, it has some downsides that are mostly shared across its class of cameras. The fact that the meter continuously runs without a lens cap and drains the battery is a bummer. The minimum focusing distance of 0.9m limits its versatility. Because other manufacturers followed suit with similar products with similar capabilities, the Auto S3 does not monopolize any particularly useful feature in its class, except for perhaps exposure lock. Unless you are focused on the Auto S3 in particular, any of the other better cameras in its class (listed above) should similarly be considered. I would suggest that: (1) the Minolta 7sII would be considered as the true “successor” of the Auto S3; (2) the Yashica 35GX is more useful for those who prefer aperture-priority operation; and (3) the 1972 Canon QL17 G-III is perhaps the best of the bunch.

Review: The Konica TC-X

Introduced in 1985 and discontinued in 1987, the Konica TC-X was the last of the line for the Autoreflex-mount series of cameras.  Supposedly built for Konica by Cosina, the TC-X shares nothing in common with any prior Konica SLR model except for the lens mount. Despite this, the TC-X was notable from an historical perspective for two aspects: (1) it was the first 35mm SLR camera capable of reading DX-coded film cassettes; and (2) it was the first body made primarily of plastic. Other than that, there is nothing remarkable about the TC-X. With its mechanical shutter and relatively dark viewfinder, and as its name implies, the TC-X is probably best understood not as any type of step forward from the 1983 electronic-shutter Konica FT-1, but rather as a kind of spiritual successor to the 1970s Autoreflex TC.

The standard lens sold with the TC-X was a new 6 element, 5 group 50mm f/1.8 Konica Hexanon lens, which was a product of a collaboration between Konica and Tokina, which produced a number of the final generation of Konica lenses, such as the f/22 versions of 21mm f/2.8, 24mm f/2.8, 35mm f/2.8, 40mm f/1.8, and a number of unremarkable zooms.  The TC-X retailed for about $149 in 1985 with the 50mm lens. Sellers also often bundled the TC-X with the Tokina 35-70mm f/3.5-4.5 Zoom.

Given that, is there any case for the TC-X? Let’s take a look.

Baltimore Sun Advertisement, June 26, 1985.

Specifications

Lens MountAutoreflex
Shutter TypeVertical Metal
Auto Exposure ModeShutter
X-Sync1/60
Viewfinder Coverage92% / 0.87x
MeterCenter-Weighted
ASA Range50-1600
Shutter Speed RangeB, 1/8 – 1/1000
Exposure Lock?Yes
Weight375g
Self Timer?Yes
Batteries1 x AAA


Operation

While functional, reliable, and relatively light, the TC-X is a very basic SLR whose design and build quality leave something to be desired. Inheriting nothing from any prior Konica body other than the lens mount, the TC-X exhibits the typical attributes of many of Cosina’s made-for-hire bodies.

Viewfinder: The TC-X has a rather dark viewfinder for this class of camera and is easily its worst attribute. The focusing screen is a standard split-screen / microprism type with the aperture settings (f/1.4-22) on the left hand of the viewfinder. Dark viewfinders mean that with lenses whose maximum apertures are f/2.8 and smaller are much more difficult to focus.

Operation: The TC-X’s shutter-speed priority autoexposure operation is straightforward. Mount an AR lens and set it to AE/EE. Turn the meter on via a switch. The viewfinder via a match needle will show what aperture is selected at the shutter speed. Fiddle with the shutter speed accordingly to arrive at the aperture you desire. The TC-X can lock the exposure by a half-press of the shutter button. The TC-X can also operate in a metered stopped-down mode. This is also very simple: set the shutter speed and aperture until the meter needle arrives at f/1.4 in the viewfinder.

Shutter: The TC-X has an abbreviated shutter speed range of 1/8 to 1/1000. The shutter is loud and undampened. The On/Off meter switch also acts as a shutter button lock.

X-Sync: The TC-X’s flash sync speed is a below-average 1/60 and must be manually set, along with the appropriate aperture, for auto flash use.

Battery: The TC-X uses a sole AAA battery which only powers the light meter. Being a mechanical-shutter camera, the TC-X will work at all shutter speeds without a battery.

DX Film Coding: As stated above, the TC-X was the first widely-available 35mm SLR that had integrated DX film reading, set on a dial around the film rewind. Fortunately, you can still manually set the film speed at anywhere from 50-1600 ASA. Film loading is actually a little bit of a pain as sometimes it is difficult to get the film leader to catch reliably into the takeup reel.

Conclusions

The good things about the TC-X are its non-battery-dependent mechanical shutter, its reliability / durability, and its useful exposure lock feature. The biggest downsides of this simple camera are its relatively dark viewfinder, its undampened shutter, and sometimes fussy film loading. While the TC-X can be seen to be a better (overall) mechanical body than the TC or the T4, my advice is go for an FT-1 and do not look back.

Gallery: Detroit (2003 – 2008)

On July 22, 2001, during the 300th anniversary celebrations of the founding of the City of Detroit, an article appeared that flipped the traditional narrative of the city’s origins. In the 20th century, every southeastern Michigan school kid was taught that Detroit was founded by an individual named Antoine de la Mothe Cadillac, a French aristocrat from southern France. In the illustrations in the textbooks, Cadillac, dressed in a Three Musketeers ensemble, replete with a tricorne hat, disembarks from a French naval vassal with red and blue flags emblazoned golden fleurs-de-lis, firmly planting it on some part of the modern riverfront.

But the well-researched article pointed out that Cadillac was no aristocrat and no hero. Cadillac was born the son of a provincial judge in 1658 in Gascony. Arriving in the New World in 1683, he re-invented himself as a French nobleman, swiping the “de la Mothe” name from a local chateau near his hometown. Cadillac then lied to the Governor of Montreal about his origins. He made a fortune selling liquor and firearms to Native Americans. Once the leader of the Detroit settlement, he sold the government offices to friends and family. He hated Native Americans, Jews, and Jesuits. After a brief stint in New Orleans starting in 1713, he returned to France 1717, where he was promptly thrown in La Bastille from crimes against le royaume. After being released in 1718, he lived out his life in France, dying in 1730. Canadian historians remain baffled by Detroit’s admiration for the figure, deeming him “one of the worst scoundrels ever to set foot in New France.”

Fast forward 301 years to 2002. That year, Detroit elected the young, charismatic, larger-than-life Kwame Kilpatrick as Mayor. After decades of mismanagement, stagnation, decay, the City appeared to be again on the move. During the late 90s and early 2000s, a new influx of young people began to settle within the Grand Boulevard Arc (the historic core of the City). While those neighborhoods witnessed a small spike in revitalization and interest, the remaining 80% of the City struggled to stabilize and endure. The 2000 to 2008 period, for better or for worse, and purposefully or not, laid the groundwork for the incredible “gentrification” or “revitalization” (answer depending upon whom you ask) of the neighborhoods within the Grand Boulevard Arc.

Without the benefit of enough hindsight, it is difficult to say whether in that particular part of Detroit, a mini Renaissance had occurred — probably because we often mix up the joy of being young with the joy of being in a particular place at a particular time. Needless to say, with residential and commercial rents being cheap and crime being relatively low (yet still existing), more things became possible for a particular group of people.

It was definitely a good time to be in school, which I was between 2003 and 2006. At the time, I had a Nikon F4 and a Konica Hexar RF, until both of them were stolen in an apartment break-in during the mid-2000s.

Twilight of the Decay

Unlike many cities around the world, Detroit failed at preserving its past. Indeed, it probably can be said that Detroit made a conscience effort to destroy it. Starting in the 1950s, the City began demolishing much of its remaining downtown Victorian and early-20th century government and commercial buildings, replacing them mostly with empty lots. This destruction continued unabated, and undeterred by strong protests from preservationists, through the mid-2000s, with perfectly mothball-able buildings being torn down and replaced with nothing.

Statue of Pope John Paul II in Hamtramck

Abandoned Apartment Building Between Brush & John R.

General Motors Headquarters Seen From a Derelict Warehouse

The Iconic Bronx Bar in 2006

Barbecue in Detroit’s Eastern Market

Detroit Firefighters Combat Another Blaze in the Cass Corridor in 2006





Tiger Stadium (1912), Sitting Derelict Here in 2007; Torn Down in 2008

Abandoned Boat in a Woodbridge Alley

February 2003 Downtown War Protest

On an extremely cold day in February 2003, U.S. House Representatives John Conyers, Jr. and David Bonior assisted in the organization of an anti-Iraq War protest. The turnout was phenomenal.











2004 Cinco de Mayo Parade, Southwest Detroit





2004 Corktown St. Patrick’s Day Parade

A tradition since 1958, the Corktown St. Parade, taking place unfortunately on a winter Sunday in late February or March each year, was and is the most debaucherous day of the year in Detroit.





Gallery: Okinawa (2018)

Okinawan “Shisa

To Americans, “Okinawa” usually conjures images of a fierce two-month battle in 1945 against entrenched and determined forces of Imperial Japan.  The battle killed half of the native Okinawans, nearly 150,000 of a pre-war population of approximately 300,000.  The fighting and bombing destroyed virtually every building, historical site, and record.  A little-known fact is that the United States annexed Okinawa after the battle, installing a military government that lasted until a 1972 democratic referendum that voted for reunification with Japan.  Okinawa still houses large, sprawling military bases for both forces of the United States and Japan. 

Although an integral part of Japan today, Okinawa was not traditionally part of it.  In fact, the islands were known as “Ryukyu” to the Chinese as early as the 8th century ACE.  “Okinawa” is the Japanese term.   Sitting in an archipelago stretching to Japan to the north and Taiwan to the southwest, Okinawa operated an semi-independent kingdom throughout what the West considers to be the Middle Ages. 

Before the 17th century, Okinawa existed as an independent kingdom and nominal “vassal state” of the Kingdom of China.  However, China only imposed tribute and loyalty obligations on their vassal states.  Although Okinawa had its own language and indigenous culture, like most other neighboring peoples, Chinese cultural influence was dominant.  During this period, Okinawa enjoyed some success and autonomy by acting as sort of a “neutral” trading ground among the kingdoms of China, Korea, and Japan. 

In 1609, the Japanese Shogunate invaded and conquered Okinawa.  Henceforth, Okinawa operated as both a kind of vassal state of both China and Japan.  As the story goes, because Japan outlawed civilian weapon ownership,  Okinawans subsequently invented a martial art known as “karate.”  In 1879, Meiji Japan formally annexed Okinawa.  However, despite pressure by the Japanese at this time to assimilate the Okinawans and suppress local language and customs, encourage them to adopt Japanese versions of their name, and to conscript them into the military, Okinawans retained a strong independent identity, even up through the 1945 battle. 

Because of the significant need for laborers for the sugar and pineapple plantations, the Kingdom of Hawai’i imported a large number of Japanese, Chinese, Korean, and Filipinos laborers during the late 19th century. However, the international conglomerates running Hawai’i agriculture treated Asian laborers little better than slaves. “Pidgin,” which still can be heard in Hawai’i, was a dialect developed by Asian and native Hawai’ian laborers combining words from multiple languages to communicate with each other and with their overlords. In a little-known, but impressive, act, after the United States formally annexed Hawai’i in 1898, the Hawai’i Organic Act was passed in 1900, which invalidated the oppressive labor contracts imposed upon immigrant and native laborers and forced renegotiation of their terms. Also around 1900, significant numbers of Okinawans began moving to Hawai’i to take advantage of the booming opportunities in agriculture. However, in 1924, the United States halted further East Asian immigration. Americans of Okinawan descent served with distinction with many military units throughout the war.

To this day, because of the late 19th and early 20th century immigration, Hawai’i and Okinawa share a strong cultural connection. In fact, in the aftermath of the 1945 battle, Hawai’ians organized a humanitarian relief effort to aid the local population. In Okinawa today, you can see people wearing Hawai’ian shirts. More info on the history of the deep bonds between Okinawa and Hawai’i can be found here.

In 1945, the United States, obviously knowing very little about Okinawa, did not appreciate the fact that many Okinawans still regarded the Japanese as outsiders and colonizers.  As a result, the battle was unnecessarily vicious and destructive.  The United States surrounded the isolated island with a large armada.  And for two months, the military destroyed everything on the island.   

After the war, the United States occupied and annexed the island. Throughout the 1950s and 1960s, Okinawans, resenting the large military presence, starting demanding an end to the occupation. Resentment only grew with the United States using Okinawa as a staging ground for the bombing of Vietnam. The protests ultimately culminated in a referendum in 1972 which ended American military rule and reunited the island with Japan. However, the militaries of United States and Japan continue to occupy a significant portion of the main island. Given their resentment at the occasional serious crimes committed by military personnel, and their desire not to be a military target again in a future war, most Okinawans still wish to see the departure of all military personnel from the island.

After reunification, Japan poured a significant amount of resources into the island. Today, the population of Okinawa is about 1.4 million people, five times its pre-war population. The cities, nestled in the valleys between principal hills, are densely populated, with gridlock traffic during the work day. Small farms dot the landscape in between the cities and hillsides.

The 1945 battle pretty much erased much of the physical evidence of Okinawa’s history, destroying its cities, its unique family tombs that had been carved into hillsides, its palace, and its historical and government records. What did survive, in part, were some of its stone hilltop 14th and 15th century “Gusukus” (meaning “castle” or “fortress” to some, “holy place” to others, depending on how one interprets Chinese characters). Although many of the gusukus were damaged by military shelling and bombing during the battle (as the Japanese used many of them as artillery positions), significant post-war efforts have restored many of them.

Here are some touristy travel shots were taken with a Konica TC-X with my Dad’s old 35/2.8 Hexanon (borrowed from my brother). I liked this lens so much that after this trip I located and purchased the 35/2 Hexanon. The color photos were taken with a Fuji X20 digital camera.

The Gusukus

During the 14th and 15th centuries, Okinawa was divided into several smaller principalities. During this period, local leaders built large stone castles on hilltops overlooking the sea and the land below. The ruins of the gusukus dominate the landscape of Okinawa from north to south. Scholarship has revealed that even after these installations fell into disrepair with the Shogunate invasion, local religious rites were carried out on the ruins of these sites. Apparently, both ancient Roman and Ottoman currency have been found at these sites — a testament to Okinawa’s importance as a center of trade and cultural exchange.

















Shuri Castle

This 14th century edifice was completely destroyed during 1945. Since the unification of the Ryukyu Kingdom, it was its political, economic, and cultural hub. Built on a commanding hill, its architecture is distinctly Chinese. In the 1920s, a Japanese architect assisted in the castle’s restoration, and it was declared a “national treasure.” In 1945, shelling from the battleship U.S.S. Mississippi destroyed all of palace buildings. Starting in 1992, Shuri Castle was reconstructed according to old plans and photos. It is pretty magnificent.



“Turtle Back” Tombs

An ancient Okinawan tradition included establishing an extended family tomb in the side of a hill. These tombs are scattered throughout the island. The space doubled as an area to pay respects to one’s ancestors. Many of these tombs were obliterated during 1945, with some being rebuilt after the war. Okinawans tell heartbreaking tales of families hiding out in the tombs during the bombing of the island. However, the tradition remains alive as “new” traditional tombs are still being built today.



World War II Stuff

Unfortunately, the 1945 battle imprinted a lasting mark on both the people and physical landscape of the island. Around the time of reunification with Japan in 1972, Okinawa began construction of its “Peace Memorial Park” on the southern part of the island where the Japanese made their last stand and where General Mitsuri Ushijima, who led what many military historians consider a skillful defense of the island given the massive inferiority of his forces, committed suicide when the battle was lost.

The Peace Memorial Park contains freestanding monuments listing by name the roughly 240,000 people who died in the battle — Okinawans, Japanese, Koreans, and the Allied Forces. The Koreans who fought with the Japanese have their own monument. While there, we witnessed Japanese naval personnel visiting the Park.

Small portions of the intricate series of tunnels dug by the Imperial Japanese Army are open for view. In these tunnels, one gets the sense of the desperation and futility of the fight. Besides the military conflagration, the ultimate tragedy were the deaths of so many Okinawans, pressed into service by the army to fight a hopeless battle.