Camera Followup: Hexar AF

It’s been the better part of a year since I got my Hexar AF Rhodium, and as it is so different from the sort of equipment I normally favor, it seemed appropriate to offer a bit of a followup. Readers of the initial piece will note that I was rather uncertain about how I would get on with the Hexar, openly speculating that its time with me might well be short. Well, it’s still here – time to address why.

Put simply, I’m really enjoying using the camera. I don’t really know why, but I am. It fits my hand well, it’s very easy to use, and the results are very, very good. I took it on vacation last summer, shot a friend’s band’s gig in a dark bar, and used it extensively this past fall as I burned up some of my old expired color film stockpile. I’ve shot maybe a dozen rolls of film with it – B&W (some of it pushed to 1600), color print, and slide – and it’s handled everything nicely. The metering spot-on. The autofocus is startlingly competent. There’s really been nothing to dislike.

Konica Hexar AF, Kodak Gold 200 (expired)

I’m growing more accustomed to the 35mm lens. In spite of having a few lenses in this focal length, I haven’t tended to use them a lot. It’s proven a useful in-between for when I’m only carrying one camera (I’m finding myself tending more toward the 50/28 two lens kit when I travel, so 35 splits the difference). It stills requires more conscious attention than when I shoot 50, but that’s just me. The speed of the camera itself helps to offset my own slowness in framing and composition.

The quality of the lens is well-documented, but I feel a few words are necessary nonetheless. The rendering is somewhere between modern and classic. It captures fine textures very well without feeling overly sharp, and the fall-off into the out-of-focus areas is gloriously creamy. Contrast is again more than you would see with lenses from the 1950s and 60s (let alone uncoated ones), but not the biting contrast of truly modern glass. While it definitely produces more modern-looking results than most of the lenses in my collection, it strikes a nice balance that makes it clear it is not something calculated by unfeeling machines and churned out in the last decade.

Konica Hexar AF, Ilford HP5+ in Caffenol C-H(RS)

In spite of all this, there’s still some cognitive dissonance. Relying on a partially automated, battery-dependent camera partially made of plastic sticks in my craw. The whirring noises bug me. Where’s the damn advance lever? Even though it’s given me exactly zero reasons to doubt it, my own predilections leave me feeling every-so-slightly suspicious that it’s going to melt or explode or whatever modern cameras do when they fail.

What I plan to try next is to use it for some street photography. Rather than allow the camera to just do its thing, I’m going to lock the focus at 3m, the aperture at f/8 (or f/5.6, depending on the light), and go from there. I may even set the shutter to 1/125, but chances are I’ll at least let the Hexar control the speed via its Program mode (which is a sort of smart Aperture Priority), in part because I don’t want the little electronic elves to feel spurned and go off pouting and letting the smoke out. When I shoot manual cameras in the street I use the settings above in most cases, so it will be interesting to see how the Hexar AF compares in similar circumstances. I have a feeling it will be fine.

So what’s the verdict? Well, I’ve been happier with the Hexar AF than I expected to be. In spite of knowing that I could probably sell it easily and for a fair sum (certainly more than what most of my cameras would fetch), I’m keeping it for now. Will it continue to impress me favorably, or will it crap out and leave me annoyed at my misbegotten faith in it? Who knows. I like it enough that I think I’d be genuinely saddened if it failed in a way I couldn’t fix, and that’s not something I would have expected to find myself writing when I first laid hands on it.

Postscript: I followed through with my plan a few days ago. As intended, I set the aperture at f/5.6 (it was mostly cloudy) and let the camera settle on a shutter speed, but I left the autofocus on for the most part. I’m not sure why – I think the idea of setting the focus manually seemed contrary to the nature of the Hexar AF. I mean, it’s got AutoFocus in the name, for crying out loud! (Before you nitpickers get all wound up, I know the official name is “Hexar,” not “Hexar AF,” but what does everyone call it? So there.)

So how did it do? Fine, in that it didn’t cause me any problems, and was as compliant as I expected it to be. As for the photos, well, they’re what I expected from the lens in technical terms, but they also confirm that I am more a natural 50mm shooter, especially in the street. Several times I felt like I wished I had the longer focal length, and the photos reflect that my framing with the wider lens is looser, and in my eyes less refined. It just feels sloppy, or perhaps uncontrolled. I know a lot of people prefer wider lenses for street shooting, and I definitely found it useful in certain circumstances, but it never felt as instinctive as a 50mm.

So the Hexar is not likely to supplant the Leicas for street work, but that doesn’t change my feelings about it. It’s still a very good general purpose and travel camera; like every camera, you have to learn and work within its limitations, but first you have to find them.

 

The Colors of Hudson

Hudson, NY is a strange place. Outwardly it appears simply one of many post-industrial towns along the Hudson River, but it has in its past some interesting history. Unlike most river towns, Hudson made much of its 19th Century fortune in whaling, despite being close to 100 miles from the open ocean. In the 20th Century, it had one of the greatest concentrations of prostitutes on the East Coast. A successful and prosperous city for many years, it was almost selected the capital of New York State. In spite of economic difficulties after the Second World War, it still shows the evidence of that prosperity, with many houses now designated historic buildings. More recently, it has begun to gentrify and revive economically, though this process has been slow and uneven.

We went up a few weeks ago to get lunch at a pizza place we like, and of course to walk around and take some photos. I had B&W in one of my Leicas, but these were all shot on out-of-date Kodak Gold 200 with my Rollei 35. It was overcast, which worked well with color. The palette is reflective of the city itself, with muted colors of a long history offset here and there by splashes of bright new paint applied by those trying effect a revival. While the latter draw the eye more readily, the view is still dominated by what came before.

Stranger In a Strange Land

Inescapably, the world is becoming ever more cosmopolitan. More people, more communication, and more technology mean more exposure to the strange, the foreign, the other. Sometimes it’s taken entirely for granted – think, for example, how many different restaurants serving different cuisines originating in locations thousands of miles away you have within easy reach – while in other, rarer, cases it can be sufficiently encompassing that full awareness is unavoidable and overwhelming. In these latter circumstances, one finds the positions reversed, with the immediate surroundings transcending their broader context. Here, it is no longer the other imposing itself upon your world; it is you who are the other.

Not far away is a Buddhist monastery, decidedly out of place among the hills that saw American revolutionaries in the 18th Century and industrial revolutionaries in the 19th. Yet there it is, and once inside one becomes part of a very different world. There are, of course, intrusions that could easily upset the illusion, but they are also not so hard to look past, not so disruptive as to bring one irrevocably back to the expected. There, one easily becomes a stranger in a strange land.