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Konica-Minolta Manual Lenses Image Showcase

sapoeijoek

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I try not to overcrowd the forum by starting a new thread when we can just post pictures on other adapted lenses‘ thread, but starting this thread for these specific Konica and Minolta lenses I think is fun for the lenses’ images showcase and references.
I know many of the members here own Minolta but I don’t know about Konica which isn’t very popular among us hence the thread titles ‘Konica-Minolta’. So, please share your pictures taken with these lenses on any Alpha bodies only.
I started with mine below...

A7M3 + Konica Hexanon 57mm f/1.4 @ f/1.4 soft wide open but the color rendering with M3 for some reason is nicer than on A7M2.
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WNG

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FYI, there is an Adapted Lenses Image Samples Showcase Thread on this forum if you weren't aware. It's broken down by specific Make and model of lens.
The only issue regarding the Konica-Minolta combo is that both companies had their own line of lenses prior to their merger. Their individual lines were so distinct that they have no semblance to each other. Plus, some Konica Hexanon models were outsourced to Tokina and zoom OEMs near the end. The Konica-Minolta era of lenses were mostly Minolta manufactured lenses. IIRC, Konica dropped their SLR line up and stuck to point-n-shoots, where it has stayed to this day.

BTW, I'm a fan of both makes. Each have their own satisfying character.
 

WNG

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The A7III had its color 'science' revised to look closer to 'Canon colors'. The A7II has that legacy greenish-yellow hue. More exaggerated when paired with the older Hexanon 57mm f/1.4.
The replacement 50mm f/1.4 is more cooler and less noticeable but the 57mm's bokeh is buttery smooth.
 

sapoeijoek

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The A7III had its color 'science' revised to look closer to 'Canon colors'. The A7II has that legacy greenish-yellow hue. More exaggerated when paired with the older Hexanon 57mm f/1.4.
The replacement 50mm f/1.4 is more cooler and less noticeable but the 57mm's bokeh is buttery smooth.
I tried this lens on Fuji X too but the color rendering wasn’t that impressive, it was worst on A7 until I decided a few days ago since it’s been just sitting on the shelf collecting dust, and to my surprise the color rendering looked different! And yes the bokeh is buttery smooth.
I didn’t mess too much in post with those photos above, mostly the Haze since it’s soft wide open and also Curve and Shadow.
 

somnambulist_squirrel

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A few from my copy of the 57 1.4:

ILCE-7RM2    ----       f/1.0    1/60s    ISO 500
ILCE-7RM2    ----       f/1.0    1/60s    ISO 800
ILCE-7RM2    ----       f/1.0    1/60s    ISO 1250
ILCE-7RM2    ----       f/1.0    1/8000s    ISO 400
ILCE-7RM2    ----       f/1.0    1/8000s    ISO 400
 

sapoeijoek

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WNG

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Which do you prefer using? I’ve mostly migrated from the Konicas to the Minoltas, but my Konica 57 is the last remaining holdout.
I can't objectively say which is superior, they are so similar. But personally I'd select the Minolta. Only because of the colors out of camera. Negated if both RAWs are edited.
 

somnambulist_squirrel

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That's a helpful antidote for my GAS.... :) Thanks! Color rendition is mostly why I have switched over - I find I correct less when using OOC JPEGs. I sold my Minolta 24 2.8 to pick up a Tokina 20-35 zoom I could use on both my Sony and my D300....and then later sold the D300. Now I miss the Minolta 24 and haven't found a Konica or Minolta replacement I like as much -- or that my budget likes. My Minolta 28 2.8 is not as sharp as my Konica 28 3.5 was, but OOF areas are nicer and I like the micro contrast. The Tokina is decent, actually, and handy for its wider angle options, but struggles a little with corners and mustache distortion. Oh well....
 

WNG

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That's a helpful antidote for my GAS.... :) Thanks! Color rendition is mostly why I have switched over - I find I correct less when using OOC JPEGs. I sold my Minolta 24 2.8 to pick up a Tokina 20-35 zoom I could use on both my Sony and my D300....and then later sold the D300. Now I miss the Minolta 24 and haven't found a Konica or Minolta replacement I like as much -- or that my budget likes. My Minolta 28 2.8 is not as sharp as my Konica 28 3.5 was, but OOF areas are nicer and I like the micro contrast. The Tokina is decent, actually, and handy for its wider angle options, but struggles a little with corners and mustache distortion. Oh well....
It's hard to find a reasonably priced vintage wide angle that performs well. If it's very good, it's very expensive. ie. Nikkor 24mm f/2.8, Olympus OM Zuiko MC 24mm f/2.8. Konica Hexanon AR 24mm f/2.8.
I've ventured through a number seeking that 24mm prime, one of my favorite focal lengths for APS-C and FF.

Early offerings of Vivitar 24mm f/2.8: These were OEM-ed for Vivitar by Tokina. The bodies are rather large and utilize an older optical formula. Majority of early Tokina wide angles were piss poor optically. They were also sold under Soligor and a number of other brands. Avoid these.

Tamron 24mm f/2.5 01BB Adaptall-2: This offering is a cosmetically update to their 01B. The microcontrast, and color rendering is excellent. Flare control is adequate. Used with APS-C, the prime is fantastic yielding a satisfying 35mm FOV result. But under FF, the corners reveal vignetting and lack of sharpness. This is the lens' weaknesses. It's my 2nd best 24mm prime.

Olympus OM Zuiko 24mm f/2.8: I was lucky to acquire a copy for cheap, the earlier silver-nose style. The lens looks wonderful under APS-C. Airy, transparent Zuiko color quality, contrasty. Hint of distortion. Under FF, the distortion is very apparent. And the corners soft. It's weakness is significant distortion.

Canon nFD 24mm f/2.8: This lens has a very good rep. But also a physical weakness I've discovered. My copy's rendition wasn't as tack sharp and accurate. No matter how I tried to focus it. Shot under FF, the results looks like a layer of haze. Later I found out the body's barrel can develop looseness, a known defect. While focusing, one feels a 'knock' rocking the focusing ring back and forth. Some elements therefore aren't aligning accurately. So, unless you can test a copy directly on your body, avoid online sales unless you can return it for a refund.

Recommendations: Later models by Tokina are much better than their early 24mm primes. The optical formula yields a small shallow body like other brands' 24mm, the Olympus, the Sigma. They are models of the RNC line and later. These are very sharp, contrasty, color accurate, clean and sharp across the frame, no vignetting. And I'm able to stitch panoramas successfully. But its flare control is weak. It's Achille's heel. But otherwise it's excellent. And it's still cheap. It's my best 24mm and the one I go to.
There is a Vivitar version of this formula in their TX mount style. It creates a larger heavier body though.
You can see the results from this version at my flickr page. I took some landscapes last month with it.

The other recommendation is one I've been unable to get a copy cheaply....the Sigma Super Wide-II 24mm f/2.8. Has the same excellent qualities of the Tokina above.
Probably better, from the online shots I've seen.

Overall, you are not going to be able to match a modern mirrorless offering. If you want high image quality, invest in a new Samyang AF 24mm f/2.8 if you desire that warm rendering of some vintage lenses, or the new Tamron 24mm f/2.8, for sharp, contrasty, modern look. These are the most affordable for now.
 

somnambulist_squirrel

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Considering how much I like my Samyang 35mm f2.8, I have been thinking hard about the 24 or 18. Or the Tamron 20. With the prices good used vintage wide primes are now commanding, I may go with a modern lens instead. Of the modern lenses, I find I like the Sigma "look" most. The 16mm on APS-C is fantastic, as is the 18-35 f1.8, and I often use an a6300/Sigma 16mm f1.4 combo for the 24mm equivalent field of view. Those, however, are not mine, just have access to them.

I have had generally good experiences with my two Tokina lenses - the 20-35 (which really is quite adequate!) and my manual 400mm f5.6 SD. Both perform very well for their (used) price of admission.
/threadhijack
 

AlwaysOnAuto

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I somehow have two Nikkor 24's, one old(er) one newer. I don't think there's any difference between the two from an optical point of view, but I'm not sure. I prefer using the newer one only because it is lighter. I think the older one may be a tad sharper. I like 24mm for taking shots of cars. You can get in close and yet it doesn't look that close. I like my Minolta 58, but again it's heavy so doesn't get much use.
Funny, my Sony 24-105 is heavier than all of them put together (I think) and it hasn't come off my A7iii since I got it.
Sorry for the hijack, if that's what I did.
 
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sapoeijoek

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If you want high image quality, invest in a new Samyang AF 24mm f/2.8 if you desire that warm rendering of some vintage lenses, or the new Tamron 24mm f/2.8, for sharp, contrasty, modern look. These are the most affordable for now.
I prefer the rendering look of old vintage lenses, so Samyang is the one.
 
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