Canon 50mm f/0.95 Dream Lens Review Plus Samples

Howdy good people, how are you all? Hope everyone is good!

As for me, between trying to create content for the blog and for its YouTube channel, I think I may have dug myself into a hole that’s gonna be hard to get out of ๐Ÿ˜€

That’s because now there’s double duty for me on this front, and I could barely keep up with the blog alone!

Sorry for not being able to get back to you guys. Hopefully, I can catch up to you all this weekend. I do appreciate you all!

I’ve been working on this post as well as the video, spending all my free time on both. Just one look at the length of this article will tell you why I’m burnt out ๐Ÿ˜›

Since I’m a person who does not like pressure, I found myself shutting out the world by binge watching “Forensic Files” ๐Ÿ˜€

Do not watch this program, not even one episode because if you do, you’ll be watching for hours and get nothing done!

Anyway, enough rambling on nonsense let’s talk about the topic at hand…

The Canon 50mm f/0.95 “Dream Lens.” While this may just be the latest among many reviews of this famous and legendary lens, I’ve actually had my copy for nearly ten years, using it on both film and digital bodies, and it has become one of my most cherished lenses, perhaps my favorite. And now I’m writing to share my experiences with you.


The Canon 50mm f/0.95 was introduced by Canon in 1961. According to the Canon online camera museum, “It had the largest aperture in the world for photographic lenses available in the market at the time.” It is affectionately known as the Canon “Dream Lens.”ย Today, the Dream Lens has become one of the most well known and coveted lenses of its era.


“Dreamtime” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens @ wide open, I believe. Film was Tri-X 400. Baby Z getting excited to read about the Dream Lens maybe? More likely, she’s excited for Elmo ๐Ÿ™‚

The lens has aperture stops from f/0.95 to f/16. The lens has 10 aperture blades and is a Gauss type design.

When seeking this lens, you will find it usually comes in two flavors. The standard version is rangefinder coupled and was made specifically for the Canon 7/7s film rangefinders. These cameras have a special mount to take the 50mm f/0.95 and to my knowledge you cannot use the lens on other film rangefinders, Canon or otherwise.

There is also a “Canon TV Lens” version. It says “TV Lens” on the front inner ring of the lens. Pretty much the same lens, but made for C-Mount and is uncoupled. It usually comes with a C-Mount ring attached to it.


As mentioned in my last post, I am including YouTube videos in conjunction with my postings, whenever possible to give our readers a more dynamic experience.

For those who want to cut to the chase, here’s the video from around 4:45 but if you watch the whole video, you might want to grab a cup of coffee and/or a snack because it’s nearly ten minutes!

The video is more of a summary, but this article contains much more information on the Canon Dream Lens.

Oh yes, thereย ISย a reason for those shades and it has nothing with trying to be cool or uncool or whatever! I will divulge in a future posting I promise you!!


Before we go on any further, please let me say this is not meant to be a full throttle or technical review of the lens. I’m no optical expert. I have no optical bench to test optics.

I have to rely on what I see with my eyes, based upon my experiences. Between telescopes and camera lenses, I have spent over thirty years developing an eye for optics. But again, I restate that I am no optics expert. I see what I see and I leave it up to the readers to make the judgement to my opinions.

With that out of the way, let me tell you the story of how I came upon the Dream Lens.

In the early to mid 2000s, perhaps 2004 or 2005, I answered an ad on Craigslist and went to someone’s home to check out a camera collection for sale. I suspect some of our readers have been to a few of these ๐Ÿ˜Š

Anyway, hidden in the pile of junk cameras was a dusty camera with a huge lens on it. That camera was the Canon 7 rangefinder and the 50mm f/0.95 Canon Dream Lens.

The fella wanted $600 for it, and me thinking it was too expensive for this dusty, dirty outfit, I passed on it.


“Nightmare” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens on Arista EDU Premium 400 developed in T-Max developer. I was focusing on the gorilla when he stuck his tongue out! The baby and mother added to this shot, I do not know them. Considering that the rangefinder on my Canon 7 was out of alignment, I got real lucky with this shot!

As you may or may not know, that price is a bargain compared to what this lens alone goes for today!

That was the seed that set me on a wild goose chase for this lens! It wasn’t until 2009 that I was able to find and afford a copy of my own.

Although the lens is not often seen in the real world, the Canon Dream Lens is not what I’d call rare, and it wasn’t that the lens was particularly hard to find that took me so long to get one.

I guess you could say it was a bad string of finances and timing. When I had the money, I couldn’t find one. When I did find one, I didn’t have the money. But it all came together in 2009.


This lens is meant to be used wide open at f/0.95, but here is my breakdown…

“Twilight” 2014. Sony A7R, Canon 50mm f/0.95 Dream Lens @ wide open!

At F/0.95:ย There is apparent softness upon first impressions. At wide open the bokeh is most dramatic, as expected and makes up for any impression of softness. Upon closer inspection on a properly focused image, it is actually sharp.

The DOF is razor thin at f/0.95 and focussing errors may account for at least some of the softness people complain about.

“Sweet Zay Jan” 2018. Leica M8, Canon 50mm f/0.95 @ 0.95. Note, the baby started moving, as seen by her hands, but thankfully her face did not, allowing me to capture her sweet smile:-)

The “softness” possibly comes from lowered contrast and/or other optical imperfections. Images at wide open sometimes seem like they are enveloped in a thin veil of haze, but this is not noticeable in all images and most of the time, I don’t find it objectionable. This adds to that dreamy look, a glow that some have mentioned. Some of this may come from, again lower contrast wide open and/or poor flare resistance at this aperture. A lens hood helps if you’re wanting to minimize flare or trying to avoid lowering contrast further.


“Day Dream” 2010. Canon 7 Rangefinder, 50mm f/0.95 Dream Lens.

There is vignetting, noticeable on both film and digital. When I shot this lens wide open on the Canon 7, the vignetting was not objectionable. On the Sony A7R (original 36mp camera), it was more pronounced. I did not find it objectionable, but some might.

At F/1.4:ย The contrast increases, the slight haze dissapates, and the image appears quite a bit sharper than wide open. It could be comparable to other 50mm f/1.4 lenses of its era.

“Bundle Up” 2014. Sony A7R, Canon 50mm f/0.95 @ f/1.4. Sharpness is improved from wide open and the bokeh looks a lot less “funky” for lack of a better word ๐Ÿ™‚

At f/2.8:ย Should be good enough for most purposes you would use any other 50mm lens for!


“The Dream Team” 2010. Rad and Frank, two great friends and photographers affectionately known as the “Dream Team.” Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens @ around f/2.5-2.8 on Arista EDU Premium. Note the bokeh is more subdued but still funky. Can the “Dream Team” ride again? ๐Ÿ™‚

Stopped Down Further:ย Honestly, I see no point in evaluating this! Why? Because this lens was meant to be used wide open or stopped down slightly to get the famous bokeh effect it’s known for. It gets sharper as do most lenses stopped down. I never objectively tested it at say f/8, f/11, and f/16. It will never achieve Otus like sharpness, but then again, that is unrealistic. It’s probably as sharp stopped down as any other 50mm from the 50’s and 60’s.

“New Dream” 2014. Sony A7R, Canon 50mm f/0.95 @ wide open! Even with ISO 100, the camera was giving me the max shutter speed of 1/4000th!


This lens is all about bokeh, or the background blur in the out of focus areas. Or to be even more geeky…the qualityย of the background blur.ย Honestly, there’s no real reason to get this lens for any else but bokeh!


“Radamon’s Dream” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 @ wide open! Film was Arista EDU Premium 400. I think this is a good example of the Dream Lens’ bokeh at its funkiest!

Count on me to tell it like it is, while people goo and gah over the bokeh from the Dream Lens, it doesn’t always neccessarily qualify as beautiful, to me. But everything I love doesn’t have to be beautiful, and so I love it! ๐Ÿ™‚

“Shoot The City” 2018. Leica M8, Canon 50mm f/0.95 @ wide open! Who says the Leica M8 can’t shoot low light? With a fast lens like the Canon Dream Lens, it sure can!

Light sources, such as night lights for example, look like “coma shaped orbs” as I’ve mentioned before from similar vintage lenses. Almost like gibbous or half moon shapes.

“City Lights” 2018. Leica M8, Canon 50mm f/0.95 @ f/0.95. This shot was taken across the Hudson River in New Jersey. The yellow lights in the back are lights from cars driving on NYC’s West Side Highway at night. This is an example of the “moon shaped orbs” I mentioned. This was shot at night, another reason to use a lens this fast!

It may not always be so pretty, but this is what draws people in to the images produced by this lens. In many ways, this is the closest on 35mm that you can get to that Aero Ektar f/2.5 look on a Large Format 4×5 Speed Graphic.

A lot also depends on the background. If there’s a lot of clutter, things tend to look worse. If the background is relatively clear, things will look better. I have been pleasantly surprised with some images where the bokeh looked neutral, even wide open.


“Dream Ride” 2010. Canon 7 Rangefinder, 50mm f/0.95 Dream Lens @ wide open. Tri-X 400 developed in T-Max Developer. Note the neutral background at wide open. As with most lenses, the background determines a lot as to what the bokeh will do.

I’ve heard people call the bokeh from the Canon 50mm f/0.95 as beautiful, delicious, “bokelicious,” sweet, tasty, even nasty, horrible or ugly. I call it “Super Funk” because it is all this and more. It is whatever you interpret it to be!

“Zen” 2018. Leica M8, Canon 50mm f/0.95 @ wide open.ย 

Although it’s one of my favorite lenses of all time, I use it sparingly. I mean, I could use this lens every day but I would never post pictures from it every day. You will just kill the effect if you do. This lens should be considered an artistic tool in your arsenal rather than an everyday lens.


The Canon 50mm f/0.95 has increased in value over the years and prices are now trending from a low of $1200 to a high of $2000 give or take. Some unscrupulous dealers are trying to sell this lens for $3000 or more. This, to me, is way too high since that is approaching Noctilux used prices. The Noctilux goes for $5500-10000 on the used market, depending on which version.

Speaking of the Noctilux, some have labeled the Canon Dream Lens as the “Poor Man’s Noctilux.” Since the Canon came first, I’d say they should change that to the Noctilux is the “Rich Man’s Canon Dream Lens” ๐Ÿ™‚

Comparisons? Well, I never owned a Noctilux, though I have two friends that have them. Based upon what I’ve seen from the Noctilux and the Canon Dream Lens, I’d say you can’t compare the two. It’s apples to oranges.

The Leica may be the technically better lens, while the Canon may be the more artistic lens in regards to the images it renders. Just like the film vs digital debate, my answer to the Noctilux vs Dream lens question is…None are better than the other. They are different.


As a “community service” to my fellow photo gear lovers, I need to say this to help you avoid a potentially painful and expensive episode of G.A.S with the Dream Lens ๐Ÿ™‚

Ok, so today in my opinion, you really don’t need it. You may want it, but you don’t need it!

Let me explain…

When the Canon 50mm f/0.95 came out in 1961, it had few if any competition. People were still shooting film exclusively and back then you can forget all about “low light, high iso” shots.

Today, we have companies like Mitakon, SLR Magic, Mieke, 7Artisans, Kamlan and a whole bunch of other companies making lenses at f/0.95, f/1, f/1.1, f/1.2 and when you combine these lenses with the amazingly low light capable digital cameras we have today, you could literally shoot in the dark.

Just as I saw over ten years ago in the telescope world, let’s thank our friends (mostly in China) for bringing us these super fast and affordable glass! I remember telescopes such as apochromatic refractors and large diameter Maksutovs from American manufacturers such as Astro-Physics and Meade being optically superb, but also expensive. The wait list for Astro-Physics APO refractors was in years, not months.

Then came the Asian optics around the early to mid 2000’s that started challenging the established manufacturers. Sure, they may not have been a real match for a finely crafted Astro-Physics refractor, but you didn’t have to wait years and the the price/quality ratio was good enough for a lot of people. Love it or hate it, these overseas optical makers are giving people what they apparently want! ๐Ÿ™‚


To me, the Canon Dream Lens was a lens of compromised optical quality when it came out in 1961. Compromised by the technology of its time, and probably optically compromised as well to create a showpiece lens for which Canon could claim as the fastest photographic lens in the world at that time.

In the same way, you could say today’s cheaper (under $1000) fast lenses are also of compromised quality. They are here to deliver the speed people want, knowing full well people love “ugly” these days. People love “Super Funk” ie, swirly bokeh, orbs, distortions, etc.

There are lenses such as the $2999 Nocturnus which may have higher quality and that might be a good option for some, but again for me, when you get that close to $5000, I’d just rather just save a little more and look around for a used Noctiux, but that’s just me!

Finally, you might say, that’s good and all, but these lenses are NOT the Canon Dream Lens…and that is true! They will not deliver the images the Dream Lens does.


“Angel” (With Horns!) 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 on Tri-X 400 developed in T-Max Developer.

As a counterpoint, I would say the Dream Lens will not produce the kind of images these new and cheaper lenses do either! When it comes to beauty or even “ugly” it’s all subjective really.

But if you have the money and you want the Dream Lens, I’d say…go for it! It’s the Canon Dream Lens baby! Gotta have it! ๐Ÿ™‚


I had mine converted to M mount in 2013 by the great Ken Ruth of Bald Mountain. I’ve heard that Ken has recently retired from camera repair and modification work. Hope he enjoys his retirement, he deserves it. Personally, I’m sad to see him stop doing his thing. Sad to see someone of his skills leave the business. He was a true camera technician, a camera wizard, a Camera Legend! He did an awesome job on the M conversion on my lens.

There are others who will do this conversion today. One I know off hand is Don Goldberg aka DAG. I initially contacted him, but his wait list was so long and I found Ken. I’ve had interactions with Don in the past and based on his reputation, I’d have no hesitation having any work done through him.

Why should you convert it to M mount? Unlike many other things in life, having the Dream Lens modified for M mount actually increases its value!

The main reason I had it converted to M mount is because it opens up so many other possibilities such as using the lens on Leica M bodies, film and digital. Using it on any digital system that will take M lenses through adapters.

“Palm Beach” 2014. Leica M5, Canon 50mm f/0.95 Dream Lens on Fuji Superia 400 color film.

In its native Canon 7/7s mount, you can still use it on digital bodies with the proper adapter/adapters. I used mine on a Sony NEX C3 (Aps-C sensor) for a few years before the conversion. I actually had second thoughts about doing the M conversion since I enjoyed using it on the Canon 7 for film, but when I looked at the possiblities available after the M conversion, I swallowed hard and went for it.

Keep in mind, once you do the conversion you can never use it on the Canon 7/7s again, unless you had it reconverted back which is impractical…or get another Dream Lens that is unconverted so that you can use it on the 7/7s…even more impractical, but I’ve thought about it! ๐Ÿ™‚

The conversion cost me $300, but it could be lower or higher, depending on who you find to do the job. Get the best person you can because this is a precious lens and you don’t want some hobbyist screwing up your dream lens! ๐Ÿ™‚



“Dreams” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens @ wide open. Film was Tri-X 400 developed in T-Max Developer. Ahh, is there anything sweeter than a little baby sleeping? Shhh…:-)

I hope these samples give you some idea of the kind of images this lens produces. As I’ve said before, it may not be a look everyone likes but it certainly has character! The Canon 50mm f/0.95 is a legendary lens that remains a highlight of lens design that helped cement Canon’s role as a Camera Legend.

It was, in hindsight, one of the first of many fast, speedy, and exotic glass that Canon would go on to produce over the years.

Please have a look at the video for additional information including why you’d want this lens and why you really don’t need it.

Sure it may sound like a shameless plug and ploy for you to watch the video but it’s not. At least it’s not meant to be!

When starting this article, I had just intended to post samples in order to save myself some work and time.

I figure if you’re really interested in this lens, you’d check the video too and if you’re not that interested, at least you’d hopefully look at the images on this post.

Instead, I ended up writing a lot more than I expected to. Kinda defeats the purpose of making the video and the article too. More work than I wanted, but I love you all so gotta do it!! ๐Ÿ˜Š๐Ÿ˜˜

Hey gotta go, thanks for listening and I appreciate you!

“Dream Baby” 2015. Sony A7R, Canon 50mm f/0.95 Dream Lens. With Baby Zay in the house, life is indeed a dream ๐Ÿ™‚


If seeking the Canon 50mm f/0.95 “Dream Lens” prices are trending from a low of $1200 to a high of $2000 give or take. I did not include the $3000 plus lenses because I do not see them as legitimate prices. I do not want to help inflate the prices of these beautiful lenses because I was once in the position of someone who could only dream of such a lens so I know this feeling.

Though the lens is exotic, it is not considered rare. I see them almost every week for sale on eBay and elsewhere.

A fair price I believe will be between $1500 and $2000. To give you an idea of how these lenses have increased in value, I can only say I paid a lot less than this!

If the lens has been converted to M mount, it may fetch a little more. For the cheapest prices, seek out the unconverted version and just get a C-Mount to NEX or Micro 4/3 adapter and enjoy!

If you’re looking for this lens and can’t afford it right now, keep dreaming and be rest assured that one day, with a little luck (and save up some money, of course!) you can attain this dream of a lens! If I, a mere mortal, can do it, so too can you ๐Ÿ™‚


New YouTube Project

Sorry for my inactivity friends, I have been working on a new pet project which is the Camera Legend YouTube channel. Between that, the blog, and family, I’m burnt out!

It seems the next logical step to bringing a more dynamic experience to our readers.

I initially hesitated doing it…for a couple of years in fact! Afraid to take the plunge, but now we have already posted a couple of videos.

People wish me good luck and I thank them. I’m well aware that most YouTube channels don’t succeed. I’m going in expecting to fail! Starting from zero, got nothing to lose ๐Ÿ˜€

I view this blog as my model for the YouTube channel. I never expected it to go anywhere but it’s gone beyond my expectations!

It’s not the number of followers as much as people telling me they found the blog while Googling or researching certain cameras. The fact that we have become a tiny fabric of that internet search for the cameras we have profiled is a humbling experience. Very thankful to the viewers and readers.

The YouTube channel is just in experimental stage. I’m not sure if I should be reserved or show some personality so I’m trying different things. I personally think people don’t want to see a robot speaking! Anyway I’m open to your thoughts and suggestions.

I also have to admit, I’m a little shy for putting myself out there in front of the camera. There’s always the thought…”Oh, am I not who you thought I’d be?”

The production is decidedly low budget. As I’ve mentioned here many times, I’m not a video person, though I might have to start learning.

I’m a photographer who loves natural and available light. I don’t like setting up studio lights, though again, I might just have to learn.

I really wanted this to be more like you going into a camera store and chit chatting with one of the employees in there. I used to do that; go in and chat with the sales people and always had a good time talking cameras!

Anyway, please have a look, if you have the time. Honestly, the “meat” of the video, which is the camera talk, I think only true camera nerds could sit through! Thank you in advance and thanks for being part of this new venture!

Best, Sam


The Konica Hexar AF


The Konica Hexar AF is a 35mm point and shoot camera introduced by Konica in 1993. The camera has a fixed 35mm f/2 Hexar lens.

Just as I stated about the Ricoh GR1 in my review, the Konica Hexar also came from the same unique era in the 1990s when manufacturers such as Contax, Nikon, Leica, Ricoh, Minolta, and yes Konica put out high end “luxury” point and shoot cameras, forever changing the way the lowly point and shoot camera was perceived.

The Konica Hexar is one of the greatest “cult” cameras of all time.


“Sunday Girls” 2015. Konica Hexar AF, Ilford Delta 400 developed in D76. Some Z sister love ๐Ÿ™‚


The Konica Hexar is an all electronic autofocus camera and relies on one 2CR5 battery for all its functions.

The camera features Aperture Priority, Program, and Manual modes. The shutter speed range is 30s to 1/250s plus T.

The 35mm f/2 Hexar lens is a fixed 35mm f/2 that closes down to f/22.


Though the Hexar AF resembles a rangefinder camera, it is indeed a large point and shoot rather than a true rangefinder like a Leica M6 for example.

Don’t forget, back in the 1990s, point and shoot cameras were still considered “lowly” by elitist photographers. But even these folks knew what a great camera the Hexar was so they had to have it. So for those folks calling the Hexar AF a rangefinder probably made them feel better ๐Ÿ˜Š

The Konica Hexar RF, a different camera, is an actual rangefinder. So remember…Hexar AF, point and shoot. Hexar RF, rangefinder.


While technically a point and shoot camera, the Konica Hexar AF is actually quite large in the hand. It’s roughly the same length as say a Leica M8 and almost as thick, but not as bulky as the M8.

The relatively large size of the camera may also be a contributing factor to it being perceived as a traditonal rangefinder.

Back in the mid to late 1990s when I used this camera most, I considered its large size an asset because I’m sure most people then saw it as a large, almost goofy point and shoot camera with the name “Konica” on it. This is mostly true for the black version. Surely it must be a cheap and “harmless” camera right? ๐Ÿ™‚

That was back in the 1990s. Today, I believe people are evenย moreย camera savvy thanks in no small part to the internet and the resurrgence of interest in cameras and photography. In some ways it was better in the 90s wasn’t it guys? We had this thing all to ourselves ๐Ÿ™‚

Ergonomically, I think the camera is excellent with a nice heft to the body. From the shooter’s perspective, the large dial on the top right hand side of the camera controls the aperture in half stops from f/2 to f/22.

Also on the top plate are from the Off/A/P/M mode dial, the up and down buttons, the self time button, the Select and MF buttons, and the tiny rewind button.

The body can be held in one hand if need be thanks to a nice right handed grip molded into the body. I’d take care that a strap is around your neck or hand if you do this because the camera can slip from your hand and drop, and you wouldn’t want that would you?


I got my first Hexar AF in 1996 after reading an excellent and extensive review of the Hexar on a once great website called but for some reason I can no longer find this review when doing a quick search for it.


“Meditation” 1997. Konica Hexar AF, Fuji Reala. The Hexar AF is capable of brilliant color capture, especially with a film like Reala. was one of the first sites on the internet truly dedicated to photography. They had great articles and forums. I would contribute once in a while, but mainly decided to stay a lurker.

The reason I say was “once great” is that sometime in the past few years, has gone through a complete renovation and is almost unrecognizable.

To be fair, it may still be great, I don’t know, but I no longer visit. Just like being used to the low budget Craigslist layout, I was used to the old school platform. I don’t know if they have new owners or not, but the new platform does not, to me, have that down home feeling of the old and is harder to navigate.

I know there are “crazy passionate” (as I like to say) people out there to whom saying anything sounding remotely negative will set them off. One person got angry because I called a camera he apparently liked a “brute.” What I actually wrote was that it was “an awesome brute of a camera” ๐Ÿ™‚

So to avoid that let me say, yes I understand if I took a little time is probably as great as it always was. However, I haven’t had the time to expolore it.

Anyway, I’m drifting off topic here, so let’s get back to the Hexar AF. As I said, after reading that excellent review on, I had to have it!

When I got it, I truly had the feeling that I had something special in my hands. Much like the way I suppose that someone in today’s world feels when they hold a Sony RX1 or a Leica Q, etc, etc. Twenty two years later, I still get a special feeling when I hold the Hexar and use it.


The Konica Hexar AF is a purely electronic camera that relies on a battery for all its functions and uses dials and lots of buttons for its controls. Generally a no-no for me, but the great thing is I use the Konica as it was intended, which is that I use it as a point and shoot.

So if you’ll forgive me, I will not delve much (if at all) into some of its more complex controls. For example, you can set up the Hexar for manual focus or hyperfocal focus or what have you, but for that you need to rely on pressing a bunch of buttons all of which you need a manual or look up online on how to do it.

It’s not that it’s so hard, but for me, I don’t or never needed to bother with that because I never intended to use the Hexar in any other way but point and shoot ๐Ÿ™‚

I don’t mean that in a negative way. The fact that the Hexar is a point and shoot allows me the freedom to concentrate on the light, subject, composition, etc, etc.


“Mr. Kodak” 2003. Konica Hexar AF, Kodak Ultra HD 400. The Ozarks, Arkansas. The Hexar AF’s autofocus worked well for this shot.

The great thing about the Hexar is that while it relies a lot on electronic buttons for a lot of its extraneous functions, it couldn’t be simpler to use, if you do as I do. Just turn it on, put it on A for aperture priority and control that nice large aperture dial, or (dare I say it) just leave it on P for Program mode, then it’s simple as pie. Just point and shoot folks, don’t overthink it!


The Hexar AF relies on active-infrared focus. In general, the AF is adequately fast and accurate. In low light situations, it may struggle if there’s no definable subject for the AF to latch on to.

Other times, it may seem like the AF is hesitating but this usually happens when the camera develops the dreaded “sticky shutter button” problem which we’ll discuss in “Issues” below. In general, the autofocus in the Hexar is very reliable even when the user themselves might be unsure it got the shot.


It’s been widely said on the web for a very long time that the 35mm f/2 Hexar lens on the Hexar AF is a close copy of the pre Asph Leica 35mm f/2 Summicron.

In my limited time with the Summicron, I’d have to say I didn’t see it. Perhaps it was my copy of the Summicron but the Hexar lens appeared slightly sharper (probably more contrasty) than the Summicron, the bokeh less funky, which kind of makes sense since it is of a much newer vintage than the Leica. The Leica had more of a “look” to the images it produced though.

It’s also said that the Hexar lens may be closer to the 35mm f/1.8 Nikkor rangefinder lens. I don’t really see that either and I have the Nikkor. The Nikkor, like the Leica, has their own unique signature. And the Hexar does too.

For example, I would say the Hexar’s bokeh leans more towards neutral. Not bad, not great. Not unpleasant for most situations. The Nikkor has funkier bokeh that’s not exactly pretty, but adds to its “character.”

I’m totally convinced all these great old lenses earned their reputation as a result of the abberations and imperfections inherent in them, secondary to being a product of their time. In other words, a lens from the 50s or 60s as great as they were, will simply lack something an equivalent modern lens has, with all the advances made in coatings and computer design or corrections for optical errors.

But, and this is a big BUT friend…these abberations or “errors” are what make those old lenses produce such great images!! Whether it’s a look you love or a look you hate, these old lenses produces images that catches the eye. And again, I’m convinced it’s from their imperfections.


“Snow Heart” 2015. Konica Hexar AF, Ilford Delta 400 developed in D76. The Hexar AF is capable of excellent sharpness and lovely tones in black and white.

That said, the Konica Hexar AF lens is truly great! It’s sharp from f/2 and very sharp stopped down slightly. There is some barrel distorion in the near focus range, but it’s generally not a problem for me.

The lens exhibited excellent tonality and reproduces colors superbly especially with a good color film like the old Reala or Velvia. I generally prefer b&w when using older cameras, but the Hexar is one camera I wouldn’t mind using with color film.

My subjective impression is that the 35mm f/2 Hexar lens has a much more modern signature than the lenses it’s usually compared to. And it kind of makes sense considering the Hexar AF is a child of the 90s.

The fixed 35mm f/2 Hexar lens has a nice nifty pull out metal hood built in. Nice touch!


The Konica Hexar AF had one other thing beside that fabulous lens that made it famous. It was the stealthy “Silent” mode. Though I told you I hated using those electronic buttons, this one is so easy I’ll tell you how to do it.

Keep you hand on theย MFย button,ย turn the camera on, you should see a letterย Lย on the top LCD. If you do see that “L” then that’s it! You’re in the silent mode.

In this mode, the camera is amazingly quiet when advancing film. In the 1990s used to take the camera with me to college downtown for night classes and sometimes I’d used it to take photos of friends making wacky faces in the classroom. I used to have to look twice at the film counter to make sure the camera actually took the shot. That’s how quiet it was.

You might say, why were you taking your camera to class anyway? Just to take photos of your friends making wacky faces? No friend, I actually took it with me because after class was over, I was free to walk around the streets of New York City. The wacky faces arose out of classroom boredom ๐Ÿ™‚

Of course, in a truly quiet “you could hear a pin drop” room you may hear it, but for the majority of the shooting situations you may be in, the Hexar’s silent mode will impress.


“Sunday Girls” closer crop. My eldest would usually mess up my attempts at taking a candid shot of her by making silly faces but here she had no clue that I took the photo ๐Ÿ™‚

Again, I always like to put it in today’s perspective and in the age of high quality cell phones and point and shoot cameras, the Hexar’s silent mode is kind of a moot point. Yet, when compared to some of today’s cameras, especially the DSLR cameras with their mirror slap, the Hexar in silent mode may be more silent and that’s impressive, especially for a film camera.


One really cool thing I like with the Hexar is that when the camera rewinds the film down to “1” it gives you quite a pause, not sure how long, maybe a second more or less, but just enough time that you can twist the back door key open and catch the film before it goes into the cannister.

This is an awesome feature for me as I love to shoot half a roll in one camera and one roll in another.


The Konica Hexar AF has a top shutter speed of 1/250 which some may find limiting. How would this be limiting for you? Well, let’s say you want to shoot a model outdoors in bright sunlight. Let’s say you want to shoot wide open to get some background blur. The top shutter speed of 1/250 severely limits your ability to do the above.

It also limits the use of faster film in bright daylight. It’s almost impossible to get bokeh in bright sunlight with this camera, even with slow film as the lens begs to be stopped down in bright light.

In bright light, many cameras will already be begging for more than 1/250th of a second so you really have to use slower film and find a way to work around it, maybe use some ND filters.

For me, it’s not a problem because I’m not shooting in those conditions. I’m usually doing the opposite which is shooting in low or subdued light so the camera will rarely ever need to go to 1/250 for me.

The main issue I have seen with the Konica Hexar AF is that they tend to develop what’s known as the “sticky shutter problem.”

Let’s say you press the shutter button. Nothing happens. You press it again. It may focus or not. Eventually it focuses. Maybe not. Either way, you’re not sure what happened.

You most likely have the sticky shutter problem if you experience this. I know I have. In fact, my Hexar does this now.

From what I can gather, it seems most people think it’s a matter of the parts being worn from time and use and apparently there is a simple fix for it which will require you to disassemble, clean and reassemble parts of the camera. It’s said to be easy but I haven’t tried it yet. The tutorial can be found easily on YouTube.


Be forwarned. Some say it’s just a temporary fix and eventually the problem comes back and that you do eventually need to have it professionally repaired as some of the parts may need replacement. With Konica out of the camera business, I’m not really sure if there are many parts to be had.

Since mine is working intermittently, I’m living with it as is for now.

Some people have also complained of faulty electronics, ie camera dying for no reason but I’ve not heard much of this and have not experienced it myself. I’ve had two of these cameras. But that’s not to say it couldn’t happen. These cameras have been on the market for more than twenty years and if they’ve never been maintained, something is bound to happen sooner or later.

Other than that, and the odd off focus shots which happens with any camera, the Hexar is generally very reliable, but then again it IS an over twenty year old camera from a manufacturer who no longer makes cameras for general consumption so be forwarned.


The Konica Hexar AF is one of the greatest cult cameras of all time and justifiably so. It’s got a great lens and great ergonomics if used as a point and shoot.

The camera does rely on a lot of dials and tiny buttons if you want to delve into more of its feature set, but if you’re content to focus on getting the picture and letting the camera do the work, it’s the simplest electronic camera to use. And it delivers excellent, sharp images beautifully and easily.

The photos on this page do not illustrate all that the Hexar is capable of. I do have a ton of photos from this camera that sit in photo albums that I just haven’t had the time to scan, but I will continue to add photos to this review as time allows.

The Konica Hexar AF is a Camera Legend that is still very much in demand by photography enthusiasts and I wholeheartedly endorse it. It brings me back to a great time in life and won me over by delivering great photos time after time. Even today the Hexar continues to produce wonderful results and it’s a keeper in my book.


Though the Hexar AF has been long discontinued, it’s still relatively easy to find. Prices are trending from $450-800 US Dollars.

The Hexar was made in several different fits, Black, Silver, Classic, Rhodium. They’re all the same camera, just a different trim. The Black model appears to be the most common. The Classic and the Rhodium seem to fetch more on the used market.


If you shoot primarily digital, the Sony A7RIII might just be considered today’s ultimate all around digital mirrorless camera. And it’s in stock through our trusted affiliate! Buying through these links helps support Camera Legend to bring you more reviews of the cameras and lenses you want to see. Thanks for your support!

Sony a7R III Mirrorless Digital Camera Body


So you say you’d like a camera like the Konica Hexar but you prefer digital? Well, they never made an equivalent of the Hexar AF in digital form, so you’re out of luck there.

The closest modern equivalent I would say is the Sony RX1 series. Though I’m sort of bias towards my film cameras, I would say the RX1 and its reiterations are superb.

And since Sony bought out Konica/Minolta oh so many years ago in 2006, you could say the Sony carries that Hexar lineage, even though the lens on the RX1 is a Zeiss lens. But hey, that ain’t a bad thing is it? ๐Ÿ™‚

The Sony RX1R II


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Rolleiflex 3.5F Planar Test Images


“Sunday” 2017. Baby basking in the Sunday morning light with her YouTube nursery rhymes on her iPad. Rolleiflex 3.5F Planar, Kodak T-Max 400 developed in T-Max RS Developer.

Many of you who read these pages would probably know that I’ve always been a huge fan of Rollei and in particular the Rolleiflex TLR cameras. My favorite of course is the glorious Rolleiflex 2.8C with the Schneider Xenotar lens which I wrote about here.

Even though I’ve shot my many various Rolleiflexes and Rolleicords which were f/3.5 models, I admit I have a peculiar fondness for the 2.8 models.

It may even be some kind of unconscious snobbery, but I (as I’m sure many of you) have a thing for fast lenses and in the world of Rollei TLRs, f/2.8 is IT.

Now this is not something exclusive to the Rolleiflexes or TLRs, it’s everything! I mean, think of how many of you will perceive a 70-200mm f/3.5 zoom lens versus a 70-200mm f/2.8 zoom? Of course, many will gravitate towards the f/2.8 version. That half stop means alot!! At least in the mind ๐Ÿ™‚

But the fondness for fast lenses is not just something we want for no reason. For me at least, I prefer shooting in natural or available light, sometimes in less than ideal conditions. A faster lens would allow me to choose a faster shutter speed, minimizing the chances of blurry images. When you’re shooting at f/2.8 and ISO 400 film in dim or available room light, believe me, you’re going to want all the light you can get. There is a method to our madness, a reason after all!

With that in mind, and being that I already have the 2.8C model, I’ve always kept the 3.5F Rolleiflexes out of my mind. The 3.5F just like the 2.8F is also a top-tier model. Both also offer the option of either the Planar or Xenotar lenses.

However the problem for me was that these cameras are also nearly as expensive as the 2.8 models and if I were going to pay that price, I’d just get the 2.8! Now I got the 2.8 fairly cheaply back in 2008. I wouldn’t be able to get one these days with my current finances ๐Ÿ˜ฆ

So how did I come across the 3.5F? Maybe a little luck and like I said many times before, the cameras come to me! I was looking for something else entirely when I came across an ad for a Rolleiflex 3.5F in what was described as “user” condition. The party said he was selling for his uncle. I asked for detailed pictures and negotiated a price of $200 which was all I could afford at that time.

When I got the camera, I got the sinking feeling that this might be a piece of junk! It looked a little shabby, but I felt I could clean it up. The main thing that troubled me was the shutter didn’t have a reassuring sound. It seemed all the speeds sounded almost the same, and very weak at that. TLR’s generally have soft, quiet shutters anyway, but this one somehow felt different. On top of that the camera didn’t feel as robust as I’ve been used to from my other Rolleiflexes.


“Brother Fro” 2017. Gotta love the hair on Brother Fro! Rolleiflex 3.5F Planar, Kodak T-Max 400 developed in T-Max RS Developer.

I came to the conclusion that the shutter speeds were not accurate, but I decided to pop some film in it and give it a try. Not expecting much, I just shot randomly around the house using my usual “kid test” that I’ve mentioned before. I didn’t think I’d have anything worthy of posting for you good peeps! I said might as well try some film in it before I put it on the shelf while saving up for a CLA.

When I developed the roll, I said…WOW! This lens is SHARP!! It may even be better than my beloved 2.8C.


“Sunday” 100 percent crop of the top image. Unaltered, sorry for the dust! But note the detail on the baby’s shirt and the fabric. It’s probably better seen on a computer versus your smartphone.

It’s not all positive though. I believe I was right about the shutter speeds not being accurate. They all appear to be a little slower than their rated speed. How much I can’t determine. Many of the images that should’ve been good were underexposed.


“Kodak” 2017. Rolleiflex 3.5F Planar, Kodak T-Max 400 developed in T-Max RS Developer. An example shot showing the typical underexposure I experienced testing this camera. Admittedly, this is a bit of a tough lighting scheme and I’m probably to blame for my “guesstimation” exposure. But note the studio light to the right and the spoon on the table to the left. They are sharp. Oh, as a result of my imperfect development, somehow the word “Kodak” from the film strip is etched into this image, and seemingly in the right place for it! ๐Ÿ™‚

But the ones that came out sharp, man they were sharp! And contrasty too. This lens made a better impression on me than the 2.8F Planar I tried back in 2004.

I’m going to try another roll in it. Maybe shoot some street with it. I think this lens would be great for that. Will keep you all posted. Till then, Happy Sunday! ๐Ÿ™‚

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For you traditional photographers, and I know you’re still out there, the hottest camera of 2017 has got to be the Nikon D850. If there’s one camera that can do everything, this is it! Check the link below and compare prices today to score a deal on this year’s Ultimate Camera gift. Your loving photographer will love you for it!

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The Fuji Instax Square might be this year’s “got to have it” photography gift! It combines a digital camera with analog prints. The printer is built into the camera! And at $229.95 and up, it’s affordable! I’m tempted to get this one myself!

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If you really love your significant other, and I mean REALLY love them, this would be that “above and beyond” gift! It’s the Fuji GFX 50S Mirrorless Medium Format camera. It offers image quality beyond reproach. Your loving photographer should not be asking for anything else after this one, and if they do send them to me and I’ll set them straight! ๐Ÿ™‚

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Photo Of The Day: “Opiods”


I donโ€™t mean to make light of the nationโ€™s opioid epidemic which is very serious indeed. I just couldnโ€™t think of a better title ๐Ÿ˜Š

This image was shot with a vintage Agfa Ambiflex and the mythical 55mm f/2 Solagon. The film was Kentmere 400 and developed in T-Max RS.  I canโ€™t say much about this outfit now, consider this what I call a “future flash” because I will have a write up on this camera and lens soon. Itโ€™s one of those outfits that has a cult following but it seems thereโ€™s not a heck of a lot out there about it. Weโ€™re going to change that for you! Have a nice day camera lovers ๐Ÿ˜ŠโœŒ๐Ÿป

The Contax TVS Digital


In its time, Contax/Yashica made some very fine film cameras and lenses which continued after its acquisition by Kyocera. The company struggled for a few years during the early days of digital but were making some interesting cameras such as the Contax TVS Digital. Unfortunately, Kyocera halted production of all Contax cameras in 2005.


The Contax TVS Digital is a 5 megapixel point and shoot digital camera introduced by Kyocera of Japan in 2002.

The camera uses a 1/1.8″ CCD sensor and features a Carl Zeiss (35mm equivalent) 35-105mmm f/2.8-4.8 lens. The camera has a shutter speed range of 8 seconds to 1/2000 seconds and an ISO range of 80 to 400.

Close focus is around 2 ft and goes to infinity. Macro range is around 5.9 inches. The camera has an optical viewfinder that has about 85 percent coverage and a tiny 1.6″ LCD for composition and playback.

The camera has a built in flash and runs on a proprietary lithium ion battery that must be charged in camera via AC adapter.

The camera uses standard SD cards up to 2gb. That was a lot back then! And in all honesty, it’s more than enough for a 5mp camera that shoots jpegs. There is no RAW option.


Let me be blunt…I was never interested in the Contax TVS Digital.


Why? Well, early on I saw that the specs were very similar to the Kyocera Finecam S5 and I picked up that camera in 2008 or 2009 for $10 dollars.

Considering that the TVS Digital was selling for around $400 or so at that time, I kept it out of my head. I said to myself…why would anyone pay $400 when you can get (possibly) the same camera for $10?!

Flash forward to 2016. Saw a TVS Digital for under $100. I said…DEAL!! ๐Ÿ™‚

Right off the bat, it must be said that the chances are unlikely that many people are looking for, let alone thinking of the Contax TVS Digital in 2017. But you my friends, you are NOT the masses, that’s why you’re reading Camera Legend! You come here for those old, decrepit and forgotten cameras ๐Ÿ™‚


“You Are Special” 2017. Contax TVS Digital. The TVS Digital’s automatic flash can be overpowering at times, but it still manages to produce flash images with pleasing color. Just like Baby Zay (and Barney), I would say that if you are seeking a Contax TVS Digital in 2017, then you my friend, you are special ๐Ÿ™‚

Ok, so I’ve had a little time with it and I’m sharing my opinion with you. First, the Titanium Black version is beautiful. It feels well built, solid, much like the TVS film camera it emulates but perhaps lighter than the film version.


The controls are well laid out. Sometimes, scrolling through the ancient 2002 menu system can be a little confusing but you get used to it.

The optical viewfinder is small and dinky and I almost never use it. The 1.6 inch old school LCD is not much better, but I use it as it’s better than nothing.

Though the camera gives you an in focus indication, it’s hard to tell from either the optical viewfinder or the LCD that the camera is truly in focus. However, for a camera with the typical tiny sensor you really needn’t worry because in most situations, you’ll have ample depth of field for everything to be sharp.ย Only when in macro range or doing close-ups do I worry but more often than not the TVS Digital gets sharp focus.

The autofocus is decent, but slow. Considering it’s from 2002, we’ll forgive it! Writing to the sd card as well as playback are also slow.


In all honesty, I did not have high expectations of this camera. In my opinion, the original Contax TVS film camera, while beautiful, had a pretty average lens and was clunky to operate. The TVS Digital is almost a mirror image of its film cousin in image quality, perhaps a bit better.


“Shadow Cloud Rider” 2016. Contax TVS Digital.


“Shadow Cloud Rider Revealed” 2016. Contax TVS Digital. The built in flash of the TVS Digital fires by default (can be turned off) and provided nice fill flash for this shot.

The lens is sharp enough, but doesn’t strike me as one of those stellar, super-sharp lenses. It is not, but it’s good enough for most purposes.

“Bill Haley And His Comets” 2017. Contax TVS Digital. This is a crop from the TVS Digital at its widest setting. Barrel distortion can be seen, but the colors are very good especially for a camera from 2002!

Compared to the $10 Finecam S5 with similar specs, the images look as sharp but perhaps more contrasty. I’m not sure if it’s really the T* coatings doing their thing or if it’s just my imagination. Perhaps a more rigorous comparison should be done.


“Pot” 2017. Contax TVS Digital. I’m not referring to the plants, I’m referring to the “thing” the plants are in, it looks like an ancient pot to me! The TVS Digital shows nice colors and crisp details here.

Anyway, the images are sharp with nice color and contrast. The colors lean a bit towards cool rather than warm. Don’t fool yourself, this camera is not going to do better than an equivalent modern day point and shoot. The 5mp resolution is limiting. The colors can go wonky at times. It’s sharp, but not the sharpest lens I’ve ever seen. Yet, when taken on the whole, I like the pics I get from this camera!

There’s a certain kind of quality to it. I’m not going to say “film-like” or “filmic” but it’s something similar and very pleasant to my eyes. Actually, yes, when viewing some of my photos at 100 percent, the “grain” did seem reminiscent of color film grain. It kind of makes up for the lack of details or low resolution.


“Sun” 2017. Contax TVS Digital.

The nifty macro mode is very good. In once instance, it did better than a Sigma DP2 Quattro I was testing. No, not in sharpness or resolution but in the fact that the TVS Digital got several sharp shots where the DP2 Quattro misfocused on the same shots, even though it gave me an in focus indication. That was a good example to me of getting the shot vs not getting the shot. What would you take, a 29mp blurry shot? Or a 5mp sharp, in-focus shot? ๐Ÿ™‚


“All Mine” 2017. Contax TVS Digital. Macro mode. The TVS Digital has a very useful macro mode that works well in capturing shots such as this. This large butterfly seems to be claiming all this “food” for itself and no one else ๐Ÿ™‚

With a limiting top ISO speed of 400, the TVS Digital is not a camera one would likely use for low light shots. However, I found one pleasant surprise; when shooting in low light with no flash, the camera still produces surprisingly good color under these circumstances.


“Empire State” 2017. Contax TVS Digital. The TVS Digital does surprisingly well for night shots such as this one at ISO 400.

Check out the photo below. It looks well lit, but in reality, the room was dark and only the hallway light lit the subjects. With these circumstances, many cameras, even modern ones will usually produce reddish or yellowish colors, but the TVS Digital produced colors so natural here it puts a lot of cameras to shame! This was shot handheld, but this leads me to believe the TVS Digital could do better than I thought in low light conditions, especially if a tripod is used. This fact that the whole picture did not turn into mush is a pleasant surprise!



As one of the last cameras introduced by the now defunct Contax line of cameras from the Kyocera era, the Contax TVS Digital is seen these days as collectible and that it is, I suppose.

In use, the TVS Digital in many ways mimics the TVS film series. It carries very good optics into an all purpose point and shoot digital camera. Its performance can be good to very good, but not earth shattering. It’s a good basic point and shoot camera that happens to carry the prestigious Contax name.

Considering that the Contax brand of its era is gone, the TVS Digital is one of the few digital remnants that keeps the Camera Legend of Contax alive and as a Contax fan I would say that’s a good thing!


Unlike the Contax N Digital DSLR, the TVS Digital is almost always available on eBay. And also unlike the N Digital DSLR, prices have been trending downwards in the past few years, settling to around $175-300 with an average around $250. This indicates to me that even buyers know this is not a standout collectors item like the N Digital.

In my opinion, even at its current price, it’s is still too much for this camera. Again, for me, it all goes back to the Finecam S5, the Kyocera camera with similar specs. You can find this camera if you look for $10-30! But though they share similar specs, the S5 looks and feels a lot different from the TVS Digital. The TVS Digital is better in this respect.

If you are a Contax fan like me, and you don’t mind paying current prices, then I suppose it’s not an out of this world price to pay.

But buy carefully. As I mentioned many times before, Contax electronics are prone to failure. Make sure you buy from a place with a good return policy because if it breaks on you, there’s really no hope of repair.

If interested, try one of the links here and support Camera Legend at the same time. Your support will help me continue to bring you reviews on forgotten cameras such as the TVS Digital and many more film and digital classics of yore. Many thanks!!

Contax TVS

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Iconic American Cameras Part I: The Argus C3


I was looking to do something in honor of the 4th of July Independence Day holiday on Tuesday. I think classic American cameras don’t get enough spotlight.

I thought to myself, what is the most iconic American camera? What camera would qualify as an American Camera Legend? There have been quite a few of them, but for some reason none came to my head right away. When you think of iconic German cameras, right away you probably think of Leica, Rollei, or the early Contax cameras. Japan, you easily think of Canon, Nikon, Pentax, etc, etc.

American? First thing that came to my mind was Kodak, but Kodak was iconic mostly as an American film manufacturer. Sure they had a bunch of cameras too, but a lot of them were rebranded imports or cameras that were part American, part foreign (usually the lenses). It was films like Kodak Kodachrome or Ektachrome that made Kodak an American icon.

I thought of Polaroid too and certainly some of their cameras such as the Land Cameras or the One Step series would qualify. But again, a lot of the best Land Cameras had Japanese lenses on them.

The only one I could clearly say is an American Camera Legend is the Argus C3. Well, let’s say it might be the most iconic American camera in my collection. So if you can think of a more iconic American camera, feel free to let me know. I’m just saying this is the most iconic made in the USA camera in my collection.


The Argus C3 is a 35mm rangefinder camera made by Argus of Ann Arbor, Michigan from around 1939 to 1966.

The camera features a 50mm f/3.5 Cintar lens which was made by other companies among them the most well known was Bausch & Lomb, another famous American optical manufacturer.

The lens can be removed and there are a few other lenses which can be used on the C3, though in my personal experience, I’ve never seen a C3 in the flesh with any lens other than the 50mm Cintar. The Cintar is actually the fastest at f/3.5 while the other lenses (35mm/100mm/135mm respectively) have a very slow and boring f/4.5 as their fastest aperture.

The camera has a shutter speed range of 1/10 to 1/300 plus B and the lens as an aperture range from f/3.5 to f/16. The rangefinder focuses from around 3 feet to infinity and is coupled.

There were a few revisions to the C3, but I think they are all pretty much the same cameras or at least nothing really earth shattering in the revisions. The original “C” model has an uncoupled rangefinder.


The first thing that strikes you about the Argus C3 is the awesome retro look. But this isn’t a Fuji or Olympus digital camera dressed up as retro. This thing is from 1939 to 1966…it IS retro! ๐Ÿ™‚

Its nickname is “The Brick” and it does look and feel like a funky, chunky brick! In pictures, it looks smaller to me than it actually is in real life. I remember being quite surprised by the size of this camera when I first got it.

I remember seeing the camera numerous times on television, as a prop in print ads, and in movies, most notably in one of the Harry Potter movies.

It makes a great prop I must say!


I know without pictures “it didn’t happen” but I’m not going to lie, I don’t have any photos from this camera that I’d consider remarkable.

The lens, at least on my sample, was of average quality and many of my shots were in poor focus or blank. The ones that were sharp seemed decent but nothing I’d call spectacular. Don’t forget, this was a camera designed and priced to sell to the masses, it was not and is not a Leica. I can and do blame myself for not producing decent pictures with the camera, but I don’t think the Argus C3 would mind if I blamed it too ๐Ÿ™‚

Sure, don’t get me wrong, you can get some nice pictures with it, but then again you can get nice pictures with almost any camera. If you want a camera to take those shaky, out of focus, softish hipster images, this might be the camera for you.

I’m not sure if the rangefinder was off or the shutter or something else I was doing wrong. It might just be my particular camera and lens. Nevertheless, it’s not a camera I’m really interested in putting another roll of film through as I have a lot of other film cameras to review!


The Argus C3 is a good example of “collectible” not translating to “expensive.” Argus made millions of these mass produced cameras and while beautiful (to me), it is not an out of this world picture taker. People know that and it shows in today’s used prices which can go as low as $10, though the average prices for these cameras seem to be trending at between $15 to $30.

The C3 is also a good example of a camera looking like it’s worth more than it is. I’ll bet on any given day, someone comes across one of these in their attics and knowing today’s appetite for anything retro, they probably think it’s worth a lot. Then they check prices on eBay only to be disappointed by the low prices these cameras command.


As I said at the start, the Argus C3 is an American Camera Legend. The camera sold in the millions and helped to popularize 35mm photography in America.

By doing so, they probably helped Kodak sell a boatload of film in the USA as well. So even though the C3 wasn’t and isn’t (in my opinion) a great shooters camera, it is indeed a legendary camera. A Camera Legend.

So if you’re a camera collector, and a patriotic American, you don’t just want one, youย needย to have one in your collection!

The looks alone will bring a smile to your face and amazement to your non camera knowlegeable but retro loving friends. Just think twice before you waste any film on it. My two cents! ๐Ÿ™‚


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