For enthusiasts of classic engineering and design, much like the allure of vintage automobiles, there’s a captivating charm in classic cameras. While my teenage years were spent dreaming of owning a Nikon FM SLR, it was only recently that I truly discovered the world of classic rangefinder cameras. These cameras, often overlooked in favor of their SLR counterparts during the rise of autofocus technology, offer a unique photographic experience. Among these gems, the Konica Auto S3 stands out as a particularly desirable model.
My journey into rangefinders began with a Konica C35, a budget-friendly entry point that sparked my interest. However, when the opportunity arose to acquire a Konica Auto S3, listed at KEH, I didn’t hesitate, despite its higher price tag of $170. This camera, a more sophisticated sibling to the C35, promised enhanced features and performance, making it a compelling subject for an Auto Review in the realm of classic photographic equipment.
To appreciate the Konica Auto S3, a brief history is in order. Konica introduced the C35 rangefinder series in 1968, and it spawned numerous variants, including the groundbreaking C35AF, the world’s first autofocus camera. Positioned at the higher end of this family was the C35FD, known as the Auto S3 in markets outside Japan. The Auto S3 distinguished itself from its siblings with two key upgrades: a shutter-priority semi-automatic exposure system, replacing the fully automatic system of lesser models, and a faster, brighter lens – a 38mm f1.8 Hexanon, an improvement over the 38mm f2.8 lens found in other C35 variants.
The Konica Auto S3 belongs to a coveted group of high-quality compact rangefinders from its era. These cameras are now highly sought after by collectors and film photography aficionados, which has understandably driven up their prices. Finding an Auto S3 in good working condition on platforms like eBay often means encountering prices exceeding $250, if you can even find one available. Therefore, at $170, a unit described as being in excellent condition and backed by KEH’s six-month guarantee seemed like a reasonable investment for this auto review.
Upon receiving the camera, I promptly confirmed its operational status. To ensure its longevity and optimal performance, I decided to have it professionally serviced. I entrusted this task to Advance Camera in Portland, Oregon. Unfortunately, the return journey took an unexpected turn when UPS seemed to have subjected the package to some rough handling. The result was a heavily damaged box containing a dented and non-functional camera. It was sent back to Advance Camera, who expertly restored it to working order and skillfully repaired the bodywork as much as possible. This time, the camera arrived safely via USPS, fully functional and ready for a thorough auto review.
The Konica Auto S3 strikes a balance in size – it’s compact without feeling too small. In terms of dimensions, it’s comparable to my Fujifilm X-E2 and maintains a similar weight profile when the latter is paired with the Fujinon XF 27mm lens. This size is, for me, ideal. It’s substantial enough to handle comfortably, providing a secure grip and easy operation, yet compact enough to slip into a coat pocket or a small camera bag, making it a truly portable auto review subject.
The camera body design is straightforward, with most controls thoughtfully positioned around the lens barrel. The top plate is minimalist, featuring only essential components: a film winder and rewind lever, a frame counter, the shutter release button, and a hot shoe for flash accessories. A self-timer lever is located in its traditional position on the front of the camera body.
Compared to the film advance mechanism of an SLR, winding the film on the Auto S3 has a distinct, almost clockwork feel. However, the film winder generally operates smoothly and consistently. It’s worth noting that towards the end of a roll of film, the winding action does become slightly stiffer and less refined. The shutter release has a noticeable amount of travel before firing, but the actual moment of release is distinct, quiet, and vibration-free. This extended travel also serves a practical purpose, as the shutter release doubles as an exposure lock, a useful feature for maintaining consistent exposures in varying lighting conditions.
Positioned at the front of the lens is the CdS light meter, located just above the front element. This meter is constantly active when exposed to light, lacking an on/off switch. Therefore, it’s crucial to keep the lens cap in place when the camera is not in use to prevent unnecessary battery drain and ensure accurate readings when you are ready to shoot for your auto review.
On the underside of the lens barrel is the film speed selector lever. By pressing this lever and sliding it forwards or backwards, you can adjust the film speed within the available range of ASA 25-800. The scale is clearly marked in both DIN and ASA standards and allows for setting intermediate values between the marked speeds. I’ve observed that the initial resistance of this lever when pressed is somewhat light, which means there’s a possibility of accidentally changing the film speed setting if you’re not careful during operation.
Moving to the upper part of the lens, you’ll find the shutter speed ring. This ring offers a range of shutter speeds from 1/8 of a second to 1/500 of a second, adjustable in full stop increments. Intermediate speeds are not available. In addition to the metered speeds, there is a ‘B’ (Bulb) setting for long exposures, which can only be accessed after depressing a small locking pin, preventing accidental engagement. The focusing ring is marked in both feet and meters and is operated using a large, conveniently placed lever. This lever provides a 45-degree throw for focusing, making adjustments quick and intuitive. The closest focusing distance is 0.9 meters, or approximately three feet, typical for rangefinder lenses of this era.
Lastly, there’s a guide number ring, marked in both feet and meters, specifically for use with the Auto S3’s dedicated flash system. This ring is adjusted via a small lever located on the bottom of the lens barrel. The camera’s flash system deserves a more detailed discussion, which we’ll address shortly in this auto review.
The viewfinder of the Konica Auto S3 appears sufficiently bright to my eye, although I lack extensive experience with other rangefinders for direct comparison. Within the viewfinder, you’ll find a bright frame outlining the image area and parallax correction markings to compensate for viewfinder offset at close focusing distances. On the right side of the viewfinder, a needle indicates the selected aperture on a scale, providing real-time exposure information. Red zones at the top and bottom of this scale warn of over- or underexposure conditions. When a compatible flash unit is attached, the scale also displays a dedicated flash indicator mark, simplifying flash photography.
The rangefinder patch in the viewfinder, used for accurate focusing, is the commonly used yellow-orange rectangle. In my Auto S3, this patch is remarkably clear, facilitating rapid and precise focusing. The effective base length of the rangefinder is 14.2mm. While I’m not an expert on rangefinder mechanics to judge if this is exceptional or average, it seems consistent with other compact rangefinders from the same period.
One minor omission in the viewfinder display is the lack of shutter speed indication. While not a critical drawback, having the shutter speed visible within the viewfinder would be a welcome addition. Occasionally, I find myself needing to slightly adjust my eye position to view the entirety of the bright frame, but this is understandable given the compact size of the viewfinder itself.
The lens of the Konica Auto S3 is frequently praised for its optical quality. The Hexanon 38mm f1.8 lens boasts a six-element in four-group design and features Konica’s proprietary ‘Color Dynamic Coating’. Searching for information on this camera online will often lead you to references of a glowing review from Modern Photography magazine, which purportedly concluded that the Hexanon lens was: “One of the best semi-wide angle optics of its speed we have ever tested. All apertures demonstrated center values between 64 to 82 lines per millimeter of resolution providing Leica-class performance.” This is high praise indeed, suggesting exceptional optical performance on par with top-tier lenses.
While I haven’t personally located the original source of this Modern Photography quote, I have no reason to doubt its veracity given the lens’s reputation. Konica themselves clearly had immense confidence in their lens technology. Advertisements for various Konica cameras, including the earlier Auto S and Auto S2 models, prominently featured the slogan ‘the lens alone is worth the price’, underscoring their belief in the exceptional value and quality of their optics.
My own assessment, based on reviewing images taken with the Auto S3, is that the lens performance is certainly excellent – more than sufficient for my photographic needs and preferences. Ultimately, personal satisfaction with image quality is the most crucial factor in any auto review.
Advertisements for the Konica Auto S3 often highlighted its advanced fill-flash capabilities. By attaching one of the two dedicated flash units – the X-14 or X-20 – and setting the guide number, users could then adjust the shutter speed until the viewfinder needle aligned with the synchro flash mark on the aperture scale. Konica confidently claimed this system would produce ‘beautiful daylight flash pictures at the correct exposure’, marketing the Auto S3 as ‘the world’s only 35mm with balanced daylight/synchro flash’. Does this feature live up to the hype? Frankly, I haven’t had the opportunity to test it. The dedicated Konica flashes for the Auto S3 are even rarer than the camera itself, and my own flash photography has been infrequent in recent years.
In terms of handling, the Konica Auto S3 is comfortable and user-friendly. I typically use mine with a wrist strap for added security. Its size and weight make it easy to carry and operate with one hand or to tuck away in a larger pocket or a small bag when not actively shooting. As previously mentioned, there is a slight risk of inadvertently moving the film speed selector. Additionally, while the prominent focusing lever facilitates quick and accurate focusing, its size can also lead to accidental focus adjustments if you are not mindful during handling.
The simplicity of the Auto S3 is part of its appeal, particularly for photographers who appreciate a straightforward and uncluttered shooting experience. However, if you prefer extensive manual control over exposure settings, the Auto S3 might not fully satisfy your needs. It lacks a full manual exposure mode, and direct exposure compensation is also absent. The only way to influence the camera’s automatic exposure is by adjusting the film speed setting, effectively acting as a rudimentary exposure compensation dial.
For my personal shooting style and preferences, the shutter-priority auto-exposure system of the Auto S3 is a significant advantage over the fully automatic exposure found in the Konica C35. While aperture-priority auto-exposure would be even more versatile, the shutter-priority mode provides sufficient control for most situations encountered with a camera of this type.
In conclusion, the Konica Auto S3 is an excellent compact rangefinder camera, and I wholeheartedly recommend it to anyone interested in exploring classic film photography. However, prospective buyers should be aware that Auto S3s are less common than comparable models from brands like Canon, Minolta, or Olympus. Consequently, finding one in good condition often means paying a premium compared to other compact rangefinders in the market.
If fully automatic exposure and a slightly slower lens are acceptable compromises, the Konica C35 offers a more budget-friendly entry point into the world of Konica rangefinders. However, if you seek one of the finest compact rangefinders available, the Konica Auto S3 rightfully deserves its place among the best in its class, offering a compelling blend of performance, quality, and classic design for the discerning film photographer.
