I’m closing in on seven years using my Hexars as my Main Axe for my work. Other than the possibility of adding a (used) Zeiss Ikon as a possible third, non-motorized body, nothing’s changed much.

And, speaking of fixing a broken Hexar, things might be brightening up a bit:

http://www.precisioncamera.com/

These guys list both the autofocus Hexar and the Hexar RF as cameras they can handle. There’s at least one other outfit that supposedly can repair Hexars (this doesn’t include Weber Camera, which hasn’t offered service for them in a while). One of us might have to buy an Indiana Jones-style fedora and go looking for that shipping container loaded with Hexar spare parts (among others, likely).

Nearly forgot: I have an exhibit on this side of the river, in Red Hook. Details here:

http://tinyurl.com/aboveallthis

Let me know if you mifght make it there.

- Barrett

I was thinking about your “wine, beer, MD 20/20″ analogy. To my thinking Leica is like an expensive Bordeaux – think Latour – while the Hexar RF is one of the cult Napa Cabernets, like Harlan or Screaming Eagle. Comparatively, a dSLR is Japanese whiskey.

I can’t seem to part with the Hexanon 50mm/2.0 because it is such a crisp lens with great fidelity for color. But my favorite on the Hexar is the Zeiss ZM 50mm/1.5 Sonnar C. Un-effing-believable.

Megaperls makes an eyepiece adapter that slips over the outside of the Hexar eyepiece and allows you to screw in a standard Leica-thread magnifier. HK Supplies sells a decent one for under $100 shipped. This takes the mag to 0.75x, kicks the EBL up to 51.4mm, and the 50mm framelines fill the VF – very helpful in focusing these fast lenses in the dark. I’m thinking of gluing the Megaperls adapter on.

BTW – For the “Leica Experience” that will convince you why these cameras have such a following, but won’t break the bank – Leica IIIf thread-mount. An absolute mechanical jewel. Wicked fun.

I used one belonging to a friend for awhile but never really warmed to the feel of the camera. It was so quiet that it almost felt like I wasn’t shooting. Perhaps my ego is formulated in such a way that I need the sound of the shutter to tell people I am alive and on the earth. The “silence” of the M6 shutter is just a poor attempt at masking the ego needs maybe..

But what really struck me in your review was the wild pictures you posted in it with technical captions about the camera. I was looking at you getting your head shaved and chuckling at the caption “serial photography courtesy of the motor-drive” or the color shot of your wife (?) with the mask and “hexar rf, 90mm hexanon, provia 100f”. I wanted to know more about the mask than the camera. I suppose that says something about my technical indifference I guess.

Anyways, just a great post to read with my morning bowl of cereal! Thanks!!

Steve Williams
Scooter in the Sticks

Here’s what one guy says about it:

“I wish I used it more, but I don’t, so I’m selling my Hexar RF w/ 40mm lens. Price is $975, plus shipping. The camera is in exc++ condition–some standard cosmetic signs of use, but mechanically terrific. (Only flaw I’ve noticed is that occasionally the frameline lever will stick between two sets of lines. Just touching it makes the correct frame snap into view.) The lens is a 40mm Rokkor from the CLE series–which means it’s the latest 40mm M lens, & multicoated. What’s especially nice about this outfit is how accurately the rangefinder works with this lens (or other M lenses, for that matter). Infinity on the rangefinder equals infinity on the lens scale, and there’s no overlap on the double image. I even checked rangefinder accuracy with a ground glass, focused on a resolution target. Also, I modified the lens cam so it brings up the 35mm frameline, which, in this case, matches the lens perfectly. On the Hexar RF, the framelines only show about 85% of the image area. From 15ft to infinity, the 35mm frameline is an exact match for a 40mm lens. The lens is in virtually perfect shape (I’ve always kept a UV filter on it), and it’s truly as sharp as my 35mm pre-asph. Summicron. The lens comes with the Minolta rubber shade; camera includes all the original stuff–box, strap, cap, manual.”

That was here: http://www.greenspun.com/bboard/q-and-a-fetch-msg.tcl?msg_id=007yJj

I’d love to have a Hexar RF with a 40mm Summicron-I love that focal length-but I’m not sure I’d want to modify the lens to bring up the 35mm frameline (presumably it normally brings up the 50mm one). Another alternative would be the Hexar and 40mm f1.4 Nokton-with Tri-X at 1250 and Diafine for low light work. Nice.

Bruce

I was thinking about getting an RF and sticking a 40mm Summicron on the front. I remember reading somewhere (I think!) that the 40mm brings up the 50mm frameline on the RF and, because the frameline is quite conservative, it’s just about bang on for the 40mm (my favourite focal length). Can you please comment on this or do you know where I’ve read this info?

Kind regards,
Bruce

Feel free to telephon or email.

917-208-5644
tahlulah@concentric.net

Could you please refer me to the place where you’ve seen a used Hexar RF for $600 ($800 with a lens)? The prices which I’ve seen so far are unfortunately way higher…

Thanks for stopping in. Although the cosmetic condition of my Hexars is getting pretty ropey at this point, they are still ticking. I can’t imagine replacing them an time soon. There’s just so much right about their ergonomics. And yes, the M8 should have been a hexar.

I’m still curious about the 35 Hex. The ZM Biogon is a fantastic lens, but the look isn’t entirely coherent with the Hexanons.

It’s funny about the 35/2 M-Hex: the scarcest lens often becomes the most-desirable, sometimes on account of it being so damn tough to find. ‘Twas always thus, it seems: way back in ’02, when I was buying my first HRF body, I asked about the 35: they apparently had seen one, and that was it. All they had on hand was a lone 28, which of course I bought as well, and I can;t say enough nice stuff about it. Same for the 50 and 90.

And, yes, the Hexar is what the M7 shoulda been in a number of ways (never mind the M8).

Glad you enjoyed the review. I’ve had good luck using the AE lock in difficult lighting. I’ve been using centerweighted metering systems for years, so this has just become habit. Find the middle tone, meter it, half press the button and recompose. The only caveat with the Hexar seems to be to make sure that the dial is actually on AE lock as opposed to just AE; the interlock on the dial doesn’t prevent it from moving between these two positions. I’ve developed the habit of checking the dial position with my thumb as I bring the camera up.

I’d use exposure compensation more often if I wasn’t afraid I’d forget to zero it out when I’m done.

I’d be interested in knowing your impressions of the Hexanon 35. I’ve looked around for one, but I never seem to find one when I have the money.

cheers,

Matt

Best regards,

John Bayard