List of Figures

3.1 3.2 Results of M42 adapter tests (1). Results of M42 adapter tests (2). 40
B.1 Wireless ash experiment setup.

Chapter 1

Foreword
As noticed by many photographers around the world Minolta produces high quality products for photographers. What they lack are people capable of writing documentation of reasonable quality. After hearing many discussions like: My camera of this brand is much better that your of that brand! and after seeing many master-pieces of photography shot with some of old all-manual cameras the point I feel as the most important is to get acquainted with the camera you already have (unless its really crippled) and to know exactly what it will do under (almost) any situation and how to make it do what you need and want. I hope that this guide will help us at least a bit to have our Minolta cameras working in this manner. Heres the list of people whose contributions has been included in this guide: Chingfeng Au (cfau1974@hotmail.com)

Phil Brandon (??) Chuck Cole cncole@earthlink.net) CyberSimian (CyberSimian@BTinternet.com) Gary Friedman (gary@friedmanarchives.com) Petr Holub (hopet@ics.muni.cz) Csaba JOZSA (??) Scott Kimball (SCOTTK@MAINE.maine.edu) Peter Blaise Monahon (peterblaise@yahoo.com) Dario Piantanida (ario@logic.it) Marat R. Saulin (??) Magnus Wedberg (mw@9000.org)
I would really appreciate having other people contributing to this guide to help other from the community. If you have anything what you think could be valuable for others dont hesitate to contact me. The same holds if you discover some valuable discussion in Minolta group archives. I will be happy to add your contributions! P. H.

Chapter 2

Information on bodies and lenses

2.1 Minolta AF bodies

2.1.1 Overview of Minolta AF bodies
[Author(s): Unknown, taken from Minolta AF FAQ [4].]
Table 2.1: Minolta AF Bodies in Chronological Release Date Order Released Europe Dynax 7000 AF 9000 AF 5000 AF 3000i 7000i 5000i 8000i U.S. Maxxum 7000 AF 9000 AF 5000 AF 3000i 7000i 5000i 8000i SPxi 3xi 7xi 2xi 5xi 9xi 700si 400si 500si 600si (Classic) 800si HTsi XTsi 9 QTsi NYA Canada Maxxum Japan Alpha ( ) 7000 Alpha 9000 Alpha 5000 Alpha Alpha 7700i Alpha 5700i Alpha 8700i
1991 3xi 1991 7xi 1992 2xi 1992 5xi 1992 9xi 1993 700si 1994 500si 1995 300si 1995 500si Super 1995 600si (Classic) 1997 800si 1998 505si 1998 505si Super 1999 303si 1999 404si continued on next page.
807si Alpha Sweet 9 STsi 7 5

2.1. MINOLTA AF BODIES

2.2 Minolta Dynax/Maxxum 600si (507si, 650si)
2.2.1 Beyond the Owners Manual: Tips and Tricks
[Author(s): Peter Blaise Monahon, taken from [12].]
LCD Displays Check: On the Minolta 507si, 600si, and 650si camera, to check the valid functioning of every LCD Liquid Crystal Display element: 1. Set the Drive Mode Selector to Multiple Exposure, 2. Press and hold the ISO Film Speed Button while opening and closing the battery door. All displays appear in the Body and Viewnder Data Panels. 3. Open and close the battery door to return the displays to normal. Auto Exposure Lock: Only the AEL Auto Exposure Lock button will lock exposure when the Minolta 507si, 600si, and 650si camera is set for Center-Weighted Average Metering Mode or Spot Metering Mode. Pressing the AEL Auto Exposure Lock Button locks the exposure settings and switches the meter to Spot Metering Mode. The AEL Auto Exposure Lock control has no function in M Manual Exposure Mode. You have three options for locking and holding the desired exposure value on the Minolta 507si, 600si, and 650si camera: 1. Using M Manual Exposure Mode, once set, the camera auto functions will not override your Aperture and Shutter Speed selections.
. continued from previous page Body or Meter TC-1 Digital Cameras Dimge V RD-175 Exposure Meters Flashmeter V, Autometer IV F, Spotmeter F Flashmeter IV Autometer IIIF, III and II, Spotmeter M Colormeter II, Flashmeter II Flashmeter III Booster II Viewmeter 9
Batteries Used CR123A AA 2CR5
2. Using 14 Segment Honeycomb Metering Mode and an attached automatic lens in AF Auto Focus mode, you can lock the exposure reading in P Program Exposure Mode, A Aperture priority Exposure Mode, or in S Shutter Speed Priority Exposure Mode by pressing the Shutter Release Button part way down. 3. Center-Weighted Metering Mode and Spot Metering Mode readings can be locked using only a third method pressing the AEL Auto Exposure Lock Button, marked AEL to the right of the eyepiece. You can use the AEL Auto Exposure Lock Button to lock the exposure setting in any of the Minolta 507si, 600si, and 650si cameras three metering systems. AEL Auto Exposure Lock is especially useful in the automatic exposure modes, Program, A Aperture priority, or S Shutter priority, when you want to take a meter reading from one part of your chosen photographic subject scene and then focus on another part. You can do this by focusing, and possibly zooming in, on the detail you want to meter and then pressing and holding the AEL button. [AEL] appears in the Viewnder Data Panel. You must maintain pressure on the AEL button until you release the shutter to the picture. Then aim the focusing target at your subject and press the shutter release part way down to lock focus. You can then reframe and adjust the lens zoom if necessary to get the image you want. Then press the shutter release all the way down and make your exposure. By Minolta factory default, the AEL Auto Exposure Lock feature is effective only while you hold it down. To reset the AEL Auto Exposure Lock feature to toggle AEL on at rst press, off at second press hold ISO Button switch and tap AEL Auto Exposure Lock Button. Front and Rear Control Dial Rules: Generally, both front and rear control dials increase the numeric value being controlled when rotated to the right, and decrease the numeric value being controlled when rotated to the left. The Front and Rear dials Control Dials on the Minolta 507si, 600si, and 650si camera can be used interchangeably to set camera body Shutter speed and an attached automatic lens Aperture in all Exposure Modes and operations except M Manual Exposure Mode. In M Manual Exposure Mode, the Front Control Dial sets the camera body Shutter Speed and the Rear Control Dial sets an attached automatic lens Aperture. For guidance from the Metering system, rotate the Control Dials in the direction of the arrows in the Viewnder Data Panel to obtain a Shutter Speed and attached automatic lens Aperture to correspond with the camera Metering systems assessment of your chosen photographic subject. Viewnder Long Eye Relief: The viewnder image and all displays can be seen in their entirety from a distance of 0.9 inch (22.7 mm), appropriate for photographers wearing glasses. Setting Viewnder Diopter: You can easily set the diopter correction without a lens on the camera. Point it toward a bright light source and turn the small diopter adjustment dial (next to the eyepiece) until the brackets etched on the viewing screen appear sharpest. The dial sets correction factors between and diopters. High Shutter Speed Flash: The Minolta 5400HS accessory ash unit emits a short pre-ash in HSS High Speed Synchronization Mode, which res when the cameras Shutter Release Button is depressed half way. This allows the camera metering system to measure the subjects illumination at this instant and select a ash intensity and Shutter Speed for balanced illumination of the subject and the background. If, while in P Program or Aperture priority Exposure Mode, a Flash to Shutter synchronization speed faster than second is called for, the system automatically shifts into High Speed Synchronization Mode. High Speed Synchronization Mode Flash differs from conventional ash by ring a series of highfrequency pulses at 50 k Hz that resemble a constant light source. Even illumination across the lm frame is assured during the entire time the cameras shutter curtains are open to record the image.

2.3. DYNAX/MAXXUM LENS CHART
blur a distracting background while keeping both the subjects nose and ears in focus. In selecting an aperture-shutter speed combination, the system considers such factors as focal length, subject reectance and contrast, subject distance and type, and the reproduction ratio, or degree of magnication. The system then selects an appropriate combination of aperture and shutter speed for the situation, however it will try to maintain a hand-holdable shutter speed, such as second shutter speed with a 50 mm lens, to reduce the risk of blur from hand held camera shake. To disable AF Auto Focus lens to Shutter interlock, hold the ISO Button and the Lens Mount Button while turning the camera ON. Automatic Exposure Bracketing: Automatic Exposure Bracketing drive mode exposed 3 consecutive images, one at normal EV Exposure Value, plus one at stop EV Exposure Value and then one at stop EV Exposure Value, which is a rather narrow exposure range best suited for the sensitivity and dynamic range of slide lm. For other lm, you can use manual Exposure Compensation control, perhaps taking two additional frames, one at +1 or greater and the other at the +2 or greater setting. Multiple Multiple Exposures: Although you can pre-set a maximum of nine exposures on one frame of lm, you can actually achieve any number. If you want to shoot 16, for example, merely reset the Multiple Exposure feature to 8 after shooting the rst 8. Body Depth: The depth of the Minolta lens mount to lm plane is 44.7mm. Setting DX Film For More Than 24 or 36 Frames: The Minolta 507si, 600si and 650si camera will rewind the lm immediately after the last frame of 24 or 36 exposures as sensed by the DX coding on the lm can. The selected Aperture and Shutter Speed values will disappear immediately after the last exposure when rewind begins preventing you from viewing and recording these values. To wind to the true end of your lm and expose additional available frames, scrape the paint off the lm can DX sections 8, 9 and 10. The camera will then rewind only when lm advance is not possible due to reaching the true end of the lm, or if you manually press the Rewind Button. This permits you to manually rewind after recording your Aperture and Shutter Settings after the nal frame, either 24 or 36, or to expose an additional frame. However, be aware that rewind will begin immediately after the nal exposure, so watch for and record you nal frame Aperture and Shutter Speed before or during the nal exposure.
2.3 Dynax/Maxxum Lens Chart
[Author(s): Minolta Corp.]
Used abbreviations: * Discontinued RS Restyled HS High Speed For detailed explanation see section 2.3.3 (page 14).
Table 2.3: Fixed focal length lenses Lens Elements / Groups 11/8 10/9 10/9 8/8 8/8 9/9 5/5 10/8 10/8 7/6 7/6 7/6 7/6 6/5 6/5 7/6 7/6 Angle Of View

1/7.14

integral

1/6.25

3.28 2.85

1/6.25 1/4

55 mm 72 mm
29/16 31/4 31/8 315/16 51/4 51/4 93/8 93/8 811/16

3.3 2.62

1/7.7 1/5.88

55 mm 55 mm

25/213/16 31/16
*85mm f/1.4 7/6 G [RS] *100mm f/2 7/6 100mm f/2.8 7/7 Soft *135mm f/2.8 5/7 135mm f/2.8 8/6 [T4.5] STF *200mm f/2.8 8/7 APO 200mm f/2.8 8/7 APO G [HS] *300mm f/2.8 11/9 APO 300mm f/2.8 11/9 APO G [HS] 300mm f/4 9/7 APO G continued on next page.

1/7.81

1/6.66

1.5 1.5

1/6.66 1/6.66

49 mm 49 mm

25/8 25/8

49 mm 55 mm

29/16 29/16

1/5.88 1/5.88

115/16 115/16 11/2 11/2 19/16 19/16 12/3 213/16 213/16

1/7.7 1/7.7 1/5

55 mm 49 mm 55 mm
25/8 115/16 29/16 111/16 29/3

1/6.5 1/6.5

1/7.7 1/7.7

72 mm 72 mm

31/6 31/6
16mm f/2.8 Fisheye *20mm f/2.8 20mm f/2.8 [RS] *24mm f/2.8 24mm f/2.8 [RS] 28mm f/2 28mm f/2.8 *35mm f/1.4 G 35mm f/1.4 G [RS] *35mm f/2 35mm f/2 [RS] *50mm f/1.4 50mm f/1.4 [RS] *50mm f/1.7 *50mm f/1.7 [RS] *50mm f/1.4 [RS] *85mm f/1.4

215/16

Min. Focus [ft].7

Max. Magnication 1/6.6

Filter (dia.)
Dimensions (dia. length) [in]

Weight [oz]

25/8 201/8 21/8 13/4 13/4
141/10 19/16 19/16 101/16 61/2 169/16 179/16 87/16 81/2 85/16 85/6 85/16 193/8 193/8 1615/16 151/2 127/8 253/4 177/8 177/8 871/2 871/2 493/4
Table 2.4: Zoom lenses Lens Elements / Groups Angle Of View Min. Focus [ft].98

27/8 31/8 27/8 31/8

2.6(.8)

1/8.3(1/4)

211/16 33/8 211/16 33/8

2.6(1.2) 1.3

1/9(1/4)

1/5.88

1/5.55
211/16 23/8 211/16 23/8 27/8 27/8 27/8 27/8 213/16 211/16 31/4 49/16 211/16 21/16 29/16 211/16 27/16 29/16

1/12.3

1735mm 15/12 f/3.5 G 2035mm 13/11 f/3.54.5 *2450mm 7/7 f/4 2450mm 7/7 f/4[RS] *2485mm 14/12 f/3.44.5 2485mm 14/12 f/3.44.5[RS] 24105mm 12/11 f/3.44.5[D] 2870mm 16/11 f/2.8 G *2880mm 7/7 f/45.6 MZ 2880mm 10/10 f/3.55.6 II 2880mm 8/7 f/3.55.6 (D) (S) *2885mm 13/10 f/3.54.5 *2885mm 13/10 f/3.54.5 [RS] *28105mm 13/10 f/3.54.5 MZ 28105mm 13/10 f/3.54.5[RS] continued on next page.

104 63

Max. Magnication

10/9 10/9

1/9 1/9

integral integral

65/8 65/8
400mm f/4.5 APO G 500mm f/8 Mirror Reex *600mm f/4 600mm f/4 G [HS]
. continued from previous page Lens EleAngle ments / Of Groups View

Min. Focus [ft] 9.9

Max. Magnication 1/6.5
103/4 45/8 1711/16 1711/16

67 237/194

Dimensions (dia. length) [in] 31/4 31/23/4
211/16 117/16 101/16 101/16 145/8 145/15/813/16 81/2 611/16

175/16 175/16

171/8 171/8
23/4 33/4 27/8 315/16 27/8 4
27/8 33/16 31/2 69/16 31/2 69/16

1/3.84

27/8 315/16 23/4 311/16 23/4 311/16 27/8 67/16 213/16 413/16 213/16 413/16 213/16 413/16

5(1.34) 2.8

1/12.5(1/4) 1/6.5
*3580mm 8/8 f/45.6 3580mm 8/8 f/45.6 II *35105mm 12/14 f/3.54.5 *35105mm 12/10 f/3.54.5N *70210mm 9/12 f/4 *70210mm 12/12 f/3.54.5 *70210mm 10/10 f/4.55.6 MZ 70210mm 10/10 f/4.55.6 II *75300mm 13/11 f/4.55.6 75300mm 13/10 f/4.55.6 75300mm 13/10 f/4.55.6 II 75300mm 13/10 f/4.55.6 (D) (S) *80200mm 9/9 f/4.55.6 *80200mm 16/13 f/2.8 APO 80200mm 16/13 f/2.8 APO G[RS] *100200mm 8/7 f/4.5 *100300mm 11/9 f/4.55.6 *100300mm 11/10 f/4.55.6 APO continued on next page.

1/14.3(1/4) 1/5.7

3.3(1)
*28135mm f/45.6 3570mm f/3.54.5 MZ 3570mm f/4

5 (.82)

1/11(1/4)
. continued from previous page Lens EleAngle Of ments / View Groups

Min. Focus [ft]

Dimensions (dia. length) [in] 215/16 45/16 211/16 21/2 211/16 21/16 29/16 215/16 27/16 210/16 211/16 37/16 211/16 25/16 27/8 6
267/16 73/4 91/16 67/8 53/8 171/2 73/4 241/13/16 123/8 111/4 301/2 181/2 171/4 161/4

109/16 451/8 451/8

131/4 147/16 153/8
These lenses have the same glass as the previous MZ models. No Focus scale. No focus lock button. Table 2.5: Macro lenses Lens Elements / Groups 7/6 7/6 5/5 8/8 8/8 8/8 13/8 7/5 Angle Of View
Size of subject that lls the lm plane. Table 2.6: Teleconvertors Lens *1.4 APO

continued on next page.

1.4 II APO [HS]

Elements / Groups 5/4

Dimensions (dia. length) [in] 21/2 13/16

Weight [oz] 63/16

Compatibility 200 f/2.8 APO G 300 f/2.8 APO G 300 f/4 APO G 400 f/4.5 APO G 600 f/4 APO G 200 f/2.8 APO G 300 f/2.8 APO G

3/1 1/1

33/8 45/8 33/4 (W H D)

mm (3X) mm (1X)

1 (3X) 1.6 (1X)

.75 1.2 1.2

1/2 1/1 1/1

55 mm 55 mm 55 mm

25/8 23/16 213/16 37/8 213/16 37/8 37/8 72/3
*50mm f/2.8 50mm f/2.8 [RS] 50mm f/3.5 *100mm f/2.8 100mm f/2.8 [RS] 100mm f/2.8 (D) 200mm f/4 APO G Zoom f/1.7 2.8

Chapter 3

Flash-less photography
3.1 Photographing with M42 / Minolta AF lens reduction

[Author(s): Petr Holub.]

Needs more testing!!! Tested in following setup: Date: 20020813 20:3023:30. Place: Flamenco concert, Brno, CZ
Minolta Dynax 600si Russian mirror lens: 500/6.3 3M-6A (or ZM-BA Russian alphabet???) N840247 with M42 M42 / Minolta AF lens reduction Fuji Superia 1600 (with 4th layer) pushed to 3200 ASA
Testing showed that metering doesnt work correctly. System tends to underexpose at least 1 EV. Also working conditions during this experiment were difcult because of overall low-light situation (correct exposition was about 5.6/20 with 3200 ASA lm!) and strong spotlight. After that I tried to play with it using different metering modes and comparing results to the ones measured through the standard lens I use (2485/3.54.5 and 70210/3.5-4.5) but without actually shooting on the lm. Ive found the measurements through the M42 reduction generally not very reliable (in all three modes average, expert, and spot) with tendency to underexpose which matches experiences from the amenco concert. To get proper exposure I suggest using either other light measurement (through other lens or using external exposure meter) or bracket through 2 5. It should be tested more thoroughly, especially inuence of different metering modes and the results should be shot on slide lm to get precise results.

3.1.1 Comment on M42

[Author(s): Magnus Wedberg.]
My own testing indicates that using M42 lenses on Minolta bodies is somewhat hit-and-miss. Results seems to heavily depend on which lens you are using, and on the camera, too. I never use any compensation with my Super Takumar 55/2.
3.2. MORE ON PHOTOGRAPHING WITH M42 / MINOLTA AF LENS REDUCTION
3.2 More on photographing with M42 / Minolta AF lens reduction
[Author(s): Chingfeng Au. Reviewed by: Petr Holub.]

Part 1

This is just a fast test. All metering were segment metering (maybe I should use spot instead of segment) http://auching.duc.auburn.edu/TEMP/pentax_minolta.htm
In F8.0 test, Pentax SMC Takumar under about 1.5 EV 2.0 EV. But when I set the aparture to F1.4, the shutter time seems near correct. When using ash, it works well though.
F IGURE 3.1: Results of M42 adapter tests (1)

Part 2

Heres the test base on Minolta 50/1.7 and Pentax SMC Takumar 50/1.4. It looks like you have to +1EV for F2.8 F5.6, +1.5EV for F8.0 F11.0, and +2EV for F16.0 http://auching.duc.auburn.edu/temp/m50p50.gif
Test using aparture priority mode. (I still dont know why this happened? Theoretically, using aparture priority mode and spot metering, the TTL system should get correct amount of light and calculate correct shutter time, isnt it?)
3.3 Alternative testing of vignetting

[Author(s): CyberSimian. Reviewed by: Petr Holub.]
This experiment was desribed for 24105/3.54.5 lens in [3] with Hoya lter attached. Try this experiment when there is no lm in the camera:
3.3. ALTERNATIVE TESTING OF VIGNETTING
F IGURE 3.2: Results of M42 adapter tests (2) 1. Set the zoom to the 35 mm focal length. 2. Set the exposure mode to M (manual), the shutter speed to bulb, and the aperture to the maximum (f4 at 35 mm focal length). As the maximum aperture varies with focal length on the 24105 zoom, remember to set the aperture AFTER setting the focal length. 3. Remove lens cap, lens hood, and lter. 4. Open the camera back and re the shutter, holding the shutter open (a cable release helps here). 5. Point the camera at a bright wall or the sky and look through the back of the camera with one eye, about 1218 inches from the lm gate. You will see the rectangular lm gate, the black bafing in the mirror box, and a bright circle (the rear element of the lens). 6. If you are holding the camera horizontally in the normal position and rotate the camera about a vertical axis, your line of sight through the lens appears to move horizontally towards one edge of the lm gate. However, we actually want to check for vignetting at the corners of the frame, so instead rotate the camera about an axis displaced somewhat from the vertical, such that your line of sight through the lens appears to move diagonally from the centre of the lm gate towards a corner of the lm gate. It does not matter which corner, but I will assume the lower left corner in the following. 7. As you rotate the camera, you will see in the bright circle an area of darkness emerge from the upper right. As you rotate the camera more, the area of darkness will move towards the lower left, and you will be able to see that the area of darkness is an out-of-focus image of the interior bafing in the lens. Continue rotating the camera until the area of darkness reaches the lower left corner of the lm gate. What you have just seen is the normal behaviour of the lens, and is the reference that we will use to compare the effect of the lens hood and lters. 8. Attach the lens hood and repeat step (7). What you see will be identical to step (7), i.e. the lens hood does not obstruct the light falling on the lm plane. This is what you would expect if the lens hood is correctly designed.

3.7 Remote release cord

3.7.1 Building your own Remote Cord (v. 1)
[Author(s): Unknown, taken from Minolta AF FAQ [4]; Csaba JOZSA.]
The meaning of each pin is : Back of the camera o C o F o S Front of the camera
C for Common F for Focus S for Shutter release. The way to activate focus is to connect C and F, and for the release, C and S. But there is still a problem: The question of the switch is not so trivial : The Minolta remote cord allow, on the same switch, to focus, and if pushed a bit more, to release the shutter. And to lock the switch with shutter released for long pause. Its possible to implement this with 2 switches, but what appens if the focus switch is held when the release switch is pushed ? Or if the focus switch is held while the shutter is released in pause mode ? I dont want to try this sort of experimentation on my camera. Scott, did you nd a switch with all these functions ? or do you have 2 switches ?
Anyway, for the connector, I had another solution from the news : Its to buy the cord which connect the camera to the IC R1 infrared remote device. The only problem is that this device only deal with the shutter release and Im afraid that this cord only have two pins connected. November 2002, Csaba JOZSA adds: I would like to add a comment: on the Dynax cameras (at least on the Maxxum/Dynax 5) the shutter release works only if the focussing is not switched off. Thus, the procedure is: connect focus pin to common focussing , connect shutter pin to common without disconnecting the focus pin exposing. Its a bit unhandy, since you are obliged to always focus before shutter release, aldo, if you focus with AF and then switch to MF mode, the camera wont change the focus setting. (On switching back to AF, he will.)
3.7.2 Building your own Remote Cord (v. 2)
[Author(s): Scott Kimball, taken from Minolta AF FAQ [4].]
The question was asked, Did I nd a switch like Minolta uses, or did I use 2 switches. The answer: I used 2 switches in the following way: A push-on, push-off single pole, single throw switch enables focus. A momentary single pole, double throw switch de- activates focus and activates the shutter with one push. (Pins are drawn in F C S incorrect order | | | for ease of |--/--| | | drawing -(foc) |SPST | ___| C F S is the |--------|_|_|? correct order) SPDT (shutter) Please forgive the crude drawing. Wired this way, using autofocus mode, you can rst press the focus button to enable the autofocus. Then, when the camera has focused, press the shutter release button (the SPDT button) to switch instantly from focus to re (and back again if you use the momentary switch). If you are manually focusing, you need not rst press the focus button, and the shutter will still trip when you press the shutter release. If you do rst press the focus button and the camera is in manual focus mode, nothing happens because autofocus is not on. In a way, I like a 2 button setup better than a 1 button setup, because there is less chance of accidently ring off a shot. The only thing this doesnt have is a locking feature to lock the shutter open, but it shouldnt be hard to come up with a mechanical method of locking the button down. As far as experimenting with this and the possibility of damaging the camera, as long as you dont introduce any current into the circuit there wont be a problem. The only other damage you could do is bending or breaking a pin in the camera socket if you make a connector that doesnt t well and try to force it.

4.2. SHORT SUMMARY ON USING FILL-IN FLASH
is calculated by the cameras AE system, but the ash must be activated manually before it will re. See the respective sections above for more information.

4.1.6 Slow-Shutter Sync.

In P and A modes, pressing and holding the SPOT button while taking the picture causes the 700si to use a shutter speed slightly higher than that required for normal ambient light exposure. The ash exposure is also controlled to provide proper exposure. This technique provides a natural appearance of the main subject with better ambient-lit background detail. Note: If the background is bright or a large aperture is set, the shutter speed may not be reduced.

4.1.7 Other comment

This seems to be excerpt from some mail by Phil Brandon. It is useful and clear enough to include it here. The ash-ambient programming is unchanged between the 700si and 800si. Back to the thought of the programming for ash: The camera has an Expert System which is the control for everything. It picks which focus sensor to favor, how to build the exposure pattern, how to set the shutter speed and aperture for effect, and how to balance ash with ambient. When ash is used, the most important consideration is NOT overexposing the subject by adding ash to an ablient light exposure that is already correct. (This is the key). Exposure is AF integrated. Once an AF sensor is locked in on the subject. An exposure pattern is built around it. The brightness of the subject is then compared against the background. If the subject is somewhat darker than the background (not a lot), the ambient light exposure might (probably will) be reduced up to 1 stop. However, the background in this case will still be greater and thus over exposed. The Flash duration is shortened a bit to reduce the ash exposure so the addition of ash will not produce a subject exposure that is overexposed. As the subject and background become closer in brightness the ash will power down even more. I would expect to see a slight shutter speed increase (1/60 to 1/90 or 1/125) when the ash is turned on and camera is in A mode. The key to the background either over or under is a product of the subject brightness. Sort of a by-product. It just happens. With that said: if you adjust the Ambient light exposure, you will affect the ash component as well. If you like what the ash is doing but want to increase the ambient by 1, you have to adjust the ash by 1 to make sure its exposure is the same as the unbiased setting (I know this will bring on more questions). There is no way to really know exactly what the camera is doing by looking at any controls or readouts. You can infer if you really know the system and really know the brightness levels of subject. When I am really creating, I use manual exposure mode and spot metering. I read the mid tone of the background. Compare it to the subject tones. Determine what shutter speed and aperture settings to use for affect and then dial in my own EV for ash control. Takes practice but I then Know exactly what to expect. If I am in a hurry and shooting print lm, I shoot Program with ash and it looks ne.

F IGURE B.1: Wireless ash experiment setup Table B.3: Wireless ash experiment: results # picture # picture
. continued from previous page # picture

picture

B.2. FLASH TEST ADI/PRE-FLASH/BOUNCE/WIRELESS
To summarize what I got from this experiment: When placing wireless ashes around your subject be careful about distances you place your ashes from the subject and the powers of ashes since you can create different ratios unintentionaly 1.
You can have ratio wireless off-camera ashes even without dedicated wireless ash controller despite what Minolta says in 5400HS ash manual. All you have to do is to set 5400HS to 2:[1] ratio and re the ashes using built-in camera ash. If you have 5400HS on-camera and you have your camera swichted to wireless mode (so that you have WIRELESS word shown on 5400HS display but not WIRELESS CONTROL!) ash works just like ordinary on-camera ash and it is unable to re any wireless ash. You need to set it to WIRELESS CONTROL mode by pressing and holding OPT button to do so. If you have 5400HS on-camera ash set to WIRELESS CONTROL and you need to use it as ll light (2:1) then you need to switch it to WIRELESS CONTROL 2:[1] mode. The way usual for built-in ash (holding ash button on camera body while shooting) seems not to work 2.
B.2 Flash Test ADI/Pre-Flash/Bounce/Wireless
[Author(s): Marat R. Saulin. Reviewed by: Petr Holub.]
There are three tables down there: Flash Tests 2485 (Tab. B.4), Flash Tests 2880D (Tab. B.5) and Flash Tests WL (Tab. B.6). Pictures in the rst two tables were scanned with the exposure lock except for the le 2880D ADI 5600 which served as a sample, i. e. I scanned it with the AE and then locked exposure for all other images in order to show exposure differences. Pictures in the third table were scanned with the AE (on the negative there were almost no differences between them). Please, do not judge the artistic value of the images they were made for pure test purpose only. As long as I had only 4 test pictures for the 2880/3.55.6 D lens (I didnt make bounce shots with this lens because I think they would be equal to those made with the 2485/3.54.5) I put two additional images made with the 2485 lens instead, but on them the subject is relatively far away from the camera - focal length was 85 mm, with all other shots, except WL, it was 70 mm. As you
1 Ive heard rumors that Canon cameras together with Canon ashes can be programmed in such a way that they are distance independent. The only way Im able to come up with how to do this sort of thing is that ashes are red sequentionaly so camera can balance them to get equal portion of light from each of them. Nota bene: this note is not to provoke any amewars or brand-wars but its rather because of my technical curiosity!!! 2 The other possibility is that on-camera ash is so weak in this case that I havent noticed it on the resulting photos. This shoud be re-measured using slide lm with small exposure latitude.

2485 Preash 5400

# 2485 Preash 5600

2485 4S 5400

Table B.5: Flash experiment: 2880D lens # picture # picture
2485 Preash 5600 Vertical

2485 4S 5600 Vertical

2485 4S 5600

# 2880D Preash 5400

2880D 4S 5400

2880D ADI 5600

Table B.6: Flash experiment: Wireless # picture # picture
WL 5400ctrl(1) 5600slv(2)
WL 5600ctrl(1) 5400slv(2)

2880D 4S 5600

WL 5400(1) 5600(2)

WL 5600(1) 5400(2)

WL 5600(1) 5400(1) Built-in(1)

WL 5400 = 5600

Bibliography
Literature about Minolta and Minolta-compatible equipment
[1] Maschke T., Burian P. K., Magic Lantern Guide to Minolta Maxxum 600si, Magic Lantern Guides (A Laterna magica R book), 1995, ISBN 1-883403-34-0 [2] Damian Dinning, Complete Minolta Users Guide: Minolta Dynax/Maxxum 600Si (Hove Users Guide), Watson-Guptill Pubns, ASIN: 1874031606, February 1996, ISBN: 1-874031-60-6
Web links about Minolta and Minolta-compatible equipment
[3] Minolta Users Discussion Group, http://groups.yahoo.com/group/minolta/ [4] Minolta Users Group, http://www.35mm.freeserve.co.uk/mug/ [5] Minolta SLR FAQ Tips & Tricks, http://fotozoom.net/stary_fotozoom/hp/foto/minolta-faq/af-tips.html [6] Minolta Users Group of Thailand, http://www.geocities.com/minoltacamera/ (in Thai only :-( ) [7] boonedocks.net Minolta Site, http://boonedocks.net/photo/minolta/ [8] Free Minolta Manuals, http://www.geocities.com/eskoufos/fmm.html [9] Minolta Dynax System Accessories Overview, http://www.minolta.com/cameras/camera_mh/slr/acc/acc_othera.html

Camera bodies

Dynax/Maxxum 600si [10] Minolta 600si Board FAQ, http://w3.one.net/georgek/minolta/MPG/600SI/ [11] Minolta Dynax 600si Brochure, http://www.geocities.com/minolta600sibrochure/minolta600si-brochure-01.html [12] Peter Blaise Monahon, Minolta Alpha 507si and Dynax Maxxum 600si 650si Classic and Panorama Date Photography, http://www.geocities.com/minolta507si600si650si/index.html

BIBLIOGRAPHY

[13] Photodo Minolta lens tests, http://www.photodo.com/prod/lens/minolta.shtml\#Minolta [14] Minolta 35mm F2.8 SHIFT CA Lens, http://members.aol.com/cldphoto/shift_ca.html
[15] Walts, G. Minolta Photographs by Gary Walts Minolta Photographer, http://home.imcnet.net/waltsman/flash.html [16] Brandon, P. Flash Exposure by Phil Brandon from Minolta USA, http://www.geocities.com/minoltacamera/tip/0004.html [17] Greely, J. Tech notes from Glamourcons, http://www.munitions.com/jgreely/ [18] Friedman, G. Friedman Archives Wireless Flash Examples, http://FriedmanArchives.com/flash.htm

Interesting books on photography
[19] Burian P. K., Caputo R. National Geographic photography eld guide: secrets to making great pictures, National Geography Society (U.S.), 1999, ISBN 0-7922-7498-9 (reg.) or 0-7922-7496-2 (dlx.)