2 CRx CRCR2

PX625 PX675 PX640 AA 10L14 or EPX-76 CR123A DL223A CR123A 2CR5 AA AA AA 10L14 AA or DL223A AAA or DL223A
AA AAA AA EPX-76 or 2 10L14
2.2. MINOLTA DYNAX/MAXXUM 600SI (507SI, 650SI)
1 AA 1 AA and 1 PXPXMN10LPX1.35 V mercury cell: PX1 or RM1
Notes: PX625 and other PX- type button batteries, as used in many older manual focus SLRs, contain mercury and slowly being outlawed around the world for obvious environmental reasons. A possible solution is the air cell, made by Wein in the USA. Ask for WeinCell MRB625 (to replace a PX625), MRB675 (PX675) or MRB400 (PX400). Some discontinued AF bodies use a separate internal button battery to provide memory backup for settings, etc. Although they last a long time, they do eventually need replacing. The individual requirements of these particualr bodies are not listed in the table above, but I would be glad to add them. Avoid the cheap types of button cells made for virtual pets or market-stall watches. They are not the same as those intended for photographic use: their output voltage varies underload and this will lead to incorrect meter readings.
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.

Flash Auto Program: The Minolta 507si, 600si, and 650si camera selects a ash program when the retractable ash head or an accessory ash unit is activated. However, in Program Exposure Mode with sufcient available light, the camera will not use the ash unless you press and hold the Flash Control Button during exposure. Auto Focus Illuminator: The Minolta 507si, 600si and 650si camera Auto Focus Illuminator light feature of the built in ash or attached accessory ash will not function in C Continuous Auto Focus mode. Auto Metering Features: The metering system of the Minolta 507si, 600si, and 650si camera starts with a proven auto focus-integrated computer rst introduced by Minolta with the xi series cameras. This computer ensures that the light meters main emphasis is on the area in sharp focus. This optimizes exposure for the primary subject. The camera meter is calibrated for medium gray, which is equivalent to an 18 %, reectance. This value was arrived at with the assumption that average photographic subject scenes have a contrast range of 1:32. This is a valid assumption for common outdoor scenes that include grass, dirt, rocks, trees, and sky, for instance. The various reectance values average to a median value with a density of 0.75, or 18 % reectance. The camera meter measures light reected back from the subject through the lens, hence the term TTL Through The Lens metering. This is also the design of all other modern SLR Single Lens Reex cameras. When the camera metering system determines the subject scene to be a landscape, metering emphasis is on the lower section of the frame. In strong backlighting, such as when shooting toward a bright ocean, the camera metering and exposure computer automatically compensate for a bright rendition of the scene. However, with a small subject on bright sand or surf, such as a small boat on a large body of water, expect to need to dial in a 1 EV Exposure Value compensation factor because the camera metering system interprets such a scene as a landscape. When you set the camera to the evaluative 14 Segment Honeycomb Pattern Metering Mode, the camera computer sets its own Exposure Compensation in an attempt to render a bright scene or dark scene accurately on lm. For example, beyond a certain high brightness level, the camera system increases exposure by one EV Exposure Value stop to render the subject as bright. Use the Exposure Compensation feature to assist the cameras Metering system to accurately match your chosen photographic subject scene brightness dynamic range to your chosen lms sensitivity dynamic range: A white surface reects more light than a gray surface approximately two stops more. + Plus EV Exposure Value Compensation will increase the amount of light reaching the lm to render a light photographic subject accurately. A black surface reects less light approximately two stops less. Minus EV Exposure Value Compensation will reduce the amount of light reaching the lm, to render a dark photographic subject correctly. If the range of brightnesses within your chosen photographic subject scene are within the or range of the Viewnder Data Panel scale, then they can be recorded accurately within most lms reproducible dynamic range. Any index reading of 3 or greater will probably be reproduced as white on lm, and any reading of 3 or beyond will probably be reproduced as black on lm. To toggle on/off the viewnder LCD indicator for Exposure Compensation, hold the ISO Button and the Depth Of Field Preview Button. The center-weighted metering is not linked to the auto focus system, nor does it input exposure corrections of its own. Primary emphasis is placed on the subject area within the brackets etched on the viewnder, with much less emphasis on surrounding areas, and none on the top section where sky might be located. Auto Focus Features: In the Minolta 507si, 600si, and 650si camera, program modes are aware of an attached automatic lens focal length. A telephoto lens activates higher shutter speeds, and a wide-angle lens activates smaller apertures. For example, the camera sets a small aperture for a landscape to achieve an extensive range of apparent sharpness. If the AF Auto Focus system detects motion, it sets a high shutter speed such as second to stop action. For a portrait, a moderately wide aperture is set to

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

211/16 25/16 23/4 23/8

Min. Focus [ft].65.65

Max. Magnication 1/1 1/1

31/8 57/8
100300mm f/4.55.6 APO (D) 100400mm f/4.56.7 APO
Dimensions (dia. length) [in] 27/8 4
105/16 117/185/16 185/403/16 3813/16
. continued from previous page Lens Elements / Dimensions (dia. Groups length) [in]
Compatibility 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 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 300 f/4 APO G 400 f/4.5 APO G 600 f/4 APO G
Manual focus only Table 2.7: xi zoom lenses Lens Elements / Groups Elements/ Groups 8/8 Angle Of View Min. Focus [ft] Min. Focus (ft) 1.6

Angle of View

Sold with xi cameras. Not true xi lens as zoom drive was camera AF motor. No motor in lens.

2.3.1 G Series

G-series lenses are Minoltas high-performance class optics. They have the best specications, feature special advanced technology, and offer the best image quality of all Minolta lenses. G-series lenses are designed to meet the high expectations of the most demanding professional. The quality of the image they produce is among the nest in the industry. Each G-series lens incorporates one or more of the following features: circular aperture, double oating and oating-focusing systems, Internal focus, Anomalous Dispersion (AD) glass, aspheric elements, and
215/16 311/16 27/8 33/16 215/16 315/16
1.6 (f/28) 1.6 (f/35) 4.9

213/16 25/8 27/8 3

*3580mm f/45.6 Power Zoom *2880mm f/45.6 *28105mm f/3.54.5 *35200mm f/4.55.6 *80200mm f/4.55.6 *100300mm f/4.55.6

II APO [HS]

111/16
Dimensions (dia. length) [in] Dimensions (in) (dia. length) 25/8 21/8

Weight (oz)

911/16 157/8 175/8 109/16 151/2
focus-hold buttons. Minolta will continue to expand its G-series as the needs and demands of professional photographers grow. Table 2.8: G lenses (I) AF 1735mm f/3.5 APO Circular Aperture Floating focus Internal Focus Anomalous Dispersion Glass Asperhic Elements Focus Hold Button Yes No No Yes Yes Yes AF 35mm f/1.4 Yes Yes No No Yes No AF 85mm f/1.4 (D) Yes Yes No No No Yes AF 2870mm f/2.8 Yes Yes No No Yes Yes AF 80200mm f/2.8 APO Yes No No Yes No Yes
Table 2.9: G lenses (II) AF 200mm f/2.8 APO No No Yes Yes No Yes AF Macro 200mm f/4 APO Yes No Yes Yes No Yes AF 300mm f/2.8 APO No No Yes Yes No Yes AF 300mm f/4 APO Yes No Yes Yes No Yes AF 400mm f/4.5 APO Yes No Yes Yes No Yes AF 600mm f/4 APO No No Yes Yes No Yes

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

3.5 Minolta mounts

[Author(s): Chuck Cole.]
Question: How many types of minolta mounts are there? Answer: Four plus. (I dont know all the details but had the 9xi problem on a Sigma 400mm).
3.6. DISABLING THE LENS MOUNT CHECK
1a) Minolta made some Leica-compatible RF screw mount lenses for various rangenders (both screw and focus cams work on both brands) 1b) Minolta made some Leica-thread, incompatible RF screw mount lenses for various rangenders 2a) early SR/SRT mounts lacked the aperture tab found on all MD mounts and most (or all?) MC mounts: bayonet ts, but auto-metering doesnt work. 2b) regular MD/MC mounts with auto tab 2c) one rare 35mm guide number lens (aperture set per focus distance for old bulb ash) 2d) screw-adapter bellows types 3a) early Maxxum mounts (eg, 7000 & 9000) do AF with any version AF lens (early Sigma 400mm f5.6 doesnt work with 9xi, etc, but works with 7000,9000) 3b) mid Maxxum lenses work with all AF bodies, but lack DOF coupling 3c) newer Maxxum has DOF features 4) Vectis series lenses for R-3000 (digital), etc Note: some Maxxums (eg, 2xi, 3xi, Spxi) cannot defeat their shutter interlocks so they can use T-mount lenses or telescopes, etc, but most can (see sec. 3.6). I think there more RF versions and maybe a twin-lens type or two. Lets ignore the microscope and enlarger options that could be used on.
3.6 Disabling the lens mount check
Table 3.2: Disabling the lens mount check Camera 5000, 7000, 9000, 3000i, 5000i, 7000i, 8000i 2xi, 3xi, Spxi 5xi Procedure No preparation needed to use T-mount lenses.
Requires circuit modication by Minolta. Press and hold SPOT and FUNC. buttons and switch from LOCK to ON. 7xi/9xi Press and hold AEL and FUNC. buttons and move power switch from LOCK to ON. 300si Press and hold FLASH and DRIVE/SELFTIMER buttons and move power switch from LOCK to ON. (Off appears in LCD panel) 400si Press and hold Drive Mode and AV buttons and move power switch from LOCK to ON. 404si Press and hold the P and Self Timer switches with Function Dial at ME while sliding the Main Switch to ON. 500si Press and hold Drive Mode and SPOT buttons and move power switch from LOCK to ON. continued on next page.

3.7. REMOTE RELEASE CORD

. continued from previous page Camera Procedure 505si Super Press and hold Self Timer and SPOT buttons and move power switch from LOCK to ON. XTsi Press and hold the Selftimer-Drive Mode button and Spot/AE button while sliding the Main Switch to ON (OFF appears in LCD panel). 600si Press and hold the LENS RELEASE button and FILM SPEED button with the lens removed and move the power switch from LOCK to ON. (OFF appears in LCD panel) 700si Press and hold SPOT and CARD buttons and move power switch from LOCK to ON. 800si Press and hold SUBJECT PROGRAM and AEL buttons and move power switch from LOCK to ON.(OFF appears in LCD panel) Vectis S-1 Press ON/OFF to turn camera ON. Open door that covers hidden buttons. Press the Drive Mode button (fathest on the left) and the MODE button together. ON will appear in the LCD panel. Press the SEL button (second from right in hidden buttons). OFF Will appear in the LCD panel. Vectis S-100 Subject Program and +/-, then press any other button to conrm; displays on in display even with adapted manual lens attached. RD-175 Press and hold DRIVE/SELFTIMER and AV buttons and move power switch from LOCK to ON. (ON appears in LCD panel)

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.

Exposure control

4.1. FLASHAMBIENT CONTROL
Function number 5 Backlight ll-in EV 1 EV or less EV or less Yes Yes Yes Yes Yes Yes Yes Frontlight ll-in EV 1 EV No adjust Low light ll-in 0 EV 1 EV or less No adjust Yes Main Flash light subject Ambient light Backgroud (ambient) P mode + Auto ash P mode + Forced ash A mode + Flash ON S mode + Flash ON P mode + SLOW SYNC A mode + SLOW SYNC S mode + SLOW SYNC Backlight ll-in Frontlight ll-in Lowlight ll-in Night ll-in Daylight situation when the main subject is much darker than background Daylight situation when there is no big difference between subject and background brightness Dark condition or a situation which may cause blur due to camera shake Lowlight situation when background exposure is desired as much as the main subject.
Night scene EV No adjust 0 EV
TABLE 4.1: Flashambient compensations performed by camera
Control Program ash Control

Mode and operation

Yes Yes Yes Yes

Setting 1 2

Action Auto Switchover Manual Switchover
TABLE 4.2: Changing Program Flash Control with the Custom xi card

4.1.2 A Mode Flash

In A Mode, the photographer sets the aperture and the camera automatically selects the fastest sync speed between 1/200 and 1/60 second that ambient light levels will allow. This provides the advantages of full depth-of-eld control while the Expert exposure system uses multi-pattern metering or center-weighted metering to automatically determine ambient exposure and the necessary ash output. Basically, the system is designed to reduce ambient light exposure by one stop (by increasing the shutter speed) and, if possible, maintain it at this level for backlight, frontlight, and lowlight ll-in. In backlight and frontlight conditions, the ash brightness is reduced from 1/4 to 3/4 stop to produce a pleasing subject exposure. The background will be up to 1-1/2 stops brighter than the subject exposure. For indoor photography, ash brightness is at its normal rating while the shutter speed is controlled to reduce and maintain ambient light brightness by one stop. The slowest shutter speed available in A mode is 1/60 sec. Ambient levels requiring longer speeds will be underexpose to a greater degree. When the SPOT button is pressed for slow-sync ash photography, ash brightness is reduced by 3/4 stop and shutter is set to a speed slow enough to allow normal background exposure.

4.2 Short summary on using ll-in ash
Based on my experiences and experiences of other people [3] here is a short summary on how to get gentle ll in ash: M mode (called Brainer mode by Gary Walts in [15])
Meter your subject and set aperture and shutter speed for proper exposure with ash turned off. You can also use results of measurement in P mode again with ash turned off and set those vaules in M mode.
Dial-in the desired ash compensation e.g. dial-in even no ash compensation at all.
ash compensation or you can set
4.3. SHORT SUMMARY ON USING WIRELESS FLASH
P and A mode (called No-Brainer mode by Gary Walts in [15]). Just press the force ash button on camera body. The result will habe about one stop underexposed background/ambient light so its not what you usually want as daylight-balanced ll-in ash. But its great for backlight.
In P and A mode you can use SLOW SYNC method. SLOW SYNC is designed to make your shutter speed long enough to get proper exposure of ambient light 1. According to Phil Brandons notes on ash programing (Table 4.1 on page 26 and 4.1.6 on page 28) the ambient light in this mode should be exposed without any compensation (in my experiences it is sometimes up to EV underexposed) the same situation you probably want with daylight ll-in ash. In my experiences it worked O. K. except for the high-speed sync (HSS mode) when it has usually no effect on shutter speed 2. When you want especially subtle ll-in you can dial 1 or even 2 EV ash compensation. P and A mode You need to compensate (ambient) exposure decrease invoked automatically by the camera in those modes when ash is turned on. Amount of compensation varies on ambient light level but usualy you need to set about 1 EV. Unless you have Maxxum/Dynax 7 with ash compensation detached from ambient compensation bear in mind that ash output increases by the same amount as the ambient compensation set. Now you need to compensate ash for both the automatic increase due to ambient exposure compensation and the ash compensation that you want to dial in. In case of 1 ambient compensation you need to dial 1 ash compensation to get original ash power. Than you can go further with your intended ash compensation if you want to have ash power increased by you need to dial-in total ash compensation. Disadvantage of this approach is in the fact that overall exposure compensation that camera sets after turning on the ash may be exactely one stop (if camera decides its frontlight situation) but it may be even more so you never know what compensation exactely should be set unless you do the measurement with ash turned off.

Place: Brno, CZ Minolta Dynax 600si, 2485/3.54.5 set to 85 Kodak ProFoto 100 (expiration 07/2004), scanned on Noritsu QSS-2901 digital minilab/scanner in Base4 resolution (theoretically 1536x1024, actually 1486x1024)

ambient light

heavy cloudy, spot metering on windows made 5.6/8 on average and 5.6/45 at maximum experiment performed indoors with setup pictured on Fig. B.1 setup for each picture is summarized in Tab. B.1 observation of camera and ash behavior are summarize in Tab. B.2 resulting pictures are in Tab. B.3 Table B.1: Wireless ash experiment setup # aperture/speed position 5.6/5.6/5.6/5.6/60 5400HS 5 5.6/60 3600HS(D) 6 5.6/60 3600HS(D) 7 5.6/60 5400HS 2:[1] 8 9.5/60 5400HS 9 9.5/60 5400HS 2:[1] continued on next page. position 2 built-in 5400HS wireless control 5400HS wireless control 2:[1] built-in built-in built-in built-in built-in built-in position 3 3600HS(D) 3600HS(D) 3600HS(D) 3600HS(D) 5400HS 5400HS 2:[1] 3600HS(D) 3600HS(D) 3600HS(D)
B.1. WIRELESS FLASH EXPERIMENT
. continued from previous page # aperture/speed position 9.5/5.6/5.6/5.6/60
position 2 5400HS wireless control + ash button 5400HS wireless control + ash button 5400HS wireless 5400HS
position 3 3600HS(D) 3600HS(D)
Experiment results and discussion
Table B.2: Wireless ash experiment: observations of camera and ashes behavior
before exposure blinking alternately glowing glowing
after exposure blinking blinking blinking
blinking alternately blinking alternately blinking alternately
blinking blinking blinking

blinking alternately

blinking
blinking alternately blinking alternately glowing blinking alternately glowing glowing
blinking blinking alternately glowing blinking blinking blinking
test ash (AEL button) one starting ash (on-camera) and one ash (off-camera) one starting ash (on-camera) and one ash (off-camera) one starting ash (on-camera) and two simultaneous ashes (off- and on-camera) one starting ash (on-camera) and two ashes (off-camera) one starting ash (on-camera) and two ashes (off-camera) one starting ash (on-camera) and two ashes (off-camera); 5400HS ashes approx. 0.5 sec after 3600HS(D) one starting ash (on-camera) and two ashes (off-camera); 5400HS ashes approx. 0.5 sec after 3600HS(D) one starting ash (on-camera) and two ashes (off-camera) 5400HS ashes approx. 0.5 sec after 3600HS(D) undistinguishable from case 1 and 2 undistinguishable from case 1 and 2
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.

The built-in ash works in fact as a real wireless controller, so it is possible to use 1:2 ratio between two remote units. Though the it works the best with the 5600 set to (2) and 5400 set to (1). With reversed setting the effect of the ratio is much less prominent, but this way it is possible to play with lighting in a more exible way, IMHO. When both ashes are set to the equal power (i.e. without any ratio, just plain wireless mode) they provide equal illumination.

> > > >

Thanks for posting the results of your flash test, Marat. My conclusion is that, contrary to what has been stated earlier and often on this e-group, Minolta flash results are very unpredictable unless using a D lens.
Yes, they are. Unpredictable they become only with the pre-ash and a non-D lens. Now, as long as I dont have a D-lens, I have switched the ash metering to the 4-segment one - at least it gives very consistent and predictable results, though it tends to overexpose a bit. But still the 4- segment metering is much better than the centerweighted one in all Minolta cameras prior to the 9. Table B.4: Flash experiment: 2485 lens # 2485 Bounce 5400 picture # 2485 Bounce 5600 picture

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.)