Guide to Minolta Cameras or What They Didnt Tell Us in Their Docs

Compiled by Petr Holub

2002 2003
This guide is based on experiences of people around the Internet mostly from Minolta Yahoo group. This guide is dedicated to this group in hope that it could help to bring back discussions to the photography instead of lost expectations about D-SLRs and similar things.
I WOULD LIKE TO THANK TO all the people that contributed to this guide in any way and all the people that participate in Minolta Yahoo group discussions. P. H.

Contents

I would like to thank to. Contents List of Tables List of Figures 1 Foreword 2 Information on bodies and lenses 2.1 Minolta AF bodies. 2.1.1 Overview of Minolta AF bodies. 2.1.2 Batteries for Minolta equipment. 2.2 Minolta Dynax/Maxxum 600si (507si, 650si). 2.2.1 Beyond the Owners Manual: Tips and Tricks 2.3 Dynax/Maxxum Lens Chart. 2.3.1 G Series. 2.3.2 D-Series. 2.3.3 RS = Re-Styled Lenses. 2.3.4 Maxxum Lens Glossary. i ii iv v 27 27
3 Flash-less photography 3.1 Photographing with M42 / Minolta AF lens reduction. 3.1.1 Comment on M42. 3.2 More on photographing with M42 / Minolta AF lens reduction 3.3 Alternative testing of vignetting. 3.4 Setting Minolta DiMAGE Scan Dual with VueScan. 3.4.1 Scanning Fuji Provia. 3.5 Minolta mounts. 3.6 Disabling the lens mount check. 3.7 Remote release cord. 3.7.1 Building your own Remote Cord (v. 1). 3.7.2 Building your own Remote Cord (v. 2). 3.7.3 Building your own Remote Cord (v. 3). 4 Flash photography 4.1 FlashAmbient Control 4.1.1 P Mode Flash. 4.1.2 A Mode Flash. 4.1.3 S Mode Flash. 4.1.4 M Mode Flash 4.1.5 Fill Flash.

CONTENTS

4.2 4.3
4.1.6 Slow-Shutter Sync. 4.1.7 Other comment. Short summary on using ll-in ash. Short summary on using wireless ash
A Flash-less experiments A.1 INI les for Minolta DiMAGE Scan Dual with VueScan A.1.1 Settings for Fuji Provia 100F. A.1.2 Settings for Konica Centuria 100. A.1.3 Settings for Konica Centuria 200. A.1.4 Settings for Konica Centuria 400. A.1.5 Settings for Konica VX 100. A.1.6 Settings for Fuji Superia 1600. A.2 Reciprocity Corrections Brooks Institute. B Flash experiments B.1 Wireless ash experiment. B.1.1 Experiment setup. B.1.2 Experiment results and discussion. B.2 Flash Test ADI/Pre-Flash/Bounce/Wireless.
Bibliography Literature about Minolta and Minolta-compatible equipment Web links about Minolta and Minolta-compatible equipment Camera bodies. Lens. Flash. Interesting books on photography.

List of Tables

2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11 3.1 3.2 4.1 4.2 Minolta AF Bodies in Chronological Release Date Order Batteries for Minolta equipment. Fixed focal length lenses. Zoom lenses. Macro lenses. Teleconvertors. xi zoom lenses. G lenses (I). G lenses (II). G lenses (III). D lenses. 45
VueScan parameters for scanning Fuji Provia using Minolta Scan Dual. Disabling the lens mount check. Flashambient compensations performed by camera. Changing Program Flash Control with the Custom xi card.
A.1 Reciprocity Corrections Brooks Institute (1/2). A.2 Reciprocity Corrections Brooks Institute (2/2). B.1 B.2 B.3 B.4 B.5 B.6 Wireless ash experiment setup. Wireless ash experiment: observations of camera and ashes behavior Wireless ash experiment: results. Flash experiment: 2485 lens. Flash experiment: 2880D lens. Flash experiment: Wireless.

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

. continued from previous page Released Europe U.S. Dynax Maxxum 3L 3L

Canada Maxxum

Japan Alpha ( )
2.1.2 Batteries for Minolta equipment
Table 2.2: Batteries for Minolta equipment Body or Meter Dynax/Maxxum AF Bodies All except below & XTsi Dynax 5, 505si, XTsi Dynax 7 and 9 body VC-700 and VC-800 grips VC-7 and VC-9 grips Original AF Bodies & 5000 with original battery holder 7000 & 5000 with optional BH-70L MF SLRs XM, XE-1, XE-5, XD-7, XD-5, XG-1, XG-2, XG-9, XGM, X-9 X-300, x-300s, X320s, X-500, X-700 SRT-101, 100, 202, 303, 100x, 101b, 303b, SR7, SR1 Meter Vectis APS Bodies S-1, S-300, 30, 25, 200, 20, 10, UC, Weathermatic, GX variants Himatic Compacts and Earlier Rangender Bodies Minolta AL-F, AL-E, Himatic 7, 7s, 9 and 11 Himatic 7S-II, 5, G, G2, C Himatic E, F Himatic S, S2, GF, AF, AF2, AF2M Minolta CLE (Leica M lensmount) AF and Focus-free Compacts (modern) 140EX, 135EX, 105EX, Panorama Zoom 28 90EX, 70C, Weathermatic DL 115EX, 75W, 70W, 70EX, RZ 70, Pcio, Mini, Panorama 105i, 90C, Twin 28, AF Zoom 65, AF Zoom 90, AF Tele Super AF5, 100AF, AF35EX, AF35, AF35C, Riva 35 AF-101R, AF-20R, F-10/BF, C-10, Memory Maker FS-E, FS-EII, FS-35, AF-E AF-C AF-T AF-Z, AF-EII, AF-DL, AF Tele 60, AF-SP continued on next page. Batteries Used 1 2CRCRCR123A 4 AA or 1 x 2CRAA or (1 2CR5 and/or 1 CR123A)

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.

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

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
Circular Aperture Floating focus Internal Focus Anomalous Dispersion Glass Asperhic Elements Focus Hold Button
Table 2.10: G lenses (III) Lens Elements / Groups Angle Of View Min. Focus [ft] 1 2.30 4.9 8.2 8.2 9.9
23/8 51/4 51/16 93/8 39/16 811/16 41/4 103/4
35mm f/1.4 G 10/8 85mm f/1.4 G 7/6 (D) 200mm f/4 13/8 MACRO APO G 200mm f/2.8 8/7 APO G 300mm f/2.8 11/9 APO G 300mm f/4 9/7 APO G 400mm f/4.5 9/7 APO G continued on next page.

f/22 f/22

Dimensions (dia. length) [in] 29/31/16 213/16 31/8 72/3

169/16 193/4 403/16

177/8 871/2 493/4 67

2.3.2 D-Series

D-Series lenses include new distance-encoding device which enables improved calculation for ash exposure with Maxxum 5 and 7 cameras when used with 3600HS D and 5600HS D ashes. Table 2.11: D lenses Lens Elements / Groups 12/11 8/7 Angle Of View Min. Focus [ft] 1.6
Manual focus ring does not rotate during AF
2.3.3 RS = Re-Styled Lenses
Fixed Focal Length Lenses AF 20mm f/2.8 RS Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 24mm f/2.8 RS Rubber focusing grip. ABS plastic focusing barrel. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 35mm f/1.4 RS AF lock/lens function button on lens. Rubber focusing grip. Circular aperture up to

31/5 213/16 213/16 37/8

213/16 413/16 4
24105mm f/3.54.5 (D) 2880mm f/3.55.6 (D) (S) 75300mm f/4.55.6 (D) (S) 100300mm f/4.55.6 APO (D) 85mm f/1.4 G (D) 100mm f/2.8 Macro (D)
Dimensions (dia. length) [in] 25/8 25/8 27/16 29/16
1735mm f/3.5G 2870mm f/2.8 G 80200mm f/2.8 APO G

600mm f/4 G

Dimensions (dia. length) [in] 65/8 1711/16 31/4 31/5 31/4 49/16 31/2 69/16

194 211/16 267/16 451/8

13 15/16 611/16

171/10

193/4 18
f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 35mm f/2.0 RS Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 50mm f/1.7 RS Rubber focusing grip. ABS plastic focusing barrel. Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. AF 50mm f/1.4 RS Wider rubber focusing grip. ABS plastic focusing barrel. Circular aperture. Large, detachable lens shade. Foot/Meter focus scale in all white paint. 55mm lter thread. The new lens is optically the same as the original. AF 85mm f/1.4 RS AF lock/lens function button on lens. Rubber focusing grip. Circular aperture up to f/5.6. Revised Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. Zoom Lenses 24-50mm f/4 RS Rubber focusing grip. ABS plastic focusing barrel. Foot/Meter focus scale in all white paint. The new lens is optically the same as the original. 24-85mm f/3.5-4.5 RS Circular Aperture. New style rubber focusing and zoom grips. The new lens is optically the same as the original. 28-85mm f/3.5-4.5 Introduced with 9xi in 1992. Polycarbonate barrel. Faster focusing.* 28-105mm f/3.5-4.5 RS Circular Aperture. New style rubber focusing and zoom grips. The new lens is optically the same as the original. 80-200mm f/2.8 APO HS The 80-200mm f/2.8 APO received a stronger focusing shaft which enabled better focus tracking, a rubber focusing grip for easier manual focus, and white paint nish. Macro Lenses 50mm f/2.8 Macro Rubber focusing grip. ABS plastic focusing barrel. Circular aperture. Focus Range limiter. Focus hold button. 100mm f/2.8 Macro Rubber focusing grip. ABS plastic focusing barrel. Circular aperture. 40 HS = High Speed APO Lenses 200mm f/2.8 APO

300mm f/2.8 APO 600mm f/4 APO 80200mm f/2.8 APO
These lenses were redesigned in 1988 for the Maxxum Series-i cameras. Internal changes include a faster focusing gear and a new IC ROM to enable faster focusing with Series-i, xi, and si cameras. External changes include AF lock/lens function button (one for 200mm, two for 300mm and 600mm lenses), and High Speed Focus decal on lens shade. Additionally, the 80200mm f/2.8 APO received a stronger focusing shaft which enabled better focus tracking, a rubber focusing grip for easier manual focus, and white paint nish.

APO Tele Converter

The converters were redesigned with new gear and IC ROMs. External changes include TYPE II designation. It is OK to use old-style converters on new lenses. Using a new converter on an old, nonupgraded lens will cause slower focusing Warning: THE APO CONVERTERS CANNOT BE USED WITH THE 80-200MM APO LENSES. If mounted together, the front element of the converter will contact back element of the lens and damage both.
2.3.4 Maxxum Lens Glossary
Circular Aperture Defocused background highlights take the shape of the diaphragm in wide-aperture portrait shots. The 9-blade apertures found in some of the G-lenses is specially designed to provide a circular opening at widest apertures (small f-numbers). A circular aperture produces softer, more natural-looking backgrounds at wider apertures than a lens having a standard 5-, 6-, 7-, or 9-bladed aperture. Floating Optical Design Rather than moving all lens groups as a single unit, designated optical groups in some of the G-lenses move independently as the lens focuses. This oating movement provides an extremely at image at the lm plane thus assuring corner-to-corner sharpness. It also provides a high degree of control over sagittal are, and eliminates coma, an aberration that causes off-axis object points to appear as short comet-like images on lm. Reducing sagittal are and coma provides an extremely sharp, high-contrast image which more effectively separates the subject from its background at large apertures. Internal Focusing The AF 200mm, 300mm, and 600mm APOs internal focusing system moves lighter internal lens elements to focus the image instead of the larger front elements used in conventional systems. This along with a high-ratio lens drive provides quick, accurate focusing of fast moving subjects. In addition, a focus limiter permits selecting a focusing range for even faster response. Anomalous Dispersion (AD) Glass Different wavelengths of light come into focus at different planes. This effect is know as Chromatic aberration and can cause a rainbow halo around points of light and reduced sharpness. Standard achromatic telephotos are corrected to bring the red and blue components into focus at the lm plane. The Anomalous Dispersion (AD) glass, used G-Series APO telephotos and zooms as well as the 100-300mm APO and 100-400mm APO virtually eliminates the effects of lateral and longitudinal chromatic aberration, providing increased sharpness and extremely accurate color rendition. Aspheric Design Different than the smooth continuous arc of a normal lens element surface, the curvature of an aspherical lens element changes shape across its surface. This irregular surface helps to correct spherical aberration and coma, an aberration that causes off-axis object points to appear as short comet-like images on lm. It also reduces sagittal are. The inclusion of aspheric elements in a lens design enables designers to reduce the amount of elements in the design. This in turn reduces the amount of are producing surfaces, two per element, which increases the contrast and snap to the nal image. The reduction in elements also makes the lens smaller and lighter. Focus-Hold Button When pressed, it locks focus or can be used to select spot focus or continuous AF (with Custom Function Card or Customize Function Card xi). Distance Encoding Distance encoding with new and revised D lenses provides rened multi-segment metering for manual focus operation and depth-of-eld display on Navigation Display with the Maxxum 7 as well as ADI ash functions when the new 5600(D) and 3600(D) ashes. Integral Filters Because a front-mounted lter would be expensive and would cause excessive are, the 300mm and 600mm Apo lenses have a built-in lter holder. Six lters are provided: NORMAL (clear), Y52 (yellow), O56 (orange), R60 (red), 1B (skylight) and ND4X (2-stop neutral density). Achromatic Coating Minoltas Achromatic, multi-layer coating provides remarkably accurate color rendition and excellent contrast by virtually eliminating reections between lens elements.

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.

3.6 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 ?

4.1.4 M Mode Flash

In this mode, both aperture and shutter speed (within maximum x-sync) are set by the photographer. The ash output is determined by the 700sis metering system and regulated by its TTL ash control system. The photographer can manually adjust the ambient exposure by the shutter speed and aperture selected and control automatic ash brightness by using the cameras ash exposure override feature. The 5200i, 5400xi, and 5400HS ash units can also be switched to manual operation and the level adjusted for special applications.

4.1.5 Fill Flash

In P mode, whenever the 700sis 14-segment honeycomb-pattern metering system detects that conditions require additional light to balance the subject and background exposures, a dedicated, attached accessory ash will re automatically. When not normally called for in P mode, the ash can also be red manually by pressing and holding the ash-control button while taking the picture. In A, S, and M modes, ll-ash
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.

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.
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.
may see, the camera was badly tricked by the uorescent lighting in the room and the picture 24-85 Preash 5600 Vertical is severely underexposed, though the ash still provided some weak light. :-((. If we accept the sample picture, 28-80D ADI 5600 as perfectly exposed one, then the 4segment metering comes the best after it with about 1/2 overexposure regardless the lens ash combination used. With the pre-ash metering results are practically unpredictable if a non- D lens is used - in some cases it gives heavy overexposure (like in 2485 Preash 5X00 les) or shows bad underexposure (see the previous comment). With the D-lens even non-D 5400 showed similar results to 4 segment metering.in the pre-ash mode. In the wireless mode results should be interpreted the following way: the rst ash in the name stands to the left of the camera while the second one stands to its right. Numbers in parenthesis indicate the ratio power for each ash. ctrl means Control, slv means slave for the pictures where one of the ashguns was used as a control for another. For getting this work I made a trick with the OS1100 lling in the whole on the shoe. But as long as the ashes were relatively close to the subject (I think less than 1 meter) the results in this mode are contradictory to what it should be in reality the control ash, even set to (1) ratio power overexposes its side of the picture, though it should be way around. Another note: when the 5600 acts as a controller the camera does not give an OK signal, though the pictures were apparently exposed properly. With the 5400 set to the controller everything works as it should and the camera gives OK signals. I think that this is understandable, as long as the manual for the 5600 warns against using the 5600 as a controller if a non-D ash is used as a remote because the latter wont re. Well, in my tests the 5400 red all right, though without OK signal after the shot.

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.)

Previous flash units with SCA system in combination with current adapters Analog & digital cameras in alphabethical line of camera manufacturers
28 CT-TTL-1(i) 32 CT-CT-3(i) 32 CT-7, 36 CT-CT-3 Power grip G15 1) with 28 CT-TTL-1(i) 32 CT-3(i) 32 CT-CT-CT-CL-CT-4 6) 45 CL-MZ-MZ-MZ-MZ-5

32 CT-4 1) 32 CT-8 1)

32 Z-MZ-3

40 MZ-1i 40 MZ-3i

45 CT-CT-2

60 CT-4

BRONICA

ETRSi/SQ-Ai SCA 386 2) +

adapter

SCA 386 2)

SCA 386 2) +

SCA 300 E

A-1/AE-1/F-1 New/AV-1/AL-1/ EF-M/AT-1/AE-1 Program/T50/T70/ T80/T90 EOS 700/750/850/RT/600/620/630/ 650/ 1000/1000N/1000F/1000FN/ REBEL/REBEL S/1/1V/100/ELAN/50/ 50E/55/500/500N/IX/IX7/3/30/33/30 0/300N/ELAN 2/ELAN 2E/5/ 10/10s/3000/3000N/5000/A2/A2E EOS 30V/33V/300V/3000V SCA 311 SCA 311 +

SCA 311 +

SCA 311

SCA 300 A

SCA 3102 onwards M +

SCA 3102 onwards M

SCA 3000 C

EOS 1N

standard foot 301 7)
Meanings of exponents see last page! Subject to changes! Metz-Werke, Technical Support

Page 1 of 17

24.04.2007
EOS 300X standard foot 301 7) standard foot 301 7) +

standard foot 301 7) +

SCA 3102 onwards M2
SCA 3102 SCA 3102 onwards M2 onwards M2

PowerShot Pro70

SCA 3102 SCA 3102 SCA 3102 onwards M2 onwards M2 SCA 3102 onwards M2 SCA 3102 SCA 3102 + + + onwards M2 onwards M2 onwards M2

cable cable cable

SCA 3102 onwards M2 +
EOS D30/D60/1D/1DS/10D/300D/ Power Shot G1/G2/G3/G5/Pro 90IS/Pro1 EOS 350D/400D/20D/30D/5D/ 1D Mark II/1D Mark II N/1DS Mark II/ Power Shot G6/G7

SCA 3102 M3 7)

Page 2 of 17

CONTAX

MD137/139/MA137/159MM/RTSII/167 MT/RTSIII/ST/G1/G2/ SCA 382 SCA 382 +

SCA 382 +

SCA 382

SCA 382 SCA 382 SCA 382

+ cable

SCA 300A

SCA 500 C

Aria/RX/AX/645/N1

SCA 3802 +

SCA 3802

SCA 382 SCA 3802 SCA 3802

FUJIFILM

FinePix S1 Pro/S2 Pro SCA 343 SCA 343 +

SCA 343 +

SCA 3402 (M or M2)
SCA 343 SCA 3402 (M or M2) SCA 3402 (M or M2)

FinePix S3 Pro/S5 Pro

Page 3 of 17

HASSELBLAD

SCA 390 +
500ELX/503CX/553ELX/205TCC

SCA 390 2)

SCA 390 2) SCA 390 2) SCA 390 2)

+ converting cable

SCA 390 2) +
SCA 390 201/203 SCA 390 +

bracket

SCA 390

SCA 390 SCA 390 +

SCA 390 2) SCA 390 +

SCA 300 A +

SCA 3902 2) SCA 3902 2) SCA 3902 2) + + + SCA 3902 2)

SCA 3902

SCA 3902 2)

SCA 3902 2) +

standard foot 301 7) SCA 3452 2) SCA 3452 2) SCA 3452 2) + + + SCA 3452 2) SCA 3452 2) SCA 3452 2)

DCS-760

SCA 3452 2) +

Page 4 of 17

standard foot 301 7) standard foot 301 7) +

DCS-Pro 14n/DCS SLR/N

SCA 3402 7) (M or M2)
SCA 3402 7) SCA 3402 7) (M or M2) (M or M2)

R4/R4S SCA 351 SCA 351 +

SCA 351 +

SCA 351

R5/R-E/R6/R6-2/R7

R8/R9/M6 TTL/M7

SCA 3502 onwards M +

SCA 3502 onwards M

Page 5 of 17

SCA 3502

onwards M4

Digilux 2/CM

Digilux 3

V-Lux 1

standard foot 301 7) + cable SCA 300 A standard foot 301 7) + cable SCA 300 A

SCA 3202

onwards M5 7)

SCA 3202 onwards M5

onwards M5

SCA 300 A SCA 3202

onwards M6

SCA 3202 onwards M6

Page 6 of 17

MAMIYA

SCA 395 +

RZ67/RZ67 PRO-II

SCA 395 2)

SCA 395 2) +

SCA 396 2) + 645 PRO TL
SCA 396 2) + SCA 396 2) SCA 396 2)

SCA 396 2) + SCA 396 2)

SCA 396 2) +

bracket 40-36

SCA 396 2)

645AF/645AFD

SCA 3952 2) SCA 3952 2) SCA 3952 2) + + + SCA 3952 2) SCA 3952 2) SCA 3952 2)

SCA 3952 2) +

Page 7 of 17

MINOLTA

X300/X300S/X370/X370N/XD/XG/CLE/ X500/X570/ X700/5000/7000/9000 Dynax/Maxxum/Alpha 3000i/3700i/7000i/7700i/8000i/ 8700i/SPxi/2xi/5xi/5/ 300si/404si/ 450si Date/500si/500si Super/ 505si/Vectis S1/800si/9/5000i/ 5700i/3xi/7xi/7/9xi/600si/700si/60 Dynax 3L/40 SCA 331 +

SCA 331

SCA 331 +

SCA 331 SCA 331 SCA 331

SCA 3302 onwards M +

SCA 3302 onwards M

RD 175/RD 3000

Dimage 5/7/7i/7Hi/A1/A2

SCA 3302 onwards M4 SCA 3302 SCA 3302 SCA 3302 + onwards M4 onwards M4 onwards M4

Page 8 of 17

Dimage Z1/Z2/Z3/Z5/Z6/A200 SCA 3302 onwards M5 SCA 3302 SCA 3302 SCA 3302 + onwards M5 onwards M5 onwards M5
SCA 3302 Dynax 5D/7D SCA 3302

onwards M5 onwards M5

SCA 3302
F3 SCA 344 + adapter SCA 344 SCA 343 +

SCA 344 SCA 343 +

SCA 344 +
FE/EM/FG-20/FM-2/FE-2/FA/FG/ F301/N2000/F601M/FM-3A F401/F401s/F501/F50/N50/F60/F65/ N4004/N2020/F80/F801/F801s/ N8008/F401x/F601AF/F90/N90/F70/ N70/F75/F90x/F4/F4s/F5/Pronea 600i/F100

SCA 343

converting cable

SCA 500 C SCA 343 +

SCA 3402 M to M5 +

Page 9 of 17

D1/D1X/D1H/D100 standard foot 301 7) standard foot 301 7) +

SCA 3402 M2 7)

D40/D40x/D50/D70/D70s/D80/ D200/D2X/D2H/F6 Coolpix 8400/8800
Coolpix 950/990/995/4500 + Nikon SK-E900 or AS-E900

Coolpix 5000/5400

SCA 343 + SCA 343 SCA 343

Page 10 of 17

spacer

Coolpix 5700/8700

SCA 300 D

OLYMPUS

E-10/E-20P/C-2500L/C-750/ C-770/C-5050/C-5060/C-8080/ SP-350 standard foot 301 7) standard foot 301 7) +

SCA 3202 onwards M

SCA 3202 onwards M +

onwards M

E-1/C-7070

SCA 3202 SCA 3202

onwards M3 onwards M3

onwards M3

E-300/E-330/E-400/E-500

Page 11 of 17

E-100RS/C-2100UZ/C-2040Z/C3000Z/C-3030Z/C-3040Z/ C-4000Z/C-4040Z/C-700UZ + Olympus FL-BK01/FL-CB01 standard foot 301 7) SCA 3202 onwards M2 SCA 3202 onwards M2 SCA 3202 + onwards M2
connection cable SCA 3000 C

SCA 3202 onwards M2

PANASONIC
standard foot 301 7) standard foot 301 7) + cable SCA 300 A standard foot 301 7) + cable SCA 300 A standard foot 301 7) + cable SCA 300 A standard foot 301 7) + cable SCA 300 A

DMC-L1

DMC-FZ50

Page 12 of 17

PENTAX
ME-Super/ME-F/MG/MV/MV-1/Progr. A/P-30/P-30N/P-30T/P-3N/P50/A3/A3000/MZ-M SCA 372 +

SCA 372 7)

SCA 372 +
SCA 372 7) SCA 372 7) SCA 372 7)

SCA 372 7) +

LX (with accessory shoe)/Super A/645

SCA 372

SCA 372 SCA 372 SCA 372

SCA 300 A SCA 3702 +

SFX/SF-1/SFXN/SF1N/SF7/SF10

SCA 3702 +

SCA 3702
SCA 372 SCA 3702 SCA 3702
Z-1/Z-1P/Z-10/Z-20/Z-50P/ PZ-1/PZ-10/PZ-20/645N/MZ-3/ MZ-5/MZ-5N/MZ-10/MZ-50/ MZ-6/Z-70/MZ-7

Page 13 of 17

*ist/*istDL/K100D/K110D/K10D standard foot 301 7) standard foot 301 7) SCA 3702 7) SCA 3702 7) SCA 3702 7) + + + SCA 3702 7) SCA 3702 7) SCA 3702 7)

SCA 3702 7) +

*istD/*istDS
SCA 3702 9) SCA 3702 9) SCA 3702 9) + + + SCA 3702 9) SCA 3702 9) SCA 3702 9)

SCA 3702 9) +

XR-1S/KR-5S/XR-2S/XR-S/XR-F/XR-7/XR6/XR-20SP/KR-10/KR-10S/KR-30SP/KR10M/XR-P/ XR-X/XR-M SCA 364 +

SCA 364

SCA 364 +

SCA 364 SCA 364 SCA 364

XR-X 3 PF

SCA 364 M1

SCA 364 M1 +
SCA 364 M1 SCA 364 M1 SCA 364 M1

Page 14 of 17

ROLLEI
SL2000F/3001/3003/SL66E/SL66X/SL6 6SE/2,8GX/SL6001/SL6002/ SL6006/SL6008 SCA 356

SCA 356 +

SCA 356

SCA 356 2) SCA 356

SCA 356 2) +

SL6008AF

SCA 3562 2)

SCA 356 2) SCA 3562

SA 300/SA 300 N/SA-5 SCA 3601 +

SCA 3601 +

SCA 3601

SD-9/SD-10

Page 15 of 17
DSC-F505/DSC-F707/ DSC-S75/DSC-S85/MVC-CD200 standard foot 301 7) standard foot 301 7) +

SCA 3602 M4 SCA 3602 M4

SCA 3602 M4 5) standard foot 301 7)
SCA 3602 M4 standard foot 301 7)

DSC-F717/DSC-V1/DSC-V3

DSC-F828/DSC-R1

SCA 3602 M4

SCA 3602 M4 +
SCA 3302 Alpha 100 SCA 3302

YASHICA

FX-D Quartz/107MP/108MP/ 109MP/FX-3 Super/FX-7 Super/ FX103/200AF/230AF/270AF/300AF SCA 382 +

Page 16 of 17

Meanings:
1) 2) 3) 4) 5) 6) 7) 8) 9) M. The mentioned above flash units can be turned to a hand held flash unit by a power grip G15 requiring other adapters. SCA adapter sold by the camera manufacturer. For using a mecablitz 32CT-7 or 40MZ-. the spacer SCA 300 D is required! A mecablitz 45CT-5 below serial number 106001 or 60CT2 below serial number 46830 must be up-grade! SCA 500 C discontinued! mecablitz 40 MZ-2 only onwards serial number 155201! 45 CT-4: with SCA 3000 C M1 only onwards serial number 205180 of flash unit usable! Only auto flash mode or manual mode are possible! No longer available! Only standard TTL mode are possible! Described the needed version of particular adapter!

Page 17 of 17