Forum Übersicht - Sonstige » Dick Sullivan's Minolta Manual Focus SLR Cameras

#1 von matthiaspaul , 17.03.2009 10:03

#2 von matthiaspaul , 17.03.2009 10:16

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ZITATLoading Minolta Manual Focus SLR Cameras. . . . Please Wait.

If you aren't transfered to my site in a few seconds,

Click Here to Enter![/quote]

#3 von matthiaspaul , 17.03.2009 10:20

http://www.pcisys.net/~rlsnpjs/minolta/minolta.html (verwaister Originallink)
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ZITATMinolta Manual Focus SLR Cameras

[attachment=9620:sr7a.gif]Minolta SR Series Cameras [attachment=9621:srt101a.gif]Minolta SRT Series Cameras [attachment=9622:xe_5.jpg]Minolta X Series Cameras

Since the late fifties, Minolta has produced some of the most rugged and reliable 35mm SLR cameras to come out of Japan. Beginning in 1958 with the introduction of the SR-2, the mold was set for Minolta to be a top producer in the new SLR market. Minolta's Manual Focus SLRs consist of three basic types, the SR, SRT and X series. Along with some of the finest lenses ever to arrive on the market, their camera's quality and reliability, rocketed Minolta to a major player in the 35mm SLR market. Many of the Minolta models are still in use today and collected by a growing number of Minoltaphiles.

It was these users and collectors that prompted me to create these documents. Many other works on this subject are great, but I as a collector/user, had a great deal of difficulty finding what I wanted, all in one place. I have owned and used, many of these models and will share my information and opinions based on actual observations and experience whenever possible. At other times, I will rely on the research of others for information and data. As you will see, my approach to the subject is more technical than artistic. Welcome to my site and I do hope you enjoy your visit

Dick Sullivan[attachment=9623icksullivan.gif]

[attachment=9624:tableofcontents.jpg]Table of Contents

Minolta SR Series Cameras Minolta SRT Series Cameras
Minolta X Series Cameras External Links

[attachment=9625:technicalnutbolt.jpg]
Please Read: Notes about Notes

The Mercury Battery Dilemma Re-Calibrating The SRT Removing the Covers That Darn Red Screw!Converting The SRT to Use Silver Oxide Cells
Suggested Tools & Sources EV LV ASA Relationships Trouble Shooting Cleaning and Restoration The SRT Exposure Metering System

All Text and Images on these pages are protected by Copyright Laws of the USA and other countries. Copying, Redistribution or other use, in whole or in part, is Strictly Forbidden, without the expressed written permission of the author. The information herein is presented for the viewing public and in no way implies a license or grant of permission to otherwise copy, disseminate, re-post or redistribute by any method. You may however, make an Electronic or Printed Copy for your Own Personal, Non-Commercial Use. Designated trademarks and brands are the property of their respective owners.

Last Updated 08/31/2004

Dick Sullivan
Copyright © 2002, 2003, 2004
All Rights Reserved.

NOTICE: I will no longer post an E-Mail address on this site for readers to contact me. This step is necessary due to a large amount of SPAM and Virus Attacks received. The previous E-Mail address posted here, has been canceled, therefore is now invalid. I will miss your questions and feedback, but it had to be done. The abuses of a few, cause problems for all of us. I will continue to update this site and add more information, from time to time. DS[/quote]

http://www.pcisys.net/~rlsnpjs/minolta/toc.html (verwaister Originallink)
http://web.archive.org/web/20060117012106/...inolta/toc.html
ZITAT[attachment=5081icks_site.jpg]

Minolta SR Series Cameras Minolta SRT Series Cameras Minolta X Series Cameras

Table of Contents

Minolta SR Series Cameras Minolta SRT Series Cameras
Minolta X Series Cameras External Links

Please Read: Notes about Notes

The Mercury Battery Dilemma Re-Calibrating The SRT Removing the Covers That Darn Red Screw!Converting The SRT to Use Silver Oxide Cells
Suggested Tools & Sources EV LV ASA Relationships Trouble Shooting Cleaning and Restoration The SRT Exposure Metering System

All Text and Images on these pages are protected by Copyright Laws of the USA and other countries. Copying, Redistribution or other use, in whole or in part, is Strictly Forbidden, without the expressed written permission of the author. The information herein is presented for the viewing public and in no way implies a license or grant of permission to otherwise copy, disseminate, re-post or redistribute by any method. You may however, make an Electronic or Printed Copy for your Own Personal, Non-Commercial Use. Designated trademarks and brands are the property of their respective owners.

Dick Sullivan
Copyright © 2002, 2003, 2004
All Rights Reserved.[/quote]

#4 von matthiaspaul , 17.03.2009 10:25

http://home.pcisys.net/~rlsnpjs/minolta/sr.html (verwaister Originallink)
http://web.archive.org/web/20060118011601/...minolta/sr.html
ZITATMinolta SR Series

In keeping with Minolta's curious habit, of not adhering to numerical sequences, their first SLR was the SR-2, not the SR-1, as commonly thought. The SR-2 was rolled out in 1958, followed by the SR-1, SR-3 and the SR-7 in that order. This First Generation of Minolta SLRs had no "through-the-lens" metering. The SR-7 did have a built-in shutter-coupled CdS metering system, but was not read through the lens or coupled to the aperture. I assume that, SR stood for Single Lens Reflex, and the T in later SRT series, stood for "Through-the-lens" metering. The all metal construction, superb engineering and precision machining are the reasons why these cameras have lasted for all these years. Where will today's injection molded, plastic wonders be after 40 years?

SR-2

The SR-2, Minolta's first SLR, was introduced in 1958 with a hefty price tag of $250 US. It featured bayonet mounted interchangeable lenses, a semi-automatic aperture control, a self timer, shutter speeds of B-1000 and FP and X flash synchronization. It's clean efficient design was to be carried on through the SRT models. A limited number of Minolta lenses were available at the time, including a 55mm f 1.8 normal, 100mm f 3.5 portrait and a 135mm f 2.8 preset telephoto. This was the birth of the very successful Minolta SLR lineup. The really neat thing about the Minolta manual focus bayonet lens mount, is that it was used for all of Minolta's SLR cameras until the advent of the auto-focus models. This is apparent in the picture below of a SR-2 with a later MC ROKKOR-X 50mm f 2.0 lens. A later version of the SR-2 came out with the clip-on meter attachment. There have been reports of a black "professional" version, but if it exists at all, and is not counterfeit, it would be extremely rare.

SR-1

A striped down version of the SRT-2 entered the scene in 1959 as the SR-1. It had a top shutter Speed of 1/500 of a second. It had no provision for the add-on exposure meter but did have the self timer. A later 1961 version of the SR-1 did add the attachment for the ad-on shutter coupled exposure meter. This later version did not have the terraced top. Pictured below, are both versions of the SR-1.

[SR-1 Early Version]

[SR-1 Late Version (Meter Mounted)]

SR-3

In 1960 Minolta introduced the SR-3 as an upgrade to all the rest of the SRs with everything they all had. It is a very beautiful package as you can see in the photo below.
[attachment=9626:sr_3.jpg]

SR-7

The SR-7 is my personal favorite of the SR series, due to it's integral CdS, shutter coupled, exposure meter and mirror lockup feature. It has B-1000 shutter speeds and an ASA range of 6-3200. With it's terraced top, is indeed a very beautiful as well as useful camera. Below is a picture of my own SR-7 which I like to use for astro-photography, when mounted on my Bausch and Lomb "4000" telescope. This is the earlier 1962 version with the terraced top, much like the original SR-2. The later version 'V' had the more squared off top design that was carried over into the SRT series. It had a fully automatic aperture control, meaning the lens was set back to it's largest opening after the shutter fired. This model is often overlooked by collector/users, but is every bit as high quality and useful, as the ever popular SRT101, when you get used to the meter.

The SR-7 had a self-timer, mirror lockup, B-1000 shutter speed and a two range CdS shutter coupled exposure meter. The bright viewfinder was a Fresnel type with a micro-prism center spot. In my opinion, the SR-7 is one of the prettiest and most useful of the Minolta Manual SLRs. The exposure meter takes a little getting used to, but can be very accurate if re-calibrated to modern non-mercury batteries. This Camera is hard to beat for astro-photography due to the bright viewfinder, mirror lockup and it's substantial weight (1lb.-10oz). A right angle viewing attachment was offered for it and is still available in the used market. This accessory is a must when the SR is attached to a telescope, to prevent neck strain.

ER

Though, not really a SR or a SRT, the ER was introduced in 1963 with 45mm f 2.8, non-interchangeable lens and a built-in selenium meter. It was Minolta's first automatic exposure SLR! The ER was short lived and not all that popular. The selenium meter cell was prone to failure, but did not require batteries for operation. The ER is seldom seen today and if found in working condition can represent good value. With it's shutter-preferred automatic mode, It appears to have been a hybrid between a HI-Matic and an SR. Minolta did offer, rather crude telephoto and wide auxiliary slip-on lens attachments, for this camera. The first point and shoot 35mm SLR?

SR-1s

Another version of the SR-1, the SR-1s arrived in 1967 with a top shutter speed of 1/1000 of a second, and the meter attachment. This is a seldom seen SR version and should represent good value.[/quote]

#5 von matthiaspaul , 17.03.2009 10:33

Wenn Sie hier auf Links zu eBay klicken und einen Kauf tätigen, kann dies dazu führen, dass diese Website eine Provision erhält.

http://home.pcisys.net/~rlsnpjs/minolta/srt.html (verwaister Originallink)
http://web.archive.org/web/20060116100924/...inolta/srt.html
ZITATMinolta SRT Series
[attachment=9627:srt101.jpg]

The SRT series began in 1966 with the introduction of the SRT 101. Minolta produced certain models of their SLRs under different names for the US, European and Asian markets. An example of this, is the SRT 102 was sold as the SRT 303 in Europe and SRT Super in Asia, with only some occasional minor differences. They continued this practice into the Third Generation "X" series SLRs as well. To further complicate matters, Minolta produced a series of SRTs for sale in department stores, such as J.C. Penny and K-Mart, with the MC and SC designation;. The SRT MC is similar to a SRT 101, the SRT MCII - a SRT 201, The SRT SC - a SRT 100, the SRT SCII - a SRT 200. There may be other variants, but these are the only ones that I am aware of at this time. Be aware that Minolta added and/or removed some features during a model's production life.

Minolta SRT Features at a Glance

Model # *RatingShutter SpeedsSelf TimerMirror LockupDOF PreviewVisible in ViewfinderMulti-ExposureHot ShoeMemo HolderSafe Film IndicatorSRT100 1.0 pointsB-500NoNoNo/YesNoneNoNoNoNoSRT100b 3.5 pointsB-1000NoNoYesShutter onlyNoNoYesNoSRT100x 3.5 pointsB-1000NoNoYesShutter onlyNoYesNoNoSRT101 4.5 pointsB-1000YesYes/NoYesShutter onlyNoNoNoNoSRT101b 4.5 pointsB-1000YesNoYesShutter onlyNoYesNoNoSRT102 7.0 pointsB-1000YesYes/ NoYesShutter & ApertureYesYesNoNoSRT200 3.0 pointsB-1000NoNoYesNoneNoYes/NoNoNoSRT201 5.5 pointsB-1000YesNoYesShutter onlyNoYesYesNoSRT202 8.0 pointsB-1000YesNoYesShutter & ApertureYesYesYesYesSRT303 7.0 pointsB-1000YesYes/NoYesShutter & ApertureYesYesNoNoSRT303b 8.0 pointsB-1000YesNoYesShutter & ApertureYesYesYesYesSRT500 8.0 pointsB-1000YesNoYesShutter & ApertureYesYesYesYesSRTMC 4.5 pointsB-1000NoNoYesShutter onlyYesYesNoNoSRTMCII 5.5 pointsB-1000YesNoYesShutter onlyNoYesYesNoSRTSC 3.5 pointsB-1000NoNoYesShutter onlyNoYesNoNoSRTSCII 3.5 pointsB-1000NoNoYesShutter onlyNoYesNoNoSRTSuper 7.0 pointsB-1000YesYesYesShutter & ApertureYesYesNoNo

Based Only on These Points, the models would Rank as follows:
(8.0 points) SRT 202, SRT 303b, SRT 500(7.0 points) SRT 102, SRT 303, SRT Super(5.5 points) SRT 201, SRT MCII(4.5 points) SRT 101b, SRT 101(3.5 points) SRT 100b, SRT 100x, SRT SC, SRT SCII(3.0 points) SRT 200(1.0 points) SRT 100
* Desirability points are awarded for the total number of features. All Minolta SRTs are fine usable Classic Cameras and some of these features may not be desired by all. A perfect rating would be 9.0. Bear in mind, that some features were dropped or added during a particular model run, such as the Mirror Lockup on the SRT 102 and the Hot Shoe on the SRT-200. Other factors should be considered.

Features

Shutter Speeds: Most SRTs have shutter Speeds of B, 1, 2, 4, 8, 15, 30, 60, 125, 250, 500, 1000. A top shutter of 1/1000 second, is a very desirable feature for high speed subjects and very bright scenes. Our modern fast films make this top speed a requirement for all around use. The top speed of 1/500 second on the SRT100 limits the use of high speed films, to about 400 speed, in bright conditions. This can, of course, be overcome, by using neutral density filters or selecting a slower film.

Self Timer: The self Timer used in the SRT line is a purely mechanical device allowing a delayed shutter firing of about 10 to 15 seconds. A self timer is seldom used feature, however it can enhance sharpness when used with a tripod, or allow you to get into your own picture. The self timer lever is often found to be sticky or inoperable due to non-use. A shutter cable release might be a better choice, for less camera shake, although you'd need a very long one, to get in your own shot.

Mirror Lockup: The Mirror Lockup feature allows for the mirror to be locked into the upright position to eliminate noise and vibration from the mirror cycle, during shutter firing. Its switch is located on the right side of the lens mount. This feature is another aid to sharper images, using a tripod or not. It is particularly favored by astro-photographers to eliminate camera shake, from the mirror action, when used with a very long lens or a telescope. It also makes your SRT much quieter, useful for wildlife or candid shots.

DOF Preview: The control for the DOF Preview is button. located on the lower right side of the lens mount. This feature allows for an actual depth of field preview of the picture in the viewfinder, by stopping the lens down to the selected aperture before shooting. Depth of field control, can render your otherwise, plain snap-shots, into very pleasing images. Some earlier Minolta MC lenses had a built-in depth of field preview lever.

Visible in Viewfinder: Two types of viewfinders were found on the SRT. One had a small window in the front of the prism housing that allowed the aperture setting of the lens to be seen in the viewfinder. All SRTs, except the SRT 100 and 200, had the selected shutter speed displayed in the viewfinder. Having the selected shutter and aperture visible in the viewfinder is a very convenient feature for ease of use. It eliminates the necessity for checking the top and front of the camera prior to shooting each frame.

Multi-Exposure: This feature works by depressing the rewind lock button before advancing the film. The film does not advance and the shutter is cocked for another shot on the same frame of film. The ability to shoot multiple images on the same frame is a rarely used feature, except by the most creative of users. I have seen some pretty impressive photos using this feature.

Hot Shoe: The Hot Shoe replaced the Cold Shoe of the earlier SRTs. It had wiring to a connection with the shutter flash synchronization circuit. Since a lot of flash units do not have connections for a PC cord, this feature can be vital for some users. Remember that keeping the contacts clean is very important.

Memo Holder: Some of the later SRTs had a small frame on the camera back for storing a film box tab. This feature is often under rated. Some of us have been known to forget the type and speed of film loaded in our SRT. Having the film box tab at hand, helps eliminate exposure mistakes.

Safe Film Indicator: Later SRTs had a window just below the film advance lever. This window would display a red flag that advanced to the right, signaling that the film was indeed advancing. Having this feature could have prevented, the loss of a whole roll of images, when the film tab slipped out of the take-up spool, on an assignment. I can think of nothing, more depressing than to find that the film didn't advance for all the pictures, you just shot on a roll of film. Noticing that the film counter has started to go around twice, is very troubling indeed. There is a work-around for the lack of this feature. When you load your film, lightly turn the rewind crank in the clockwise direction until it tightens. This will remove any slack in the film inside the canister. Watch for the crank to turn when you advance the film, signifying that the film is advancing as it should.

All SRTs have the following features:

Type: 35mm single-lens reflexes with match-needle/manual exposure control.

Lens mount: Minolta SLR bayonet, 54 degree rotating angle; coupling for full-aperture metering and automatic diaphragm control with MC or MD mount lenses.

Light-metering: Full-aperture TTL type with overlapping readings taken by 2 CdS cells mounted on pentaprism and CLC circuit to provide optimum exposure in both flat- and most contrast-lighted situations; stop-down metering also possible.

Power: One 1.35V mercury cell, PX-625 or equivalent, contained in camera base. These mercury cell are getting hard to find since being outlawed in most countries. Conversions to modern batteries do exist.

Exposure control: Turning shutter-speed dial and/or lens aperture ring to align follower with meter needle visible in finder yields proper exposure according to metering system indication at the film speed set.

Shutter: Horizontal-traverse, mechanically controlled, rubberized silk cloth, focal-plane type.

Mirror: Oversize quick-return type.

Finder: Eye-level pentaprism type showing 94% of 24x36mm film-frame area.

Magnification: 0.83X with 50mm lens focused at infinity. A 58mm lens, gives a 1X magnification at infinity, thereby producing a life size view to the user as with the naked eye. The Minolta MC 58mm f 1.4, Rokkor-PF lens is the perfect, fast, high quality, sharp, normal lens for any SRT. They can be had, for around $50.00 on eBay. This lens is my favorite lens. The f1.2 version is a great and beautiful lens also, but typically sells for about three times the price, and is not that much better. Most pictures are shot at around f 8, so the main advantage of a real fast lens is the brightness of the image in the viewfinder.

Flash sync.: X or FP delay.

Film advance: Lever type, single- or multiple-stroke, 150 degree winding angle after 20 degree engaged movement to allow offsetting from body. Advancing-type exposure counter resets automatically when camera back is opened. The black plastic tip of the lever is sometimes missing but is only a cosmetic issue.

Dimensions: 145 x 47.5 x 95mm (5-3/4 x 1-7/8 x 3-3/4 in.) without lens.

Professional Models

Most, if not all, Minolta SRTs were available in a Professional Black finish. They all command a premium price, although they were just painted brass, and somewhat cheaper to produce. I have never understood why a black camera, which shows wear very easily, would be considered a professional unit. Most Professional Photographers typically hammer their equipment. Most of the black SRTs that are found today, are in very poor cosmetic condition, with scratches and brassing. The chrome units, hold up much better, in heavy professional use. The label, Professional, is more a measure of the Photographer than the Camera, anyway. Much has been said, about Minolta never breaking into the professional market. I doubt that it really troubled them much however, since there are a lot more amateurs and wannabes, out there, than professionals. How many people do you know that actually make their living taking pictures?

Update: An interested reader has provided some new information on the reason for the Black-Body cameras. He states that reflections from a chrome camera can be troublesome when photographing reflective or semi reflective subjects. One other plus for a black body camera, is that they are less noticible by human subjects in Candid shots.

Buying SRTs

The very Collectible Minolta SRT series cameras are widely available and represent good value as a usable 35mm camera. Knowing what to look for in these models can save you disappointment and expense. What follows, is a list of some known problems that SRTs can develop over time, with explanations and/or fixes.

SRT Problems;

Sticking or Inoperable Meter, The meter movements on the SRTs rarely if ever actually fail. Always check the battery connections for corrosion or dirt. Most common sticky meter problems are because the needle stops have degraded and turned to goo. The stops are made of urethane foam and after years of exposure to ozone or tobacco smoke, get real sticky and fall apart. The same material is used for the seals for the camera back. This can be repaired, but best left to a camera shop.

Inaccurate Meter Readings, The SRT metering system uses two CdS cells mounted to the pentaprism to obtain correct exposure information. Again, battery type and condition have everything to do with meter accuracy. The CdS cells are pretty much bullet-proof and rarely fail themselves. These CdS cells are actually cemented to smaller prisms and then to the pentaprism. The cement used for this purpose, can crystallize and darken with age and can even detach. If one or both cells have separated, low light readings will result. To check the function of the cells, you need to check for two peaks in the meter deflection, one just above the center of the focus screen and one just below. The cells and prisms can be cleaned with acetone and re-cemented with clear epoxy. The repair requires disassembly of the upper part of the camera.

Sticking Shutter Curtains, If the shutter curtains stick or hesitate at any speed, a CLA (Cleaning, Lubrication and Adjustment) is needed. The shutter curtain bearings can become dry or the springs for them can lose their tension.

Sticking or Stuck Mirror, The SRT series has a foam stop or cushion at the top if the mirror chamber to lessen the noise produced, and the shock to the delicate mirror when it closes. This foam cushion can become sticky with age and cause the mirror to stay in the up position or delay return. A clue to this condition is foam residue on the forward part of the mirror. Repairing this condition is a simple process of replacing the foam. The foam is available from suppliers and not a difficult repair for the mechanically adept. Believe it or not, SRTs have been taken to the shop with a "stuck mirror" when all that was wrong, was the mirror lock lever was on.

Dirty Mirror, Seeing a big fingerprint or other debris on the mirror, looks easy to clean off. It is not that easy, since the mirror is the "front surface" type. This means that the front surface of the mirror is coated with a very thin aluminum deposit. If the smudge has been there a long time or someone tried to clean it with a rag, it's probably a hopeless condition. Careful cleaning, using a Q-tip moistened with Denatured Alcohol and light pressure, can bring most mirrors back to near original condition. Use very light pressure and repeat as needed. Most of the debris on the mirror will probably be degraded foam from the mirror cushion. Repace the cushion first. If the mirror is not too dirty, it is hardly noticeable in the view finder. It can make the image appear a little darker. The mirror, regardless of condition, of course has no effect on the image on film.

Shutter Does Not Fire, This can be caused by bent or broken linkage in the release mechanism. Since the SRT is a totally mechanical camera, electronics are not an issue, as they are in later models. It may fire at some speeds and not others. Most qualified technicians can repair this condition but not cheaply.

Light Leaks, Most light leaks on a SRT are from degraded foam light seals in the back of the body. A clue to this problem is sticky residue on the camera back where it seals with the body. Again this seal material is available and not too difficult to replace.

Film not Advancing, This problem can be as simple as a bent linkage or a failure of the film transport clutch mechanism. SRTs with this problem are best left alone or purchased only for parts.

Missing Film Advance Lever Tip, Missing this part is strictly a cosmetic issue and in no way harms function. I am not aware of replacement parts of this type being available except from a "parts camera". It is best to replace the whole advance arm but you can glue (epoxy) a tip on if you have the black body SRT.

Aperture Ring Loose or Jammed, The ring around the lens mount with a pin on it is the way that the camera communicates the lens opening to the metering system. This is done by a cord and series of pulleys. The cord is attached to the ring at one end and the meter movement at the other. The cord can be broken, or off of one of it's pulleys or separated from the ring or the meter itself. Sticking or jamming of this ring can be because dirt has made it's way into the ring recess and would need a simple cleaning and very light lubrication.[/quote]

#6 von matthiaspaul , 17.03.2009 10:39

Wenn Sie hier auf Links zu eBay klicken und einen Kauf tätigen, kann dies dazu führen, dass diese Website eine Provision erhält.

http://home.pcisys.net/~rlsnpjs/minolta/x.html (verwaister Originallink)
http://web.archive.org/web/20060223185843/.../minolta/x.html
ZITATMinolta X Series
[attachment=9628:xe5.jpg]

Minolta's entry into the world of electronic automatic exposure cameras began in 1973 with the introduction of their model XK. These very popular and durable X cameras have survived to this day, with the X-700 and X-370s still being produced in China. For reasons, known only to Minolta, many models carried different designations in the US, Europe and Asia. I will primarily use the US designations here, and identify the European and Asian variants whenever possible. All X cameras are AE (Auto Exposure) and vary widely in features. The good news is, that all of the X series cameras use modern Silver Cell '76 batteries, so there's no need to search for Mercury types or modify/re-calibrate these cameras. Some X models stand out as favorites by collectors and users, such as the XK, XE, XD and X-700. Undoubtedly, the X-600 is the rarest of all the X cameras, with only about 10,000 being made. I have tried to cover all major models and their variants, but there may be some not mentioned here.

Minolta X Series Features at a Glance

ModelExposure ModesShutter SpeedsShutter TypeMetering TypeVisible in ViewfinderDOF PreviewBody Const.Safe Film IndicatorXK, XM, X-1Aperture, ManualA, X, B, 16 sec. to 1/2000Titanium Foil CurtainView Finder DependentShutter & ApertureYesMetalYes
ModelExposure ModesShutter SpeedsShutter TypeMetering TypeVisible in ViewfinderDOF PreviewBody Const.Safe Film IndicatorXE-7, XE, XE-1Aperture, ManualAuto, X, B, 4 sec. to 1/1000Seiko MFC VerticalCadmium Sulfide CLCShutter & ApertureYesMetalYesXE-5Aperture, ManualAuto, X, B, 4 sec. to 1/1000Seiko MFC VerticalCadmium Sulfide CLCShutter onlyYesMetalNo
ModelExposure ModesShutter SpeedsShutter TypeMetering TypeVisible in ViewfinderDOF PreviewBody Const.Safe Film IndicatorXD-11, XD-7, XDAperture, Shutter, Manual, (Program)O, B, X, 1 sec. to 1/1000Seiko MFC VerticalSilicon CWShutter & ApertureYesMetalYesXD-5Aperture, Shutter, Manual, (Program)O, B, X, 1 sec. to 1/1000Seiko MFC VerticalSilicon CWSelected Shutter & ApertureYesMetalNo
ModelExposure ModesShutter SpeedsShutter TypeMetering TypeVisible in ViewfinderDOF PreviewBody Const.Safe Film IndicatorXG-1Aperture, ManualA, X, B, 4 sec. to 1/1000Silk Cloth CurtainCadmium Sulfide CWShutter OnlyNoMetal & PlasticYesXG-AAperture OnlyShutter SpeedsSilk Cloth CurtainCadmium Sulfide CWShutter OnlyNoMetal & PlasticNoXG-MAperture, ManualA, X, B, 1 sec. to 1/1000Silk Cloth CurtainSilicon CWShutter & ApertureYesMetal & PlasticNoXG-7 XG-SEAperture, ManualA, X, B, 1 sec. to 1/1000Silk Cloth CurtainSilicon CWShutter & ApertureNoMetal & PlasticYesXG-9Aperture, ManualA, X, B, 1 sec. to 1/1000Silk Cloth CurtainCadmium Sulfide CWShutter & ApertureYesMetal & PlasticYes
ModelExposure ModesShutter SpeedsShutter TypeMetering TypeVisible in ViewfinderDOF PreviewBody Const.Safe Film IndicatorX-300, X-370, X-7AAperture, ManualA, X, B, 1 sec. to 1/1000Silk Cloth CurtainSilicon CWShutter & ApertureNoMostly PlasticYesX-500, X-570Aperture, ManualA, X, B, 1 sec. to 1/1000Silk Cloth CurtainSilicon CWShutter & ApertureYesMostly PlasticYesX-600Aperture, ManualA, X, B, 1 sec. to 1/1000Silk Cloth CurtainSilicon CWFocus Led, Shutter & ApertureYesMostly PlasticYesX-700Aperture, Manual, ProgramA, B, P, X, 1 sec. to 1/1000Silk Cloth CurtainSilicon CWShutter & ApertureYesMostly PlasticYesX-9Aperture, ManualA, X, B, 1 sec. to 1/1000Silk Cloth CurtainSilicon CWShutter & ApertureYesMostly PlasticYes

XK

The XK, Minolta's first X series SLR, was introduced in 1973 as a Professional System Camera. Many still consider it, the only truly professional model that Minolta ever produced. It was never all that popular with professionals however, which were more likely to opt for the Nikons, Olympus and Canons of the period. XKs accepted the MC bayonet mounted interchangeable lenses, the same as the SRT. Of course, they can use the later MD lenses as well. With interchangeable view-finders and electronic shutter speeds of 16-1/2000 seconds, it was an awesome camera. The shutter was a light-weight titanium foil curtain design. This camera uses two 76 Silver Cell batteries, as do all subsequent X series cameras. In Europe, It was known as the XM in Europe and the X-1 in Asia. Since these models were designated as professional cameras, they are highly sought after today, by professionals as well as want-a-be types.

The XK/XM/X-1 are very collectible Minolta Classic Cameras with a rather high price tag for the nicer ones. One XK body recently sold for over $440 US, on eBay. It is a very heavy camera when fully equipped. In my opinion, this is not a very pretty camera, but more than makes up for it with features and performance. The huge over-turned boat shaped prism housing looks a bit odd, to me. Motorized versions known as the XK Motor, XM Motor and the X-1 Motor were also available. For more detailed information, a very nice website on the XK can be found here.
[attachment=9629:xk.jpg]

XE

The XE-7 in the US, the European XE-1 and the XE of Asia, were very revolutionary 35mm cameras when introduced in 1974-75. They were all the products of a collaboration between Leitz and Minolta. You only have to check out a Leica R3 to see the family resemblance. Mistakenly, some refer to the XE and XD models, as Leica R3, R4 Clones, this is simply not true. I can't get over the fact that my Leica friends seem to think that Leica invented everything, and the lesser manufacturers copied it. Minolta, together with Leitz, designed the bodies for both, and Leitz added their own metering system circuitry and lens mount. Paradoxically, the main weakness in the Leica R3 is the meter circuit's reliability. The Seiko MFC vertically traveling metal focal plane shutter is a true mechanical marvel. It is smooth, accurate and very quiet. You will also notice that the film advance is the smoothest and most positive of all the Minolta SLRs. It is an aperture-priority automatic with shutter speeds from a full 4 seconds to 1/1000 of a second, as well as X and B. It, of course, has a manual mode as well. Minolta also produced the XE-5 as a slightly scaled down version in durable chrome with a black prism housing. The XE-5, in my humble opinion, is the prettiest of the entire X series, but lacks the safe film feature as well as aperture settings in the viewfinder. I use an XE-5 with a Minolta MC ROKKOR X f 1.2 58mm lens and love it. Due to the lack of viewfinder info being available, I primarily use it in aperture-priority mode.

In keeping with the silly myth, that professional cameras must be black, all XE-7s were painted black, to appeal to the US market. They tend to show a lot of ugly brassing some 25 years later. Most of the XE and XE-1 models have a more durable chrome body with a black prism housing sporting a chrome front. The XE and XE-1 are somewhat hard to find in the US.

In today's market, these fine XE cameras will cost you something on the happy side of $200 US, in fine working condition. They are a little on the heavy side, but you don't find this kind of rugged quality in molded plastic. See this great website for more information on the XEs.

[attachment=9630:xe_1.jpg][XE-1]

[attachment=9631:xe_7.jpg][XE-7]

[attachment=9632:xe_5.jpg][XE-5]

XD

Minolta really hit the mark in 1977, with the introduction of the XD-11 in the US. The European model designation was the XD-7, and in Asia it was known as the XD. The XD-5 was a slightly scaled down version. All of these models were true multi-mode automatic SLRs. They had shutter-priority , aperture-priority, manual and program modes. For some reason, Minolta didn't make a big thing out of the program mode, but it does have one. Assuming that you understand the shutter and aperture priority modes, I'll try to explain the program mode. When you set the camera for shutter priority mode and the internal computer can't set a proper aperture, due to lens, scene brightness or film limits, it is programmed to set a new shutter speed to provide the correct exposure. Typically, you set the shutter to a speed equal to the film speed, for instance you'd set it at 1/500 for 400 speed film and let the camera do the rest.

The camera had the same Seiko MFC vertically traveling metal focal plane shutter, as the XE-7. The shutter is as quiet and vibration free as many between-the-lens shutters. These cameras were another product of the Minolta and Leica collaboration. The similarities between the Leica R4 and the XD-11, are easy to see. This camera was produced with the new smaller, light-weight body that was to continued throughout the rest of the X series. These cameras could use the MC lenses for manual and aperture-priority modes but required the newer MD lenses for shutter-priority and program modes (See the MC/MD comparison at the end of this page). I own an XD-11, and an identical XD-7 and a XD-5 and use them quite a bit. My XD-11 is my favorite of all the X series cameras. I really prefer the XD11 over the very popular X-700. Sadly, my X-700 has developed shutter curtain problems and I probably won't get it fixed.

The XD's metal construction, light weight, four modes and bright viewfinder, are well suited to sports and other action photography. I really like the fact that the XD does not need an on/off switch, which makes real sense for those of us, that get tied up in our work and forget these simple tasks. One nice feature of the XDs that I like, is the eyepiece shutter that allows you to close off the stray light entering there. This is very useful, when shooting from a tripod to eliminate exposure errors. The XEs had this same feature, except for the XE-5. The required, two '76 silver cells are widely available today, although I now use the single lithium 1/3 N, 3V equivalent battery with no ill effects. My XD-11 is my "main squeeze", as far as cameras go . . . that is. Everything you could possibly want to know about the XD cameras can be found at this fine website.

[attachment=9633:xd_7.jpg][XD-7]

[attachment=9634:xd11a.jpg][XD-11]

[attachment=9635:xd_5.jpg][XD-5]

Minolta MC vs MD Lens

Some confusion still exists between the Minolta MC and MD lens mounts. I'll try to clear the air without adding any more confusion. The first Minolta SLRs, the SR series, used lenses that were incapable of supplying their set aperture to the camera since these models didn't have internal meters. With the introduction of the SRT series with a through-the-lens metering system, this aperture information was required. All SRTs were sold with the MC (meter-coupled) lenses that had a (MC) tab on the aperture ring that moved a pin on the front of the camera that was tied to the meter. This arrangement allowed the metering system to compensate for the set aperture even when the lens was wide open prior to shooting. The MC lenses work for all SRTs and for manual mode and the aperture-priority modes of the later X series.

The introduction of the XD-ll , and the later X-700, with a shutter-priority and program mode, required a way of communicating their lens's smallest possible aperture to the camera. Minolta added a second tab, known as the MD tab, to it's lenses. The MD tab has no adverse effect on the non-shutter-priority SRTs and X series cameras. The only cameras that really require the MD tab are the XD models, when shooting in shutter-priority mode. Even though the X-700 is advertised to require the MD lenses in program mode. This is simply not true. The X-700 will work with a MC lens in program mode using the aperture you set as the minimum lens opening regardless of which one you set, as long as it is in the range required. It will then set to anywhere between the set aperture and the maximum of the lens. In other words, the MC lenses work on all Minolta Manual focus SLRs and the MD lenses are only really required on the XD models for full operation. Therefore;
MD lenses work correctly, with all SR, SRT and X series cameras in all modes.MC lenses work correctly, with all SR and SRT and X series cameras, except on the XD model cameras when used in shutter-priority mode.
All of this is good news since the Minolta MC Lenses are every bit as good optically and mechanically as the MD Lenses, some may even be better. Typically MC lenses are more widely available, and less expensive on the used market.

Bottom Line; Unless you have an XD Model, you only need a MC Type lens, save some money and get a quality lens, to boot.[/quote]

#7 von matthiaspaul , 17.03.2009 10:43

http://home.pcisys.net/~rlsnpjs/minolta/links.html (verwaister Originallink)
http://web.archive.org/web/20031005152038/...olta/links.html
ZITATLinks

By Dick Sullivan

The following Links are to pages, that I feel have value for the User and Collector of Minolta Manual Focus SLR Cameras.

~ Please report any Broken Links ~
Minolta Users Group Lots of information on Minolta Cameras, Lenses and Accessories, both Old and New.Paul's Minolta manual focus SLRs Page A Quality Site from the Netherlands, in English, Very well done.Minolta Manual Focus SLR FAQ A great resource for Minoltaphiles.The Minolta XD-7 (XD-11) A very nice site from leofoo® in Malaysia, Everything you could ever want to know about the XD cameras. He now has a NEW page on the X-700 at Minolta X-700 SLR Camera The Minolta XK/XM Another fine site from leofoo®, covering the Minolta XK/XM cameras. A very well written and handsome site, very detailed and accurate.Minolta XE Series Cameras Finally, a very informative site on the XE series cameras! Includes a Very Nice XE-1 (XE-7) Users Manual, created by the Site's Author.Free Users Manuals from Minolta USA You can Download some Free Users Manuals from Minolta USA. Note: These manuals may not always be on their site since they have eliminated some older ones, already. The quality of these scans is not the best, as you might expect, being that they are from Minolta USA. Just click on the desired model and follow the instructions to download the Manual.

Links to Manual Focus Users Manuals Available from Minolta USA, (PDF):

SRT 200, 201, 202 X-370s X-570 X-7A

X-700, Part 1 X-700, Part 2

XG-1 XG-7 XG-A XG-M
Mike's Photography Page A Great site with contributions to the hobby of Collecting and Using Vintage cameras, Excellent Technical articles, with great original ideas, updated frequently.John Titterington's Camera Repair John has 25 years experience is one of the few Camera Repairmen still taking in the older SLRs and worth a good look. He will give free estimates on repairing your old SRT. He also sells some of his restored cameras on eBay and has a 100% feedback rating.Light Baffle/Seal Installation A very nice article from Micro-Tools, outlining the installation of their camera light seals. PDF format 172k.[/quote]

Als Ersatz für die obigen nicht mehr funktionierenden Links zu Bedienungsanleitungen für verschiedene Kameras dient folgender Sammellink:

http://ca.konicaminolta.com/support/manual..._slr/index.html

Eine Archivversion von "Minolta Manual Focus SLR FAQ - A great resource for Minoltaphiles" kann hier gefunden werden:

http://web.archive.org/web/20030207185507/...docs/minmf.html

#8 von matthiaspaul , 17.03.2009 10:45

http://home.pcisys.net/~rlsnpjs/minolta/introduction.html (verwaister Originallink)
http://web.archive.org/web/20060118012636/...troduction.html
ZITATNotes about Notes

The repair of the Minolta SRT Cameras is a dying art, and you only have to take your prize vintage camera to any local shop to realize it. Typically, you are steered to purchase a more "modern" camera and/or informed that parts and batteries are no longer available for your camera. What they are really saying is that they don't have a competent technician on staff and don't even recognize the unit you have presented. What is worse, is when they agree to service it, bungle the job, then try to steer you to a new camera, having ruined yours. If you do find someone that can fix it, the cost is usually more than the camera is worth. There are isolated technicians out there, usually retired, that can and do fix these cameras. If you have patience and some reasonable mechanical skills, why not do it yourself? I believe this is the answer to a large number of collectors and users.

Repairing you own SRT, is not for everyone. If you have trouble understanding mechanical concepts and are "all thumbs" you may not even want to read further. If however, you have some mechanical skills, you enjoy challenges and do not give up easily, welcome aboard. The technical information presented in this section, assumes that you are not an experienced professional camera technician, but an advanced hobbyist in need of information. This information will not make you a professional either, it is however hoped that will inform, entertain and enlighten you.

About the Author: I have a long career in Electronics, Computers and Mechanics. None of my professional experience however, has had anything to do with cameras. I am a Collector and User of vintage cameras and old tube type radios. As a hobbyist I would simply like to share what I have learned with others to advance the hobby. Most information presented on this site is from my own experiences, both good and bad. I have learned from my success and failures and hope in some small way, to help others with the information provided herein.

Dick Sullivan

Copyright © 2002, 2003, 2004
All Rights Reserved.

Disclaimer: The information provided in these pages is presented for the viewing public and is not guaranteed to be accurate, complete or exact. All information presented here, in no way implies a warranty or guarantee that it will produce the desired result. The author of these files disclaims any liability for injury or damage arising out of any failure or omission to perform the work or procedure shown and described. Your performance is at your own risk. If you are inexperienced in using any of the tools, chemicals or equipment depicted or any of the procedures described, or are in doubt about the safety of the procedures shown, consult a professional person skilled in the performance of the work or procedure. Throughout this information there are specific safety recommendations. Pay careful attention to each of these an be aware that they are not all inclusive and you should not assume that they are the only precautions necessary to prevent damage or injury to property, yourself or other persons.[/quote]

#9 von matthiaspaul , 17.03.2009 10:48

http://home.pcisys.net/~rlsnpjs/minolta/mercury.html (verwaister Originallink)
http://web.archive.org/web/20060117020127/...ta/mercury.html
http://www.rokkorfiles.com/mercury.htm
ZITATThe Mercury Battery Dilemma
[attachment=5078:mercurycell.gif]
By the 1960s, most cameras had advanced to the point of having built-in exposure meters. Accurate exposures were now quickly and conveniently obtainable. The fist built-in meters were of the selenium type, that required no batteries, since the cell itself produced a voltage proportional to the light striking it. The main disadvantage of the selenium system, was that it was not sensitive enough to use in low light situations.

With the advent of "available light photography", a new metering system came on the scene. This was the Cadmium Sulfide (CdS) cell, that did require a power source. CdS cells are really just variable resistors that change resistance in inverse proportion, to the amount of light they receive. A small stable battery was needed to assure constant accuracy. Mercury batteries were chosen due to their long life and stability. A mercury cell has an initial voltage of 1.35V which it then holds until the last 5% of its life, when it declines rapidly. Mercury cells can last for 10 years or more in storage.

In the 1990s many governments, outlawed the sale of mercury batteries due to environmental concerns. Mercury can be very toxic, particularly in the form used in batteries, Mercuric Oxide (HgO). The reason for the ban, was to prevent anymore buildup of the toxic components of mercury batteries in our soil and water.

This ban has caused quite a dilemma for photographers and others with equipment calibrated for mercury batteries. Mercury cells are still available is some countries but are expensive, and of unknown quality. Other battery types such as Alkaline Cells, Zinc Air Cells and Silver Cells are available, in similar physical sizes, as replacements for Mercury Cells, each type having their own characteristics;
Alkaline Cells have an initial voltage of about 1.5V. This begins a decline immediately and continues until the last 30% of its life, when it begins a faster decline. These cells vary in voltage wildly throughout their life. There is hardly any linear portion to their discharge curve. Good for toys, bad for cameras.
Zinc-Air Cells have an initial voltage of 1.4V. This declines in the first 5% of its life to 1.35V, which it then holds until the last 1%, then it drops off very rapidly. They have an excellent discharge profile and can produce more current than all the others, but only for a couple of months. The life of these cells is quite short, after the seal is removed, whether used or not. They do not work well in dry climates.
Silver Oxide Cells have an initial voltage of 1.6V. This declines in the first 5-10% of its life to 1.55V, which it then holds until the last 1% of its life. These cells are long lived, and maintain a very stable voltage for about 96% of their lives. They closely approximate Mercury cell discharge profiles.
[attachment=5079:batterychart.gif]
[Comparative Discharge Profiles of Battery Types]

Owners of Cameras and Light Meters, originally designed to use Mercury cells, were facing the dilemma of having their equipment become obsolete. Collectors and Users of vintage photographic equipment were hard hit. Their choices were;
Put their classic camera on the shelf and purchase a new camera or meter along with the required upgrade in lenses and other support items. Not an option for Collectors.Buy Mercury cells from overseas sources (Not Recommended), suffer the expense and receive possible low quality cells. There have been reports of imported Mercury Cells having a slightly higher voltage (1.4) and a totally different chemical makeup. Importing these cells will probably become illegal very soon, as it should be.Use the highly touted Zinc Air Cells, and have the expense and inconvenience of changing batteries often (as often as every 2 months). Once the seal is removed an internal destructive chemical process begins, whether used or not. The often suggested practice of re-sealing these cells between use, is just plain inconvenient. The more expensive, Improved Air Cell versions do not last that much longer.Purchase one of the conversion units that reduces the voltage of a "76" Silver Cell to 1.3 volts, and fork over about $30 plus shipping for the unit (not including the battery), for each piece of equipment owned.Have their equipment re-calibrated to use new, more modern batteries. Camera shops, charge about $60 and up, to perform this conversion, if they will do it at all. Most want you to use the less desirable Alkaline Cells or sell you a Zinc Air Cell.Build their own Conversion Unit as presented on this, very well done Netherlands Rollei Club Site. It has some very good Technical Information on all types of batteries and instructions for building your own, home-made converter/adapter using a Schottky or Germanium diodes to lower or drop the voltage of silver cells. It is good option for those with the parts, skill and equipment to build it. The technical aspects presented on the site are First Class. The information is in PDF format, a 500k file. You will need "Free Acrobat Reader" to view and/or print the file.
Since I am a Collector and User of vintage cameras, all of which were designed to use mercury batteries, none of the above options seemed attractive to me, so I worked on finding a more economical and permanent solution. After much study and examination of the Minolta SRT circuitry, I simply decided to re-calibrate my own cameras, in order to use the, off-the-shelf, "76" Silver Cells. This, I feel is a permanent solution to the Mercury Battery Dilemma. I chose not to use Alkaline cells, due to the fact that their voltage is constantly changing throughout their life. The silver cells are more stable and closely approximate the Mercury Cell's discharge profile. The difference in diameter between the "76" and the original Mercury Cell is easy to solve with an inexpensive #111 "O" Ring or a plastic adapter Ring. See "Re-Calibrating The SRT" and "Converting The SRT To Use Silver Oxide Cells"

The meter circuit of the Minolta SRT exposure meter is a simple series circuit, as opposed to the more sophisticated bridge circuit. Bridge meter circuits are not affected appreciably by voltage changes. Minolta as well as most other camera manufacturers chose the simpler series circuit since the Mercury Cells (available at the time) were so stable that a bridge circuit was unnecessary. A series meter circuit's accuracy, depends on the cell voltage remaining as constant as possible through most of it's life.
[attachment=5080:srtmeteringcircuit.gif][/quote]
Eine Archivversion des verwaisten Links Netherlands Rollei Club Site findet sich hier:

http://web.archive.org/web/20050106015920/...ijadapterUS.php

Dort wurde auf einen Batterieadapter von Frans de Gruijter verwiesen (das Dokument findet sich im Anhang), eine überarbeitete deutsche Fassung findet sich hier auf der Seite von Andreas Buhl:

http://www.buhla.de/Foto/Quecksilber.html

Dort wird auch auf einen Batterieadapter von C.R.I.S. aus den USA verwiesen, der wohl früher auch über den Rolleiclub.com verlinkt wurde:

http://www.criscam.com/products_services/m...ttery_adapters/

#10 von matthiaspaul , 17.03.2009 10:51

http://home.pcisys.net/~rlsnpjs/minolta/recal.html (verwaister Originallink)
http://web.archive.org/web/20060222171909/...olta/recal.html
ZITATRe-Calibrating The SRT (Exposure Metering System)

The following gives a complete and detailed description of the steps required to calibrate your SRT to use a "76" Silver Oxide Cell. This calibration procedure will apply to the SRT regardless of the power source (battery type) used. No real special tools or skills are required for this procedure. This calibration should render your SRT's Exposure System accurate. This procedure should apply to the entire Minolta SRT line, including the SRT 100, 101, 102, 200, 201, 202, 303, Superetc. Some slight differences do exist, but all SRTs have the same basic configuration and circuitry (some wire colors may be different).

Note: I have recently added a less complicated solution to the Mercury Battery issue.
See "Converting The SRT To Use Silver Oxide Cells (No Adjustments Required)".

Some Required Tools and Equipment:
A Working and Known accurate, Calibrated, Camera or Light Meter.

A Phillips No. 0 Jewelers screwdriver.

1 or 2 small Clip Leads.

A bright stable light source. Light up a white wall so you can fill the whole viewfinder with an even brilliance. Use an incandescent lamp preferably with a dimmer attached. Do not use a natural light source, since that light can vary greatly over a short period of time.

A Fresh "76" or 357 Silver Oxide Cell:

Duracell® MS76H
Kodak® KS76
Varta® V76PX
Panasonic® SP76
Rayovac® RS76
Energizer® EPX76, 357

Note: A colleague has reported that the Energizer # 357 watch cell has a more constant voltage and might be a preferred type.

Either a Plastic Adapter Ring, or a # 111 Rubber "O" ring measuring 5/8" outside dia. and 7/16" inside dia.

Re-Calibration Steps:
Assure that the SRT is functioning properly, Film Transport, Shutter curtainsetc. If the CdS cells have loosened from the penta prism or their cement has darkened or crystallized due to age and environment, you will not be able to calibrate the SRT. These procedures assume that the SRT is in good mechanical and electrical condition.

Verify the mechanical alignment of the meter with the camera's exposure controls. To do this, set the ASA Dial to 50, Shutter Speed to 1/60 sec. and the lens Opening to f 4. This represents an EV of 11 or 10 @ ASA 50. The camera does not have to be ON for this check. Look through the viewfinder to see the position of the "Follower". It should be, according to the Minolta Service Manual, at the top of the BC block as shown in Figure 1. Also shown is the adjustment of the Follower, components located inside the upper left side of the SRT (from the SRT 101 Technical Manual).

[attachment=9636:EV10.gif]
[Figure 1]

The follower does not have to be exactly as shown in this idealized position but close to it. A large difference might allow you to calibrate the meter, but could limit its EV range. The Follower can be adjusted but requires the removal of The top Cover, See: "Removing the SRT Covers". If the Follower is way off of this position, it could signify that the control cords may be stretched or off of their pulleys. Other internal mechanical problems could also exist. Don't be too picky about this setting since only about 20% of the SRTs I have seen were exactly like the picture (most sat just a little higher) and they calibrated just fine.

Unscrew the battery cover and remove the existing PX13 or PX625 Mercury Cell from the SRT camera, if still in place.

Clean the battery area and cover, paying particular attention to the battery contacts. You can use a Q-Tip® moistened with Rubbing alcohol. For corroded contacts, a pencil eraser works fine. Dirty or corroded contacts can cause erratic readings.

[attachment=9637oison.gif]Safety Note: Do not use compressed air or blow into the battery compartment, to clean it! Any powder or other debris, found in the battery compartment or on the Mercury Cell itself, can be extremely toxic, and should never be breathed in or ingested! Wash you hands thoroughly afterwards. Dispose of mercury batteries responsibly!

If you are using a Plastic Adapter Ring, install it into the battery compartment and then place the battery inside the adapter, (+ side towards the cap). Alternately, install the "O" Ring around a fresh 1.5 volt Silver Oxide "76" Cell, and place it in the battery compartment, again observing polarity. The adapter or "O" ring is required since the Silver Oxide Cell is smaller in diameter than the Mercury Cell. The Adapter or "O" Ring will center the cell in the battery compartment and can be re-used. The Silver Oxide Cell is also slightly thinner (by about .030 inch), but should make no real difference as to fit. The battery cap may sit a little lower than before.

[attachment=9638:cells2.gif]
[Figure 2]

Remove the bottom cover of the camera by removing the two Phillips head screws at either end of the camera. The plate will easily lift off and expose the working parts, needing access.

Examine the interior of the bottom assembly for defects such as broken wires or corrosion. Correct any defects before going on. Compare the bottom of your camera with the photographs, Figures 3 and 4, to become familiar with the target components.

[Figure 3]

Using your, known good, Calibrated Camera or Light Meter, point toward a stable light source (white wall) at a fixed distance. Record the Distance, ASA setting, Shutter Speed and Lens Opening. Take several readings. A suggested setting would be something like, ASA 100 at a shutter speed of 1/500 of a second. Adjust the distance from the light source to obtain a reasonable, reference aperture setting, of f 5.6 for example (EV=14). Make sure the light is even in the entire view finder and record these settings.

Temporarily place the bottom cover back on your SLR, turn the switch to "ON". Compare the reading you get with your SLR, to the above obtained readings and record them. You will probably see an error of about 1 or 2 stops. This is normal, since the Silver Oxide Cell is now supplying about an 8% higher voltage than the Original Mercury Cell.

[attachment=9639:figure4.jpg]
[Figure 4]

You will notice in Figure 4, there are two variable resistors, R1 (Meter Calibrate Adj.) and R2 (Battery Check Adj.), a Fixed Resistor and Switch Contacts A, B and C. These are the target components for re-calibration.

Now for the adjustment. Adjust R1 (Meter Cal. Adj.) first, to actually re-calibrate the SRT exposure meter. The correct adjustment will be arrived at, by trial and error. You can use a toothpick or similar non-metallic probe to move R1's arm to the desired position. Some SRTs, like the one pictured, have a screw type adjustment which is much easier to deal with. Be careful, as these variable resistors are somewhat fragile. Temporarily re-attach the bottom cover and set the battery switch to ON, or use jumper leads (Clip Leads) to connect contacts "A" to "C". Test as in Step 8. and compare the new reading with your reference settings. You will probably have to re-adjust R1, both up and down, until you get the desired results, as pictured in Figure 5. Once you are successful at the above camera settings, you should re-check the meter at other light levels to assure accurate calibration across the meter's scale.

Sometimes (not often) you will find that you will run out of adjustment without getting the meter calibrated. This is fairly easy to overcome, but takes a little longer and requires the use of a small Soldering Iron and an Ohm Meter. In this case you will have to replace the Fixed Resistor with a lower (Ohms) value. Most Fixed Resistors in SRTs are marked with the Standard Color Code and are 1/8 watt size. They are usually gray in color and marked with colored dots. You will first have to determine the value of the existing Fixed Resistor, either by reading the Color Code or measuring it with an Ohm Meter. If you use and Ohm Meter to measure the resistor, be sure and unsolder one of its leads or your measurement will be inaccurate. These Fixed Resistors vary in value on different SRTs, and can range from 5.6K to 33K (The one pictured is 24K ohms). This range is due to the rather wide variations in the CdS Cells and other components. See Color Code Explanation. Arriving at the needed value may take several tries to get it right. Using clip leads to try different values can really speed up the process. Strive to select a resistor that will allow calibration with R1 near the center of its adjustment range.Take your time and re-check your results. Once all of this is correct, you have finished the re-calibration of your SRT's meter.

[attachment=9640nswitch.gif][attachment=9641:calviewfinder.gif]
[Figure 5]

All that remains at this point, is the setting of the Battery Check Calibration. Temporarily place the bottom cover back on the camera and set the battery switch to BC, or use jumper leads (Clip Leads)to connect contacts "A" to "B". You need to adjust R2 (Battery Check Adj.) to obtain a setting, as pictured in Figure 6. This is the position recommended by The "Minolta SRT 101 Service Manual". I like to set it in the middle of the block but it really makes no difference, as long as you remember where it was set for a good Battery.

[attachment=9642:bcswitch.gif][attachment=9643:bcviewfinder.gif]
[Figure 6]

Congratulations, you have now completed the re-calibration. You simply have to re-attach the bottom cover and you are done. Your classic Minolta SRT will now have an accurate meter and will provide good exposures using Silver Oxide Cells.
[attachment=9644:celldimensions.gif]
[Mercury Cell vs Silver Cell Dimensions]
[attachment=9645:srtmeteringcircuit.gif][/quote]

#11 von matthiaspaul , 17.03.2009 10:53

http://home.pcisys.net/~rlsnpjs/minolta/re...t%20covers.html (verwaister Originallink)
http://web.archive.org/web/20060117013837/...srt+covers.html
ZITATRemoving the SRT Covers

Removing the Top Cover
Pull out on the Rewind Knob to open the Back Cover, then push the knob back in and insert the blade of a screwdriver or similar tool into the slot in the Rewinding Shaft to hold it, so you can then unscrew (CCW) and remove the Rewind Knob.

Unscrew (CCW) and remove the Rewind Seat using an appropriate Spanner Wrench.

Remove the Winding Lever Cap using a 5/8" Flexiclamp to unscrew it (CCW), then take off the winding lever Spring, the Washer and the Winding Lever.

Loosen and remove the Plate Screw on top of the Shutter Speed Dial, then remove the Shutter Speed Dial, the ASA Dial, the Plate Spring and the Speed Knob.

Loosen and remove the three Cover Screws 1, 2, and 3.

In the case of the later SRTs such as the 102, 202, 303 and Super, you will need to remove the Front Prism Cover. First remove the 2 Chrome Phillips screws on either side of the cover (See Fig. A) . Carefully pull the cover forward to remove it from the camera body. This cover is plated plastic, so be careful not to break it. If this cover is stubborn, you can use a knife blade to carefully separate it from the Top Cover. Now, remove the 2 special, slotted screws from the front of the Top Cover, just exposed (See Fig. B)

[attachment=9646:figa.jpg][Fig A]

[attachment=9647:figb.jpg][Fig. B]

Remove the front cover Red Index Screw Assembly (3 parts) located on the front frame. See My Article "That Darn Red Screw" for hints on removal. These parts are often difficult to remove and can be easily damaged. Now carefully remove the Top Cover from the camera body.

Caution: The Shutter Button and the Button Keeper can now fall out, so it would be best to remove them at this time, to prevent their loss. Screw the Rewind Seat back on so as not to lose the Spacing Washer (not shown) that is on top of the rewind mechanism.

Removing the Bottom Cover
Loosen and remove two Cover Screws 4 and 5 and then remove the Bottom Cover from the camera body.

Caution: The Bottom Cover may stick on the camera's left side, due to a small piece of foam under it that may have degraded with age and become sticky, pull slowly and do not mar or bend the cover.

[attachment=9648:figure1wp.jpg][Fig.1][/quote]

#12 von matthiaspaul , 17.03.2009 10:56

http://home.pcisys.net/~rlsnpjs/minolta/redscrew.html (verwaister Originallink)
http://web.archive.org/web/20060209101932/...a/redscrew.html
ZITATThat Darn Red Screw!

The little lens indexing "red screw" at the front center, of the prism housing, next to the CLC engraving, has caused more frustration in the disassembly of an SRT, than anything else I know of. After all operations of removing the top cover have been performed, there is always that last pesky little item to remove. Minolta says very little about this darn screw in its SRT 101 Service Manual's disassembly instructions, except to just say, "remove it". As it turns out, there are actually three parts to this little assembly; a cap, a cup and a screw. The cap is a red anodized aluminum disc and is used to hide the screw head. The cup is a chrome plated steel collar used as a means to mount the cosmetic red cap, in order to hide the screw head. The screw and cup are steel, so magnetic handling is possible. The cap, being aluminum, is not. This (special) screw is either a slotted or Phillips flat-head type, unlike nearly all others removed to this point. Later models tend to have the Phillips type screw. The cap is glued into the cup and/or on the screw head at final assembly by the manufacturer. Some caps I have seen, appear to have been put on with a small round piece of double-sticky-back tape. Either way, this makes the removal of this small assembly somewhat difficult and often leads to damage, especially to the red cap.

Update: I have found a simpler solution that sometimes works. You Press hard on the front cover with something soft like your thumbnail or a small piece of wood, right next to the screw and attempt to unscrew it with your finger nails or long-nose pliers jaws wrapped in thin rubber. This technique will release the pressure on the screw head/collar and often allow it to be unscrewed without further disassembly. If it doesn't come all the way out i.e. just spins, push in on the collar and the red cap will probably pop off. Be ready for it. Don't spend too much time on this procedure, since it either works or it doesn't.

Removal of the assembly requires that you first remove the red cap. If previous ill-fated attempts to remove the cap have been tried, scratches dents and/or dings will be seen. This can cause the difficulty of removal to multiply. Never use pliers or similar tools to remove this assembly. It is rather soft and easily damaged. You may find that the red cap is no longer on the assembly. This makes removal a breeze, but means that the previous technician probably left it off, because it was lost or damaged beyond use.

Removal of the red cap takes a lot of patience and perseverance. A steady hand is important, so switch to decaffeinated coffee prior to attempting this procedure. A clean and clutter-free work surface will help also. Since the cap/disc is glued into the assembly, you will have to use a solvent to dissolve the glue first. You can use Acetone, MEK or Lacquer Thinner. Nail polish remover is mostly Acetone, check the label. These chemicals are potentially hazardous and flammable, so use adequate ventilation and never use near an open flame. They will damage almost any plastic or paint they come in contact with, so be very careful. Cover the lens opening in the body with a cap or tape, because you do not want these solvents to get near the focus screen. These chemicals will not hurt the anodized red finish of the cap, however. Lay the camera on its back and put a small drop of the solvent on the red cap. Let it set for a while so it will seep under the cap, then repeat the application, letting the chemical soak into the cap and cup. It will eventually loosen the cap enough to remove it. Getting a hold on the cap is the hard part, but pushing down on the red cap edge with a sharpened toothpick, should cause the opposite edge to raise enough to grasp it with a sharp needle or tweezers. Repeated applications of solvent may be required to loosen the cap enough for final removal. This is the patience and perseverance part of the operation. If you drop/loose the cap to the floor, be prepared for a long search. Since the cap is aluminum, and is not magnetic, a magnet won't help you here. Using Scotch Tape® has worked a few times, pulling the cap free from the cup also.

Once the cap is off of the assembly, you simply use the correct size and type of screwdriver to unscrew the attaching screw and with the cup. Be careful not to drop the components. The cup will likely stay with the screw and it is best kept that way. I alway slip the assembly into a ZipLoc® bag and mark it. This is a god idea for all small parts you remove. You can now remove the top cover of your SRT and do whatever, you started out to do.

Re-assembly is pretty straightforward. You will have to apply a small drop of glue to the back of the cap or the screw head, to hold it in the cup and on the screw head. Use a type of glue like Duco® Cement. Do not use SuperGlue®, since it will be near impossible to remove the cap next time you wish to visit the innards of your SRT. Don't apply too much glue or you will have a difficult cleanup. A tiny drop on a toothpick applied to the screw head is all that is needed. You can use a small piece of Scotch Tape to handle and position the small cap. Tweezers work fine, but if you squeeze too hard on them, you can launch the cap into "whereabouts unknown". I know there is a small red cap in my shop or adjoining rooms, somewhere! Use the correct solvent, for the type of glue you used, to clean up any excess.

[red paint]

If the red cap is missing or damaged, all is not lost. You can restore the cosmetics of the assembly using paint. It will be very difficult to match the original color of the red anodized cap, but you can come pretty close. Try to find a red nail polish or model paint that has a metallic component in it.

On the left, is a picture of the Model Paint that I have used and it is close to the original color, but maybe a shade or two darker. I like the effect of the color. It is Testors # 1529, Red Metallic Enamel, available at most Hobby and Model Shops for about a dollar and a quarter. Since it is a metallic paint, be sure to shake and stir it well before using, or the results may be disappointing. It dries pretty fast, about an hour or two. Use Mineral Spirits or a similar solvent for clean-up. I have also used this paint to dress up a an assembly with a scratched red disk and it looked fine.

After re-assembly, lay the camera on its back and using a toothpick, apply a drop of the paint to the screw or damaged cap and let it dry. Subsequent applications may be required to hide the screw head completely, since most paint tends to shrink upon drying. Once the paint is near dry, you can use a solvent damped Q-Tip® to remove any excess from the cup edge.

No paint, will ever look as good as the original cap finish, but it is certainly better looking, than a bright naked screw head. If you ever have to remove the screw again, a drop or two of Acetone will dissolve the paint enough to allow you to unscrew it.[/quote]

#13 von matthiaspaul , 17.03.2009 10:59

http://home.pcisys.net/~rlsnpjs/minolta/conversion.html (verwaister Originallink)
http://web.archive.org/web/20060215024642/...conversion.html
http://www.rokkorfiles.com/conversion.htm
ZITATConverting The SRT To Use Silver Oxide Cells

(No Adjustments Required)

The Conversion a Minolta SRT from the banned Mercury Cells to modern Silver Oxide Cells, has one more technique. The Re-Calibration steps I explained elsewhere on this site were a bit too much for some users, so I looked for an easier option. Remembering something I had seen on the Net, I revisited the information I had found on the excellent "Rollei Club Nederland" Site. Their great PDF document primarily covers the construction of an adapter similar to (they claim better than) the C.R.I.S. MR-9. In my opinion the construction of their adapter is rather complicated and somewhat difficult for most users/collectors. I was more interested in their mention of the idea of using a Schottky Diode inside the camera to lower or drop the voltage of a Silver Oxide Cell to the Mercury Cell's level of 1.35V.

At first, I was somewhat skeptical because it just seemed too good to be true. I decided to experiment with, and test this idea as it might apply to the SRT. After a rather lengthy search for the "correct" Schottky Diode, I obtained and installed a 1N5711 diode in an SRT 102 and made several tests. I am happy to report that it does work, and I must say, very well. With the Diode installed in series with the Silver Cell, 1.35 volts was measured going to the camera meter circuit, the exact same voltage as the original mercury cell. This turns out to be very good option for those who do not want to mess around with the adjustments. It might even be the best option overall. This simple conversion does not require any adjustments to the SRT and can be done in less than an hour. Assuming your SRT was accurate with the original Mercury Cell, it will be just as accurate with a Silver Cell after the conversion. Though a fairly simple conversion, you will need some soldering skills and it does require the removal of the Bottom Cover of the SRT (no real big deal).

The following conversion steps are predicated on the SRT camera, being in calibration with the original Mercury Cell installed. If you have changed the calibration for any reason, your results will not be accurate and you will likely have to re-calibrate the SRT after this conversion. Also, if your SRT has problems with the metering, shutter systems etc., your results will not be satisfactory. This is not a repair but simply a conversion from Mercury to Silver Cell use.

Some Required Tools and Parts:
A No. "0" Phillips Jewelers Screwdriver.

A Small Soldering Iron with a pointed tip, 25 Watts or so.

A 1N5711 Schottky Diode.

A short (about 2" piece of insulating plastic tubing, with an 1/8" inside diameter.

A short length of small gauge 60/40 solder.

A Fresh '76 1.5 volt Silver Oxide Cell:

Duracell® MS76H
Kodak® KS76
Varta® V76PX
Panasonic® SP76
Rayovac® RS76
Energizer® EPX76 or 357

Either a Plastic Adapter Ring, or a # 111 Rubber "O" Ring measuring approximately 5/8" outside dia. and 7/16" inside dia.

[attachment=5083:mynotes.gif][attachment=5092encil.gif]
~ My Initial Notes and Sketches ~

Technical Notes: The 1N5711 Schottky Diode is a Metal to Silicon Junction Diode primarily intended for high level UHF/VHF detection and pulse applications. We of course, do not care about its frequency characteristics or its intended applications, just its forward voltage drop.

Any forward biased diode will drop a certain amount of voltage depending on its type, construction, the current flowing through it and to some extent, its temperature. The type and construction of a diode used is the major factor in the amount of forward voltage drop it has. For instance, a Germanium diode will typically drop .4 volts or more and a Silicon diode will drop about .6 Volts, neither of these types will suit our needs. Since a Silver Oxide Cell delivers about 1.6 volts and a Mercury Cell reads about 1.35 volts we need a voltage drop of about .25 volts. It turns out that a forward biased 1N5711 Silicon Schottky Diode will drop the required .25 volts at the current range (10 ~ 200ua.) of the SRT metering circuit.

While temperature will affect this voltage drop a little, the effect will be extremely small at the temperature range of the camera in normal use. Photography in Antarctica or the Sahara Desert might be another story, but the mechanically operated SRT will likely have other problems long before those extreme temperature can cause any appreciable exposure errors. Temperatures of about 32º to 95º F, should be just fine. From my measurements at room temperature, the 1N5711 Schottky Diode was "spot on", reading a .25 volts drop, thus delivering 1.35 volts the SRT's metering circuit, perfect for our application. Other Schottky Diodes (1N6263, BAT41, BAT81, BAT82, BAT83) have a similar type and construction but I have not tested them.

Caution: The handling of the diode, as with any semiconductor requires certain precautions to prevent damaging it. You should protect it from static discharges and excessive heat. Before touching the diode leads be sure to ground yourself to a grounded metal surface to discharge any build up of static on your body. When soldering the diode, try to limit the time of heating to about 2 seconds.

Conversion Steps:
Assure that the SRT was or is accurate with the Original Mercury Cell and is functioning properly, Film Transport, Shutter curtains, etc.

Unscrew the battery cover and remove the existing PX13 or PX625 Mercury Cell from the SRT camera, if still in place.

Clean the battery area and cover, paying particular attention to the battery contacts. You can use a Q-Tip® moistened with Rubbing alcohol. For corroded contacts, a pencil eraser works fine. Dirty or corroded contacts can cause erratic readings.

Safety Note: Do not use compressed air or blow into the battery compartment to clean it! Any white powder or other debris, found in the battery compartment or on the Mercury Cell, can be extremely toxic, and should never be breathed in or ingested. Wash your hands thoroughly after handling these cells. Dispose of mercury batteries responsibly!

If you are using a Plastic Adapter Ring, install it into the battery compartment and then place the battery inside the adapter (+ side towards the cap). Alternately, install the "O" Ring around a fresh 1.5 volt Silver Oxide "76" Cell, and place it in the battery compartment. Observe the correct polarity (+ side towards the cap). The adapter or "O" ring is required since the Silver Oxide Cell is smaller in diameter than the Mercury Cell. The Adapter or "O" Ring will center the cell in the battery compartment and can be re-used. The Silver Oxide Cell is also slightly thinner (by about .030 inch), but should make no real difference as to fit. Should you experience intermittent battery contact, just bend the negative contact up a bit and that should solve the problem.

[attachment=5084:cells2.jpg]

Remove the bottom cover of the camera by removing the two Phillips head screws at either end of the camera. The plate will easily lift off and expose the parts, needing access.

[attachment=5085:bottomcvr.jpg]
[Figure 3]

Examine the interior of the bottom assembly for defects such as broken wires or corrosion. Correct any defects before going on.

Remove the soft black plastic trim ring that goes around the battery container, making note of its original position and set it aside.

[attachment=5086:trimring.gif]

With a voltmeter, check to make sure that you have 1.6 volts between a good chassis ground point (+) and the tab (-) on the battery compartment.

Using a soldering iron with a small tip, unsolder the wire (usually black) from the negative (-) tab on the battery compartment.

Cut the leads of the diode to about 3/8" long. Solder the Cathode end (the end with the black band) to the tab that the wire was removed from. Do not over-heat the diode.

[attachment=5087:1N5711_dim.gif]

Put the plastic tubing over the wire just removed from the tab and push it on enough to expose the wire end.

Now solder the wire end to the free end of the diode. Again, do not over-heat the diode.

[attachment=5088iodeinstalled.jpg]

Push the insulation over and beyond the diode untill it contacts the tab. Dress the wire so it will not be pinched by the bottom cover or other mechanical parts.

Place the black plastic trim ring back on the battery container in the correct original position.

Replace the camera's Bottom cover, being careful not to pinch the wire going to the diode.

Install the Silver Cell with adapter or "O" Ring and screw on the battery cap.

Place the BC-OFF-ON switch to BC and note the position of the meter needle. It should align with the black block in the viewfinder. This is not real critical you just need to remember its position for a good battery, for later Battery Checks. Due to variations in circuit components of SRTs you may see that the needle does not exactly align with the block in the viewfinder. This is no problem and will not affect the calibration. It could be adjusted but since this is a "no adjustments" article, so I will not comment further, here.

[attachment=5089:bcswitch.gif] [attachment=5090:bcviewfinder.gif]

After completing the above steps, and you get no reading at all, re-check your work and make sure the cell was installed correctly as to its polarity and the cell surfaces and contacts are clean. As mentioned earlier, you may have to bend the negative contact up a little for a better connection with the slightly thinner Silver Cell. Another possibility is, that you may have installed the diode backwards.

Congratulations, your Conversion is now complete. Your classic Minolta SRT now has the ability to use modern inexpensive "76" Silver Oxide Cells and produce accurate exposures.

[attachment=5091:circuitafterconv.gif]

Final Note: This type of conversion should work for other cameras in Minolta's line that were designed to use Mercury Cells. I am planning on featuring an illustrated conversion article on the SR-7 in the near future, as well as some other neat stuff. Please Check Back Often!

Copyright © 2004
All Rights Reserved.[/quote]

#14 von matthiaspaul , 17.03.2009 11:02

http://home.pcisys.net/~rlsnpjs/minolta/tools.html (verwaister Originallink)
http://web.archive.org/web/20060118015208/...olta/tools.html
ZITATTools

First off, let me confess that I am a real "Tool Nut". I probably have more tools than most hardware stores. Occasionally, I even use some of them. When I visit the Craftsman section at Sears I feel like I have just died and gone to Heaven. God help me, I do love tools.
I do not loan or borrow tools, when I need one, or can't find one of my own, I just go out and buy one or two or ...
My Wife (of 44 years) says I have a problem, and that I exhibit Obsessive Compulsive Behavior. I usually tell her that "The Voices" tell me to buy more tools, and she backs away and just shakes her head, then smiles. I love her . . . almost as much as my tools.

You can spend as much or as little as you want, on tools to repair your SRT camera/s. There are some tools, you can make yourself and save your funds to buy more cameras or more tools. I feel that, purchased tools, save time and cause less real or cosmetic damage to your camera. I will try to describe home made alternatives, later on. Here are some tools that I feel are necessary for the repair of our beloved SRTs.

Jewelers Screwdrivers are a absolute must, and are not very expensive either. I bought this set at Walmart for around $10. "High Quality" sets can run up to $50 or more. Frankly, I don't see that the price is justified. You will want a set with both Slotted (common) and Phillips type bits. Some sets come with one handle and a set 5 or 6 bits, but I prefer the sets that consist of handles and bits combined (I'm lazy). The set I use, contains 2 Phillips and 4 common sizes. This set has served me well, and I have used them quite a bit. Make sure the set includes at the very least, a # 0 Phillips driver. That size will fit most all of the screws on an SRT. I did magnetize the bits with an old speaker magnet to help them hold on to tiny screws.

Tweezers and Hemostats are tools that I feel are essential for positioning and holding on to small parts. One or two of each will do the job. You may already have some around the house, used for removing splinters and plucking eyebrows. They are quite inexpensive and can be had for around $5 a piece. Check with your local Hardware Stores and Micro-Tools. Pictured above, are the ones I use most.

Scribes, Dental Picks and Awls are very useful for various tasks including cleaning small cavities (no pun intended) inside a camera. An assortment of different types and sizes are recommended. Check with your Dentist to see if you can have some of his worn-out dental picks. Most picks can be bent and formed for a particular task. I make spring hooks and probes from them. Above is a collection of picks, scribes and an awl that I use in repairing SRTs.

A 5/8" Flexiclamp is one tool that is special and not easily made, yourself. It is used to remove the chrome Winding Lever Cap that goes around the shutter button on a SRT. It is made of brass and won't scratch the chrome. I got this one from Micro-Tools for less than $8 and use it all the time. They do offer one made from some kinda fiber material, at the same price as well as some very expensive sets. I also use the handle end to hold the rewind shaft stationary in order to remove (unscrew) the Rewind Knob. Brass is great since it won't scratch the chrome. Since the Winding Lever Cap is 16mm in diameter, the 5/8" (15.875mm) size is close to being too tight, but I just pry the ends apart a little bit and it goes right on. I wish the Flexiclamps came in metric sizes, since SRT cameras are from Japan and therefore metric sized. It works like a charm, every time, with no damage. In the Home-Made Tools section (Coming Soon), I plan to describe an alternative, that I am working on.

Spanner Wrenches are vital for removing some nuts and lens rings. I have tried some alternative methods like using long nose pliers, and they invariably slip and scratch the ring or nut. They are a little pricey, but better than ruining the very thing you are trying to fix. I got the pair above from Micro-Tools for $15 each. They have "better" ones for around $100, but these work just fine and I have had no problems at all. They arrived in a cheesy little blue plastic envelope or purse, that I threw away. The kinda pointy one on the left, is the one I use most and if you can only afford one, it's the one to get.

More Tools Later...

Note: I have mentioned Micro-Tools several times as a source for tools, parts and supplies on this site. I would like to state that, I am not affiliated in any way with Micro-Tools nor do I receive any compensation from them whatsoever. They are simply a source that I have used. Another source for tools is Widget Supply, they have a lot of neat tools (not specifically for camera repair).[/quote]
Eine Archivversion von "Widget Supply" findet sich hier: http://web.archive.org/web/20080209171731/...dgetsupply.com/

#15 von matthiaspaul , 17.03.2009 11:04

http://home.pcisys.net/~rlsnpjs/minolta/ev%20lv%20asa.html (verwaister Originallink)
http://web.archive.org/web/20060117010608/.../ev+lv+asa.html
ZITATEV - LV - ISO Relationships
or
Who Needs a Light Meter Anyway?

As Collectors and users of the Minolta SRT series, we sometimes become obsessed with the light meter's functionality. If the meter doesn't work we will pass up a chance to make a good buy on an otherwise very nice camera. Although the meters can be repaired, some collectors/users can't or won't even consider the repair. Many of us do not know, or have forgotten that many earlier models didn't even have built-in meters. How on earth, did photographers of that era do without a meter? Some did use external meters to be sure, but others somehow managed perfect exposures without any meter. Just how did they do that? What follows, is my humble attempt to explain the process of photography without a light meter.

EV Exposure Value Table
f 1.4f 2.0f 2.8f 4.0f 5.6f 8.0f 11f 16f 22f 321 s123456789101/2 s2345678910111/4 s34567891011121/8 s456789101112131/15 s5678910111213141/30 s67891011121314151/60 s789101112131415161/125 s8910111213141516171/250 s91011121314151617181/500 s101112131415161718191/1000 s11121314151617181920

Exposure Values:

The Table above shows the range of EV (1-20) that an SRT is capable of being set to, in Whole Stops, f 1.4 to f 32 and 1 second to 1/1000 second. The table does not show Intermediate or Half Stops such as f 1.2, f 1.7, f 3.5, f 4.5, etc. They of course, would be between the Whole Stops, and produce fractional EV numbers. Each EV number represents one stop in exposure. It is important to remember that using neutral density or other filters will affect these values.

EV (Exposure Value) is a measure of a combination of a camera's shutter and aperture settings without any regard to the amount of light in the scene, or the speed of the film. In other words, it represents, how much of the scene's available light will be allowed, by the camera, to get to the film. The EV Scale is an open ended, non linear one and can be applied to all cameras. Every time you move from one number in the EV scale to the next, the exposure value it represents is either multiplied or divided by a factor of 2. This is true of f stops and shutter speed stops as well. Again, EV is only a measure of the potential amount of light that will strike the film.

It is important to notice that EV numbers can be represented by several Shutter Speed and Aperture combinations. For instance, an EV of 14 can be a setting of f 4.0 @ 1/1000, or a setting of f 32 @ 1/15. Both settings admit the same amount of light. The former setting could be used for fast moving (sports) subjects and the latter, could be used for maximum depth of field (Landscapes).

Light Values:

When you know the brightness of the scene (LV Light Value) and the sensitivity of the film (ISO/ASA), your light meter will give you a required EV setting. Cameras settings are seldom displayed in EV numbers. The LV scale is similar to the EV scale. In fact when using film with a speed of ISO/ASA 100, they are identical. All you need to know is what the LV of the scene is. The LV is usually determined with a light meter. The brighter a scene, the higher the LV number. For instance, the amount of light from the direct Sun might produce an LV of 25 or more, a very dark night would be a LV near zero. An average scene in daylight will be around an LV of 14. Below are some typical LV numbers of common scenes;

LV Light Value Table
LVType of Scene (Brightness)1 Very Dark, Not Practical except for Timed Exposures2 Very Dim, Total Lunar Eclipse, Moon Lit Scenes3 - 4Dim Indoor Lighting, Candle Light, Street Lights on Wet Streets5 - 6Brightly lit indoors, Amusement parks at Night7 - 8Well lit Professional Sporting Events at Night9 - 10Just after Sunset or Just before Sunrise.11 - 12Dark Overcast Daylight Scenes, Total Solar Eclipse13Cloud Covered Daylight Scenes14Average Daylight, Normal Side Lit Subjects, Partly Cloudy15Bright Daylight, Front Lit, Light colored Subjects16Bright Daylight reflecting off Snow or Water17 - 20Too Bright to be Very Practical

Shooting Without a Light Meter

As you can see these Light Values become somewhat subjective without the aid of a Light Meter. You might want to create your own Table by recording the data (lens, shutter, aperture and film) of all your shots and perceived scene characteristics. Later you can select your best shots and edit the above table or create your own. So just what good is all this?, you may ask. Shooting without a meter is possible, using these tables. Photography is part Art and part Science. Today with all the automatic widgets, it has become mostly Science. Not using a meter, will bring more Art back into your photography. You may think this is all too slow, but wouldn't you be more proud of your shots, knowing that they are your creation, rather than a coincidence or accident of Science.

You can arrive at a correct EV setting using these Tables, then select the proper Shutter Speed and Aperture, for the film you are using. Since the LV and EV numbers are the same at ISO/ASA 100, you would only have to adjust for other film speeds. Common ISO/ASA speeds for film are 12, 25, 50, 100, 200, 400 and 800. These speeds are each one stop from each other. If you judge the Light Value to be 14, and your film speed is ISO/ASA 100, then (LV=EV=14).

For film speeds of;

ISO/ASA 12 (LV-3) = 11EV
ISO/ASA 25 (LV-2) = 12 EV
ISO/ASA 50 (LV-1) = 13 EV
ISO/ASA 100 (LV) = 14 EV
ISO/ASA 200 (LV+1) = 15 EV
ISO/ASA 400 (LV+2) = 16 EV
ISO/ASA 800 (LV+3) = 17 EV

Since modern Print Film has such a wide latitude for exposure, coupled with the fact that most commercial printing equipment "corrects" for errors, you can produce very good Prints using this method. I have used this method several times, and was always surprised at just how good it works. Slide film is not so forgiving, but it can work also. It's a good idea to bracket your important shots, plus or minus a stop or two.

Light meters measure the average brightness or only a small area of the scene or two (CLC), to set the exposure. This is a compromise at best, and will not always give the best exposure. The engineers have done the best they can with meters to produce acceptable (snapshot quality) pictures. The SRT meters are definitely in that class. Your eyes and brain are far more sensitive and creative than any meter could ever be. Think about it, you judge the final results with your eyes, Why not begin the process, that way?

Give this method a try, and if your meter does work, you can check to see how close you come to it's readings. Your arrived at exposure may even prove to be better.

Sunny 16 Rule

The Sunny 16 Rule has been around since the dawn of photography and is useful when you are in a hurry and the exact exposure is not as important. In other words this rule can produce acceptable snapshots without using a light meter. It is a quick and dirty method that can make a difference between a picture or no picture. It is easy to remember and useful at times.

First:
Set your shutter speed to a value that closely approximates you film speed;

ASA 50 set to 1/60 sec.
ASA 100 set to 1/125 sec.
ASA 200 set to 1/250 sec. and so on . . . .

Second:
Set your lens aperture to f 16 for bright sunny conditions. You can open up the aperture for cloudy or overcast situations. Try f 11 for cloudy and f 8 for overcast. Open Shade would be about f 5.6[/quote]

Beiträge:	14.595
Registriert am:	08.06.2004

Beiträge:	14.595
Registriert am:	08.06.2004

Beiträge:	14.595
Registriert am:	08.06.2004

Beiträge:	14.595
Registriert am:	08.06.2004

Beiträge:	14.595
Registriert am:	08.06.2004

Forum Übersicht - Sonstige » Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

RE: Dick Sullivan's Minolta Manual Focus SLR Cameras

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