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HINTS FOR UNUSUAL EXPOSURE SITUATIONS

The through-the-lens metering system of your Konica Autoreflex-A3 provides consistently accurate exposures under an amazing variety of lighting conditions. In some instances, however, it may be desirable to compensate for unusual

Backlit Subjects: See how the sun is shining towards the camera in the illustration at the right? Chances are, the subject will have a much more natural expression than she would if she had to stare into the sun...but as a result, her fact is much darker than the rest of the scene as seen by the camera. Solution walk up to the subject, hold the camera close to the most important part (her face), press the shutter release halfway down...and you've "frozen" the meter needle at the  correct position.  Holding the release button in place, step back, focus and shoot: the exposure is actually taken at the aperture indicated when you first depressed the release, as shown within your Konica's viewfinder.

 

Extremely Dark Backgrounds: In the illustration at left, a relatively light subject is being photographed against a very card background. Here again, taking a "close-up" reading, holding or locking that reading, then going back to the desired position and taking the picture, will automatically provide a professional close-up exposure reading and a perfectly-exposed picture. As soon as you release the shutter button, the meter resumes continuous operation so there's nothing to set or re-set.4.butkus.org

Sometimes, of course, it's not possible to approach the subject for a close-up reading: if this is the case, you can easily compensate by temporarily re-setting your camera's ASA rating If you're working with ASA 64 film, resetting the film speed to ASA 32 will provide one f/stop(100%) more exposure; resetting it to ASA 125 will provide one f/stop less exposure. In extreme cases, lower or higher adjustments will porduce proportionately greater compensation. Remember, however, to return the ASA indicator to the actual film speed after you've completed the picture.

Summary: extra compensation as outlined above is suggested only when the subject is (because of lighting or surroundings) much lighter or darker than the balance of the scene. In these conditions, the small extra effort described will reward you with even better exposures.


· Hold the Camera securely - comfortably for your hand

One secret for getting ultra-sharp pictures is to prevent accidental camera movement. To do this it is suggested that you hold the camera firmly, as shown in the picture above, cradingthe body of the Autoreflex-A3 against the face. Depress the shutter release button firmly but gently. Do not punch the shutter release button but squeeze the exposure off smoothly for "jar-free" operation.

Vertical shots add variety to a series of pictures. They are especially desirable when making head and shoulder portraits and architectural shots. Hold the camera as shown above. This position prevents accidentally pushing the lens release button.

With Microdiaprism Focusing Screen: Turn the Focusing Ring (6) of the lens until the image within the center of the viewfinder (44) is sharpest and clearest. (When you're out of focus, this central area - composed of hundreds of microscopic prisms - appears quite hazy and unsharp.)


Under almost all conditions, this precision focusing screen works easily and with great accuracy. However, under certain conditions problems can develop: here's what they are ... and how to overcome them.

With Microdiaprism... when using 35mm (or shorter) wide-angle lenses, and lenses slower than f/4.5, or any lens used with substantial bellows extension, the grid-like pattern in the center of the viewfinder may remain visible regardless of focusing ring adjustment. (This phenomenon is caused by the angles at which light rays enter the focusing screen, and does not indicate any defect in your camera or lens.) Solution: focus by concentrating on the circular doughnut shaped Fine Ground Glass Areas (45) around the Microdiaprism. Most people find this easiest to do by starting out with the lens deliberately thrown out of focus, then turning the focusing ring very swiftly until the point of greatest apparent sharpness is reached. If you turn the focusing ring very slowly, your eye will find it more difficult to determine the point of greatest sharpness.

DEPTH-OF-FIELD CONTROL
Depth-of-Field is the distance between the nearest and farthest objects in the scene that will be sharp in the finished picture. In practical terms this means that when you bring an object into sharp focus, objects behind and in front of this will be rendered more or less sharply as well. For more Depthof-Field, use a smaller f/stop (for example, f/11 instead of f/5.6). For less Depth-of-Field, use a larger f/stop (for example, f/4.0 instead of f/8).

Using Depth-of-Field Scale on Lens:
On the Depth-of-Field Scale, f/stop markings identical to those on the Manual Aperture Scale (7), are repeated to the right and left of the Distance Scale Index Mark (46). The Depth-of-Field for any focused distance will be found between any two identical f/stop markings on the Depth-ofField Scale. Thus, if the lens is focused at 15 feet and the picture is to be made at f/16, referring to f/16 on both sides of the scale tells us that the Depth-of-Field extends from Infinity to about 8 feet. For maximum Depth-of-Field including Infinity, set the Infinity mark at the f/stop in use, on the right hand side of the scale.

Film Plane Mark: For certain highly specialized applications, it is sometimes desirable to place your subject at a specific distance from the film (focal) plane. Should you wish to do this, measure the distance from the center-of-interest of the subject (the part you'll focus on) to the Film Plane Mark "my" (16) atop the camera body.4.butkus.org

Infrared Film Compensation Mark: Infrared rays come to a different focus than visible light rays. When shooting infrared film with the appropriate filter, focus as usual. Then bring the distance figure opposite the Distance Scale Index Mark (46) into line with the Infrared Film Compensation Mark (47).

FILM REWIND AND UNLOAD
After all the pictures on the roll have been taken, the film is rewound into the cassette prior to removal for processing.

An occasional look at the Film Counter (2) will help keep you posted as to when you are coming to the end of the roll and prevent your accidentally tearing the film out of the cassette. If you should come to the end of the film while the camera is at your eye in shooting position, the Film Transport Lever (11) will tighten and refuse to advance even ff the shutter has been released. If this happens do not force it! Instead, depress the Film Rewind Button (35) and at the same time move the Film Transport Lever as far as it will go. It will then snap back into its normal position. Then, just ...

1. Depress the Film Rewind Button (35). Once it is depressed, the button remains in place.

2. Lift up the Film Rewind Crank (18) and turn it clockwise at moderate speed in a continuous motion. An arrow on the Rewind Crank indicates correct direction toward.

3. When tension on the Film Rewind Crank eases, the film has been fully rewound. You can now open the camera back and remove the cassette by tipping it towards yourself and letting it drop out of the bottom opening.

The Film Rewind Button returns to its original position once the Film Transport Lever is again actuated. In addition, the Film Counter automatically resets itself "S" (Start) as soon as the back was opened ... so you're ready to load your next roll right away!

FLASH PHOTOGRAPHY
The all metal Copal Square-S focal plane shutter is synchronized for use with flashbulbs (and flashcubes) or electronic flash. These light sources are useful for making action stopping photos in dim light. Their high light output makes it possible to produce negatives that have good Depth-of-Field too, and an overall sharpness. Flash and electronic flash are also used outdoors to lighten or fill in deep shadows.

One standard "PC" flash terminal (X) are provided on the side of the Konica Autoreflex-A3. The "X" flash terminal is Ma for use with electronic flash units. The Copal Square-S shutter synchronizes these at all speeds to and including 1/125th second. Flashbulbs or flashcubes are synchronized up to 1 /30th second.4.butkus.org

To mount the Konica Accessory Clip 3, unscrew the eyepiece cover, position the Accessory Clip atop the camera, fit the eyepiece cover to the Accessory Clip, and re-attach the eyepiece cover by screwing it on (clockwise).

Determining Exposure for Flash Pictures
Manual settings are required for flash shooting. The AEC system is not applicable. Exposures are usually calculated on the basis of "Flash Guide Numbers" furnished by the makers of flashbulbs (and flashcubes) or electronic flash units. To find the correct f/stop to use, the guide number is divided by the flashto-subject distance. Thus if the guide number is 110 and the subject is 10 feet away:

If in doubt, refer to the table above as to which shutter speeds are useable with a specific type of flash illumination. Guide numbers for flashbulbs are generally printed on the package. Electronic flash guide numbers are generally furnished by the maker of the unit. Guide numbers are exactly that - they can serve as guides but all other existing light will affect your exposures to some extent and you should make allowance in your settings for intermediate f/stops which also click into place.

When the shutter speed dial is set at "B", the shutter win remain open as long as the shutter release is held down. As a result, exposures longer than one second--as long, in fact, as several hours may be taken at night, or in dimly- lit places where there is no moving subject. If an exposure of more than several seconds is desired, attach a Konica Cable Release (available from your dealer) to the Shutter Release Button (1). Set the shutter speed dial to "B". Press down the cable release "plunger", and hold it down for as long an exposure time as is desired. When the cable release plunger is released, the shutter closes.

Manual diaphragm settings must be made when the Copal Square-S shutter is set at "B". The AEC (AK) setting on the lens is not used. Instead the lens is set manually at the desired f/stop.

It is necessary that you use a tripod or other support for "B" time exposures and all other exposures longer than l/30th second. Use of a cable release will minimize jarring the camera.

ACCESSORIES

· KONICA Filters
Konica Filters help make more natural looking pictures in black and white or color. They may also be used to create special effects. They are made with the same precision as are Konica lenses. Since exposure is read through-the-lens in the Konica Autoreflex-A3, the filter "exposure factor" is computed by your Konica automatically.

· Lens Hoods
Prevent stray light from striking lens surfaces and causing unwanted reflections. Each Konica Lens Hood is specifically calculated and shaped to give maximum protection to the lens on which it is used.

· Eyecup
Large, soft rubber eyecupshields meter, eye from extraneous light, aids concentration. Prevents metal-to-skin contact in cold weather. Eyecup folds down for eyeglass wearers.

· Eyesight Correction Lenses
Corrects viewfinder optics to prescription requirements; vastly aids viewing/focusing comfort, accuracy. +1, +2, and +3 dioptor lenses for farsighted persons; -1, -2, and -3 for nearsighted persons. Includes Soft Rubber Eyecup for added comfort, protection,

· Magnifier
Precision magnifider attaches to standard eyepiece, provides full 2X magnification of central finder area, Flips up when not in use. Focusing optics provide individual dioptor correction. Doubles focusing accuracy.

· Angle Finder 3
Attaches to viewfinder eyepiece, enables convenient 45° viewing angle. Shows entire finder image including aperture scale. Swivels 360° for viewing from any angle. Individual dioptor adjustment

· Close-Up Lens Number 1 (55mm)
Achromatic 2-element formula. Requires no exposure compensation: all camera controls remain automatic. Permits focusing from 25" - 12" from film frame with subjects from 9 x 131/2''to 31/zx 5~/4".

· Close-Up Lens Number 2 (55mm)
Achromatic 2-element formula, range from 14" - 10" from film plane. Fills frame with area from 41/2 x 6~/2" to 2~/2 x 33/4", combined with Number I close-up lens, focuses from 12" - 8~/2", covers area from 3 x 4~/2" to 2 x 3" (0.5 X--one half actual size).

· Extension Ring Set 3
Six-piece Set allows 14 different extensions from 10mm - 88mm; magnification to 1.88X (almost twice actual size) with standard lens. Supplied with Smm camera and body mounting rings, 8mm, 16mm, and 24mm screw-in extension rings, and 30mm reverse adapter for 55mm - thread lenses. Manual diaphragm control; stop-down (match-needle) metering. Converts to automatic diaphragm control with accessory Auto-Ring 2 and double cable release. Does not accept Macrostand or Slide CopiP- 2.4.butkus.org

·Auto Helicoid
Automatic, continuously-variable focusing mount enables lO5mm f/4 Auto Macro Hexanon AR lens to focus from Infinity to 23". Retains full AE (EE) and automatic diaphragm coupling. May also be used with lO5mm lens and Konica Auto Bellows for semi-automatic operation with magnifications greater than 1,28X.

· Accessory Clip 3
For use with cord-type flash-guns. May be left on camera at all times.


· X-20 Electronic Flash
Exceptionally compact electronic flash for cord ess or cord-type operation. Guide Number 64 with ASA 80/125 film permits shooting distances to 40 feet with f/1.7 lens. Up to 400 flashes with four standard AA Alkaline batteries.

· Cube Flash
With PC cord contact. Built-in test circuit with indicator light that shows when cube is ready to fire. With exposure guide table and case. Use at 1/30th second or slower with A3.

· Auto Bellows with Double Cable Release
Maintains automatic diaphragm operation. Extension Range 47mm - 1 70mm, magnifications from O.9X - 3.5X with standard lens. Entire front standard reverses without accessories, retains automatic diaphragm coupling in reversed position. Geared front and rear focusing controls with positive locks. Main focusing rail permits moving entire assembly over 114mm range for focusing at predetermined magnifications ratios. Focusing rail may be used laterally, for sideways movement of entire assembly over 114mm range.  Locking depth-of-field preview control. European and American-style tripod sockets. Cable release supplied simultaneously activates lens diaphragm, body shutter release. Used with stop-down (match-needle) metering. Accepts accessory Macro Stand, Slide Copier 2.

· Macro Stand
For use with Konica Auto Bellows: Positions subject absolutely parallel with camera and lens. Rotating (75mm diameter) specimen "stage" has holddown spring clamps to secure subject in desire position. Stage has 18% grey reflectance factor for correct exposure readings irrespective of subject size, coloration (exposure readings taken directly from stage). Used at magnifications Prom O.9X - 2.3X with standard lens. Superb tool for photography of stamps, coins, insects, any small easily-moved subject.

· Slide Copier 2
Attaches to Auto Bellows or Standard Bellows 3, allows same-size or cropped duplicates of standard 24 x 36rnm or smaller transparencies. Accepts mounted slides or uncut strips, rolls. 18mm horizontal, 1 2mm vertical shift. Require special Slide Copier Reverse Ring; auxiliary Reversal Ring to reverse-mount lens on bellows.

· Slide Copier Reverse Ring
This ring is required for photography with the slide copier and used together with a lerts reversal ring. The Slide Copier Reverse Ring is usable at the magnification ratios of 1.4X to 4X with a standard lens (50mm f/1.7).4.butkus.org

· Lens Reversal Ring (55mm)
Permits reversing all 55mm-thread lenses without reversing front standard of Auto Bellows and Standard Bellows 3. Required for reverse mounting of lens with Slide Copier 2, Smm depth.

· 57mm f/1.2 Bellows Adapter
For 57mm f/1.2 Hexanon lens only; converts oversize (62mm) barrel to 55mm front diameter, permits lens reversal with Auto Bellows and Standard Bellows 3. Used in conjunction with Lens Reversal Ring (55mm) to reverse lens with Slide Copier 2.

· Standard Bellows 3
Precision extension bellows with geared front focusing, extension range 47mm -1 70mm (0.9X--3.5X magnification with standard lens). Front standard reverse without accessories for optimum resolution at 1:1 and greater ratios. Rear standard with lock permits manual movement. Manual diaphragm control and stop-down (match -needle) metering; converts to automatic diaphragm control with accessory Auto Ring 2 and double cable release. May be used with Slide Copier 2; does not accept Macro Stand.4.butkus.org

· Auto Ring 2 with Double Cable Release 2
Provides automatic diaphragm control with Standard Bellows 3 or Extension Ring Set 3 (also retains automatic diaphragm operation when lens is reverse mounted on Slide Copier 2 with Auto Bellows). Gives additional 14mm extension for greater magnifications. Cable release has lock for time exposures

KONICA Lens Mount Adapters

· Exakta/Topcon Adapter 2 
Permits use of Exakta-mount lenses with match-needle exposure control. Retains original focusing range.

· Praktica/Pentax Adapter
Permits use of Pentax/Praktica-mount lenses with match-needle exposure control. Retains original focusing

· Nikon/Nikkormat Adapter
Permits use of Nikon-mount lenses with match-needle exposure control. Retains original focusing range.

· Hard Case
A new case for AS users who desire the added convenience and protection of a molded Hard Case complete.

· Front Cover of Semi-Hard Case for 135mm Lens
Usable even when a 135mm, 100mm or 85mm telephoto lens is mounted on the camera.

· Cable Release 3
Precision 18" cable release with lock for time exposures. Vinyl clad for extra durability.

· Copy Stand 2 with Focusing Rail 
Oversize 18/ x 19~/~" baseboard; reversible camera arm permits positioning camera Prom 31" above baseboard to directly atop, for unlimited magnification capability. Geared focusing rail with lock allows precise camera movement over 114mm range; focusing rail swivels for copying wall-mounted material. Baseboard finished in 18% grey reflectance material, permits exposure readings to be taken from baseboard irrespective of subject size or coloration.

· Focusing Rail
Supplied as standard equipment with Konica Copystand 2, this precision accessory permits camera movement over a 114mm range. Geared focusing knob with positive lock to prevent slippage. Particularly valuable in closeup work with tripod-mounted camera, where it is inconvenient (or impossible) to move camera or subject directly.


· Microscope Adapter
Uses optical system of microscope in place of camera lens; unlimited magnification capability. May be used with or without microscope ocular. Mounting damp fits standard 25mm-diameter microscope ocular tubes. Bayonet lock ring allows fast, positive camera attach meet. removal.

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