PART TWO

PART TWO - KONICA T3

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USING AUTOMATIC EXPOSURE CONTROL (AEC)

Full Aperture AEC Operation:

The figures in brackets in the chart at under show actual values of the dots between marked numbers on the film speed indicator.

1. Set the Film Speed.
Lift the outer collar surrounding the Shutter Speed Dial (22) and turn it until the correct ASA number appears in the Indicator Window (16). (The window marked "DIN" allows use of European films, in the event their ASA rating is not specified.)

2. Select the Shutter Speed.
For most situations, 1/125th is an excellent choice; it's fast enough to freeze most action and stop camera movement, and lets you shoot in most situations with today's film types. Generally, slower shutter speeds should be used only when there's not enough light to work at l/125th; faster speeds are required usually only for extremely fast-moving subjects (racing cars, sports) or when shorting with telephoto lenses which naturally magnify possible camera movement just as they magnify the subject. (See page 22 for other situations in which faster or slower speeds may be desired)

3. Check Aperture Ring.
Make certain the Aperture Control Ring (12) is at the AE (EE) position as shown. (If it's not, the "M" signal will appear in the viewfinder as a reminder that you're on "Manual" operation.)

4. If the Needle Doesn't Move. .
If the needle in the viewfinder doesn't move, make sure the Meter On/Off Switch (3) is in the "On" position. (If there is still no needle movement check batteries as outlined on page 9.;

5. Take the Picture!
Aim camera at subject, focus...and shoot. As long as the Meter Indicator Needle (51) is out of the red under and overexposure bands, you'll get a perfectly exposed picture...automatically!4.butkus.org

(Note: When using uncoupled lenses or accessories, follow the instructions our fined on page 23.

UNDER/OVER EXPOSURE SAFEGUARDS

If the meter needle goes to the upper red band (shown above for the three standed Lenses), choose a Dower shutter speed. If, et the slowest shutter speed (I second), the needle's still in the red zone, there's not enough light to get a perfectly exposed picture. (Naturally, when using speeds of 1/30 second or slower, use a tripod or brace the camera on a firm support if at all possible, and trip the shutter with a cable release or your Konica's built-in self-timer.)

If the needle goes down to the lower red band (as shown in the fourth example above), there's too much light; choose a faster shutter speed.

When the Automatic Exposure is Not Used ....

For full manual operation, just dial the desired lens aperture on the aperture ring (f/5.6 is shown above). The meter needle will continue to indicate the recommended f/stop, but the camera will actually shoot at the aperture you've set.

SEMI-AUTOMATIC OPERATION WITH UNCOUPLED LENSES/ACCESSORIES

Your Konica's through-the-lens metering system works perfectly even with non-automatic lenses and accessories, which do not couple to the camera's automatic exposure mechanism. (Example: Pre-setlenses, mirror lenses, lenses from other cameras used with Konica adapters, even extension rings or bellows.) Here's how to use your Autoreflex-T3 in these situations:

1. Set the Film Speed.

2. Select the Shutter Speed.

3. If the Needle Doesn't Move . . .

Make sure the Meter On/Off Switch is "On"

4. Align the Indicator Needle.
Open up (or close down) the lens aperture until the Meter Indicator Needle (5l) lines up with the Stop-down Metering Index Mark (47). (If preferred, you can also do this by changing the shutter speed instead of the lens aperture.)

5. Take the Picture!
Remember...this stop-down metering procedure is not needed (and in fact is not possible) with Konica Automatic Hexanon lenses mounted on the camera body. Stop-down metering is used only for uncoupled lenses or accessories.

SEMI-AUTOMATIC OPERATION WITH UNCOUPLED LENSES/ACCESSORIES: REMINDERS

When using the stop-down metering system with uncoupled lenses or accessories, keep in mind that the F/stop scale in the viewfinder no longer applies; neither do the under or over-exposure warning bands. If the needle's above the Index Mark (47) as shown (above, left) there's not enough light, if it's below this mark (above, right) there's too much light. Solution: change lens aperture and/or shutter speed until the needle lines up with the Index Mark.

In full-aperture metering with Konica Automatic Hexanon stray light which may enter the eyepiece and reach the meter cells have virtually no effect on exposures. In stop-down metering with uncoupled lenses or accessories, however, such light can have the effect of incorrectly influencing the meter's reading. Whenever you're using the stop-down metering system, be sure to place your eye as close as possible to the eyepiece, to prevent stray light from entering. (A Konica Rubber Eyecup, available from your dealer, helps here.)

Using Preset Lenses....

Lenses of this type do not automatically close down to the desired aperture; you turn the aperture control ring by hand to select the desired f/stop. Still, you can speed up operation considerably by setting both control rings of these lenses to the smallest f/stop (f/22 in the example shown above), then turning them together until the meter needle lines up with the Index Mark in the viewfinder. As soon as it lines up you're ready to shoot . .

FOCUSING
Two types of Focusing Screen (55) are available for Konica Autoreflex-T3 cameras. While their characteristics differ, camera operation is virtually identical.4.butkus.org

With Microdiaprism Focusing Screen: Turn the Focusing Ring (ll) of the lens until the image within the center of the viewfinder (55) is sharpest and clearest. (When you're out of focus, this central area - composed of hundreds of microscopic prisms--appears quite hazy and unsharp.)

With Split-Image Rangefinder Focusing Screen:
Turn Focusing Ring (11) until top and bottom of your subject are seen as a single image in the central area (55). `,When out of focus, the upper and lower halves of the subject will be distinctly separated from each other.)

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 Microdiapnsm ... when using 35mm (or shorter) wide-angle lenses, and lenses slower than f/4,s, 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 coos not indicate any defect in your camera or lens.) Solution: focus by concentrating on the circular doughnut-shaped Fine Ground Glass Area (56) 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 win fund it more difficult to determime the Poimt of greatest sharpness.

With Split-image Rangefinder... with lenses longer than 300mm, slower than f/4.s, or any lenses used with extension rings or bellows, the light rays again enter the focusing screen at extreme angles - and the upper (or lower) half of the rangefinder image may appear to "black outs'.. Solution: use the surrounding fine ground glass "doughnut" (56) with such lenses or extension devices. Here also, starting with a deliberated out-of-focus image and then twisting the focusing ring as rapidly as possible is a technique that many photographer) and helpful.

DEPTH-OF-FIELD CONTROL

Depth-of-Field is the distance between. the nearest and farthest objects in the scene that win 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 Depth-of-Field, use a smaller f/stop (for example, f/11 instead of f/5.6). For less DepUh-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 (9), are repeated to the right and left of the Distance Scale Index Mark (57). The Depth-of-Field for any focused distance will be found between any two identical f/stop markings on the Depth-of-Field 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 `' - - " (21) 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 Him with the appropriate filter, focus as usual. Then bring the distance figure opposite the Distance Scale Index Mark (57) into line with the Infrared Film Compensation Mark (58).

Visual Depth-of-Field Preview:
In normal operation, all Konica Automatic Hexanon lenses remain at maximum aperture until the instant of exposure; after exposure, they return to the "wide open" position. This greatly simplified viewing and precise focusing, since the image seen in the viewfinder always appears at its' most brilliant. However, it is sometimes desirable to "preview" your picture as it will actually appear at the taking aperture indicated by the meter.

To do this, move the Self-Timer Lever (5) towards the lens. This will cause the lens diaphragm to "stop-down" to the actual shooting aperture as determined by your camera's AE (EE) mechanism, and you can easily tell whether or not the background win be sharp, whether a branch in the foreground will be visible, and so on. (Naturally, the image seen in the finder darkens when closing down the lens.) As soon as you release the Self-Time Lever, it returns to its normal position and the lens re-opens to its widest aperture.

Warning: DO NOT depress the small button in the center of the Self-Timer control when using the Depth-of-Field Preview facility. This button is used only for the self-timer function, and should not be depressed when the depth-of-field preview feature is employed.4.butkus.org

Self-Timer Operation

After transporting film, depress | the smaD button (6) in the center of the Self-Timer Lever (5); while holding it in, push the lever outwards (away from the lens) until resistance is felt. When you press the shutter release, the timer win delay exposwe for approximately twelve seconds, during which a soft "whirring" noise is heard. (The Timer may be set for shorter delays simply by pushing the lever down a lesser distance.)

Traditionally, the self timer lets you get into your own pictures: however, it has several other applications specifically oriented to SLR photography. Shooting extreme close-ups, for example, it's desirable to minimize vibration during the exposure as fully as is possible. Here, using the self-timer will not only release the shutter without jar or shake, it will raise the mirror, and close down the lens aperture, at the beginning of the cycle--several seconds before the actual moment of exposure. You'll fund it a highly versatile aid to better photography.

Operating tip: use your camera's built-in Eyepiece Shutter to cover the eyepiece when taking pictures with the self-timer. This will insure that the through/-the-lens meter is not influenced by light entering the camera through the eyepiece

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 (14) will tighten and refuse to advance even if the shutter has been released. If this happens do not force it! Instead, depress the Film Rewind Button (43) and at the same time move the Film Transport Lever as far as it win. It will then snap back into its normal portion. Then, just...

1. Depress the Film Rewind Button (43). Once it is depressed, the button remains in place.

2. Lift up the Film Rewind Crank (24) 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 to "S" (Start) as soon as the back was opened ... so you're ready to load your next roll right away!

FLASH PHOTOGRAPHY

With your Konica Autoreflex-T3 camera, superb flash photography is more convenient than ever before. Either conventional flashbulbs (and flashcubes) or electronic flash units may be used, whether they are of cordless or plug-in design and Konica's Copal Square-S shutter enables precise synchronization with electronic flash at substantially faster speeds (to 1/1 25th second) than many other cameras.

Using Cordless Flash Units:
The Konica viewfinder features an "X" Synchronization "Hot" Accessory Shoe (19). Konica X-20 or X-14 electronic flash units will automatically make contact through this shoe, and no PC cord is needed. As a special safety feature, electrical current passes through the accessory shoe only when a flash is inserted.
When using cordless flash units in the Hot Shoe, use the 1/125th second shutter speed. (Slower speeds are of course possible, but their use could create the possibility of unwanted "ghost" or double images (caused by the existing light being recorded by the film). If the Konica Cube Flash attachment is used in the Hot Shoe, your shutter speed should not exceed l/30th second.

Using Plug-In Flash Units:
Your camera is also equipped with Flash Cord Terminals (25) accepting standard PC-type flash cords. Mount such Rash units either atop the camera with the Hot Shoe, or with the mounting bracket~supplied with the flash.
For electronic flash, plug the cord into the terminal marked "X", and shoot at a shutter speed of 1/125th second. If the flash is designed for flashbulbs or flashcubes, plug the cord into the "M" terminal; here, any shutter speed is usable with any flashbulb or flashcube type.

Determining Exposure for Flash Pictures
The brief burst of light from a flashbulb or electronic flash cannot be measured by your through-the-lens exposure meter. Thus, for flash photography always take your Konica lens off "AK" (EE) position, and set the lens opening indicated by your flash unit's calculator for the film type in use.

Should your flash not have a calculator dial, determine from the flash instruction manual the correct exposure for a picture at 10 feet for the ASA film speed in use. Multiply this number by 10, and you have arrived at the "Guide Number". Now, simply divide the camera-to-subject distance (shown by your Konica lens) into this number; the result is the correct lens opening for the flash-to-subject distance. Example: correct exposure with ASA 80 film at ten feet is f/4. f/4 X 10 = Guide Number of 40. Camera-to-subject distance is five feet; 40 divided by 5 - f/8. Correct lens opening is f/8.

TIME EXPOSURES
When the shutter speed dial is set at "B", the shutter win remain open as long as the shutter release is hod 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, open the shutter by pressing the release button and, white holding the release button down, turn the Meter On/Off Switch (3) counterclockwise to the "Off' position: the shutter release button will then be locked down, and you may remove your finger from the release - the shutter will remain open until the On/Off Switch is returned to "On".

In time exposures, the Automatic Exposure Control system cannot be used, and exposures are estimated (often doubling successive exposures, as in 2, 4, 8, and Second exposure times -almost invariably. bracketing exposure, in this, manner win insure that at least one of the photographs comes out perfectly).
Here, use of a Konica Cable Release win give extra assurance of blur-free results

MAKING MULTIPLE EXPOSURES

Another way your Konica Autoreflex-T3 lets you explore creative special-effects photography is by making multiple exposures when desired. Your Konica Autoreflox-T3 camera incorporates a Multiple Exposure Lever (18) under the shutter speed dial which enables an infinite number of different exposures tot be made on a single frame of film. After shooting the first ogre, press this lever down (counterclockwise) in the direction indicated by the arrow above the letters "M.E." (Multiple Exposure). While holding this lever in position, move the film transport lever completely through its cycle; you're now ready to shoot again on the same frame of film. This process may be repeated any desired number of times. (Naturally, be very careful not to jar or move the camera between exposure, or the frames will not register perfectly.) For extra convenience, the Multiple Exposure Control Lever may be moved by inserting the tip of a ball-point pen into the recess at the confer of the lever.

When making multiple exposures, allow 1/2 normal exposure for a "double" exposure, 1/3 normal exposure for each shot in a "triple", and so on. This can easily be done by re-setting your film speed. For example; for a double exposure with ASA 64 film, shoot both exposures at ASA 125.

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