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Câmera compacta que usava filme de rolo de 127mm. Era conhecida por sua portabilidade e simplicidade na operação, usando um obturador de velocidade única e aberturas de diafragma. Um dos modelos compactos mais bem sucedidos da época. Conhecida como a "câmera dos soldados" durante a Primeira Guerra Mundial.
Ano de lançamento: 1912

Marca: Kodak

Inventor: Henry Gaisman

País: Estados Unidos

Milímetro:  75mm

Abertura de diafragma: 1/25 e 1/50

Cor: preta

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TERMOS E CONDIÇÕES

1º O LEILOEIRO é nomeado pela Junta Comercial do Estado do Rio de Janeiro em obediência ao decreto Lei Federal nº 21981 de 1932 e a nova redação Lei nº13.138 de 26 de Junho de 2015 e obedece as normas da JUCERJA , Instrução Normativa DREI 17/2013 artigos 24 a 53, e as normas do CPC e da CGJ-RJ. O arrematante também sujeito as normas do Leiloeiro não se caracteriza CONSUMIDOR. As obras que compõem o presente LEILÃO, em exposição à Rua Paula Freitas 83 B, Copacabana Rio de Janeiro, foram expertizadas pelos ORGANIZADORES do LEILÃO que, solidários com os proprietários das mesmas, se responsabilizam por suas descrições, NÃO CABENDO AO LEILOEIRO essa responsabilidade.

2º Em caso eventual de engano na expertizagem de obras, comprovado por peritos idôneos, e mediante laudo assinado, ficará desfeita a venda, desde que a reclamação seja feita em até 5 dias após o término do leilão. Findo o prazo, não serão mais admitidas quaisquer reclamações, considerando-se definitiva a venda, e o Leilão poderá pagar o comitente..

3. As obras estrangeiras serão sempre vendidos como Atribuídas.

4. O Leiloeiro não é proprietário dos lotes, mas o faz em nome de terceiros, que são responsáveis pela licitude e desembaraço dos mesmos.

5. Elaborou-se com esmero o catálogo, cujos lotes se acham descritos de modo objetivo. As obras serão vendidas NO ESTADO em que foram recebidas e expostas. Descrição de estado ou vícios decorrentes do uso será descrito dentro do possível, mas sem obrigação de exatidão, pelo que se solicita aos interessados ou seus peritos, prévio e detalhado exame até o dia do pregão. Depois da venda realizada não serão aceitas reclamações quanto ao estado das mesmas nem servirá de alegação para descumprir compromisso firmado.

6. O leiloeiro percebendo erro na redação descrita do lote ou foto em desacordo com a peça, poderá cancelar o lote.

. 7º Os leilões obedecem à ordem do catalogo. ser feitas antes dos leilões, ou autorizar a lançar em seu nome; o que será feito por funcionário autorizado.

8 Ofertas por escrito podem ser feitas antes dos leilões, ou mediante autorização para lançar em seu nome; o que será feito por funcionário autorizado. Os lances e arremates pela Internet ou telefone, tem o mesmo valor legal que os feitos de forma presencial. Para os valores empatados prevalecerá quem lançar primeiro, ocorrendo também nos lances prévios, que chegaram primeiro.

8.1. LANCES PELA INTERNET: O arrematante poderá efetuar lances automáticos, de tal maneira que, se outro arrematante cobrir sua oferta, o sistema automaticamente gerará um novo lance para aquele arrematante, acrescido do incremento mínimo, até o limite máximo estabelecido pelo arrematante. Os lances automáticos ficarão registrados no sistema com a data em que forem feitos. Os lances ofertados são IRREVOGÁVEIS e IRRETRATÁVEIS. O arrematante é responsável por todos os lances feitos em seu nome, pelo que os lances não podem ser anulados e/ou cancelados em nenhuma hipótese.

Em caso de empate entre arrematantes que efetivaram lances no mesmo lote e de mesmo valor, prevalecerá vencedor aquele que lançou primeiro (data e hora do registro do lance no site), devendo ser considerado inclusive que o lance automático fica registrado na data em que foi feito. Para desempate, o lance automático prevalecerá sobre o lance manual.

9. O Leiloeiro colocará a título de CORTESIA, de forma gratuita e confidencial, serviço de arrematação pelo telefone, sem que isto o obrigue legalmente perante falhas de terceiros.

10º O Leiloeiro se reserva o direito de não aceitar lances de licitante com obrigações pendentes.

11º Adquiridas as obras e assinado pelo arrematante o compromisso de compra, NÃO MAIS SERÃO ADMITIDAS DESISTÊNCIAS sob qualquer alegação.

12º O arremate será sempre em moeda nacional. A progressão dos lances tem previa programação para facilitar o lance na Internet on-line; nunca inferior a 5% do anterior, e sempre em múltiplo de dez. Outro procedimento será sempre por licença do Leiloeiro; o que não cria novação.

13º Em caso de litígio no leilão prevalece a palavra do Leiloeiro.

14. 14º As obras adquiridas deverão ser pagas e retiradas IMPRETERIVELMENTE em até 48 horas após o término do leilão, e serão acrescidas da comissão do Leiloeiro, (5%) . Não sendo obedecido o prazo previsto, o Leiloeiro poderá dar por desfeita a venda e, por via de EXECUÇÃO JUDICIAL, cobrar sua comissão e a dos organizadores.

15º A entrega das mercadorias arrematadas será no local da Exposição, mediante pagamento. Para os arrematantes que não puderem recolher os lotes no local, colocamos por CORTESIA o serviço de embalagem e despacho por Empresa que o arrematante indicar, com prévio alinhamento entre as partes. Quando enviado pelos Correios será com seguro contra extravio com limite de valor do Correio. Desde já avisamos que toda remessa é de total responsabilidade do arrematante; estando o Leiloeiro e a administração do Leilão, desobrigados porta- afora do recinto do Leilão.

16º O descumprimento destas condições pelo arrematante que não poderá alegar desconhecimento, resultará na impossibilidade do mesmo alegar qualquer fim de direito, ficando eleito o foro do estado do Rio de Janeiro Comarca da Capital, por mais privilegiado que outro seja, para dirimir qualquer incidente alusivo à arrematação.Franklin Levy, Leiloeiro Público, JUCERJA mat. 93

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Kodak Vest Pocket: Ano 1912-14. Câmera de fole compacta. Um dos modelos compactos mais bem sucedidos da época. Conhecida como a "câmera dos soldados" durante a Primeira Guerra Mundial.

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A câmera Rolleiflex TLR (Twin Lens Reflex) usava um sistema de duas lentes, uma para compor a imagem e outra para capturá-la. Isso permitia uma visualização precisa e uma qualidade de imagem superior.
Ano de lançamento: 1930

Marca: Rolleiflex

Inventor: Franke & Heidecke

País: Alemanha

Lente: 3.5

Milímetro: 75mm

Cor: preta

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As câmeras Polaroid introduziram o conceito de fotografia instantânea. Elas usavam um processo químico que permitia que a imagem fosse revelada instantaneamente após a captura, eliminando a necessidade de revelação em um laboratório.
Ano de lançamento: 1948

Marca: Polaroid

Inventor: Edwin H. Land

País: Estados Unidos

Milímetro: 135mm

Cor: marrom

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A Polaroid Model 95 foi a primeira câmera com filme instantânea da história. Projetada por Edwin Land, foi introduzida no mercado a partir de 1948 pela Polaroid Corporation. 57 unidades foram fabricadas no primeiro lote, que foi esgotado no primeiro dia de vendas, na loja de departamentos Jordan Marsh, em Boston, durante as vésperas no Natal. O nome do modelo é devido a seu preço sugerido: 95 dólares.

O modelo fez tanto sucesso que permaneceu em produção, com apenas pequenas alterações até 1961. Foram fabricadas mais de 1,5 milhão de câmeras do Modelo 95, incluindo as suas variações, 95A e 95B. A primeira delas é reconhecível por ter um pino de mola como parte do visor, enquanto os posteriores têm uma armação de arame. Todos os modelos possuem construção em alumínio fundido e base dobrável.

O modelo original, fabricado até 1953, vinha com uma lente com distância focal de 135 milímetros, aberturas de f/11 para f/45 e velocidade do obturador de 1/8s a 1/160s. Ambos ajustes podiam ser controlados em um único mostrador.

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Foto: Eugene Ilchenko / Flickr A Polaroid Model 95 foi a primeira câmera com filme instantânea da história. Projetada por Edwin Land, f...

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A Leica M3 era uma câmera de 35mm com um sistema de lentes intercambiáveis e um visor ótico avançado. Ela foi pioneira na fotografia de precisão e tornou-se uma referência para câmeras rangefinder.
Ano de lançamento: 1953

Marca: Leica

Inventor: Ernst Leitz GmbH

País: Alemanha

Lente: 1,2

Milímetro: 35mm

Cor: Preta

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During the century-or-so that film was the dominant medium in photography, a handful of cameras made a mark deeper than the rest and became legendary for their impact and legacy. One of these was the Leica M3.

Introduced in 1954 and produced until 1966, the Leica M3 was the first model in the famous Leica M rangefinder line that continues to see new cameras produced in the digital age. While many M cameras have followed in its footsteps, the Leica M3 is still one of the most popular models alike among both collectors and photographers.

Analog or film photography is seeing a resurgence in interest and uptake. In today's world of ever-increasing resolution - commercial cameras now boast over 150 megapixels - analog will always be a disadvantage given the physical limits of 35mm or 120mm (6×6) film, but the darkroom practice and the skill required to shoot a completely mechanical camera still has a particular allure on budding young photographers as well as those more advanced in age who had experienced analog photography before.

In this article, we will explore why the Leica M3 remains one of Leica's most celebrated and in-demand models over half a century after it was first launched. The camera is considered to be Leica's masterpiece by many, but how and why did this arise?

A Brief History of Leitz and Leica

Before we can understand the Leica M3, we need to understand Leica, the company, and the mystique. Ernst Leitz GmbH, which was founded originally as an optical company, was formed in 1849 by Ernst Leitz. The first defining moment was the invention of the prototype Ur-Leica (a portable unit designed to test motion picture film speed) by Leitz engineer Oskar Barnack in 1913.

Oskar Barnack soon realized that with the faster, smaller lenses that had appeared on the market, an opportunity to develop a small portable camera for his long hikes arose. The light bulb moment came when he took 35mm reel film from the motion picture industry and passed it horizontally through a stills camera instead of vertically, matching the small film to a small lens.

This breakthrough led to Leitz releasing the Leica I in 1925 which incorporated a fixed 50mm lens. Perhaps more than any other camera, the Leica II introduced interchangeable lenses and a rangefinder, allowing the photographer to see what shot they are going to get, and permitted the use of lighter equipment compared to the view and twin lens reflex cameras available up till then, basically effecting the demise of the view camera.

Fast forward three decades to 1954, when the company introduced the M3, which became its second defining moment and arguably the most iconic camera ever produced. That the Leica M3 saw the light of day in the period and era in which it appeared is a bit of a mystery, as the rise of Japanese manufacturers such as Canon and Nikon post World War II had pivoted the future towards the single-lens reflex (SLR) design. So a rangefinder like the M3 had its difficulties in achieving success from the word go... unless it was a joy to witness, use, and implement.

The M3, weighing a mere 610g with film loaded to go, however, made the Leica rangefinder concept a complete package. It provided a brilliantly simple yet efficient, completely mechanical, and optically close-to-perfect camera, with a new bayonet mount and a combined viewfinder/rangefinder that automatically adjusted the frame lines and corrected them for parallax. The manufacturing build quality and precision gave the company a shining reputation among camera makers for decades to come.

The M3 might have had some quirks - such as the mechanism for loading the film by removing the bottom plate, which still exists in some Leicas today for their battery compartments in digital models - but it is both a joy to grip and use. It is difficult to put into words the bliss and gratification of using a perfectly balanced and poised Leica M3, to this day.

The M3 was very successful for the company, selling close to a quarter of a million units when its production run ended in 1966. One has to keep in mind that the SLR concept promulgated by Nikon and Pentax still replaced the rangefinder during this period; the landmark Nikon F sold 862,000 over a similar period of time. But sale volumes are not an accurate indicator of camera quality and ergonomics now, are they?

In 1986, the Ernst Leitz corporation changed its name to Leica (short for LEItz CA mera) due to the popularity of the Leica brand. In 1996, Leica Camera split off from the Leica Group and became its own separate company.

Features of the Leica M3

Reviewing the features and specifications of any masterpiece can never properly convey its virtuosity. A masterpiece is far greater than the sum of its parts; it is a masterwork precisely because its genius renders it greater than its components.

Viewfinder and Rangefinder

The Leica M3 gets its name from the innovative and key new feature, meaning the rangefinder focusing spot inside the viewfinder frame or "M" for "Messsucher", the German word for "measuring viewfinder/rangefinder". Prior to the advent of the Leica M3, all the previous generations of Leicas (i.e. the screw-mount or Barnack Leicas, as they are affectionately known), had one eyepiece for focus and a second one for framing, with the model immediately prior to the M3 being the Leica IIIf (1950-1957). The Messsucher was therefore quite the innovative feature.

The Leica M3 thus became Leica's first M camera, with the viewfinder having three automatically selected frame lines for three lenses (the 50mm, the 90mm, and the 135mm), with automatic parallax correction. For anything wider than 35mm, a separate viewfinder is necessary. The Leica M3 still combines perfectly with all Leica-M lenses, anything from 1954 to the present ones; Leica screw-mount lenses (1933 onwards) also pair flawlessly, using an adapter of course.

The Leica M3's finder is still the biggest and best viewfinder, bright, uncluttered, and clear. Focus is easy to achieve and more precise because of the larger 0.91x magnification.

Single Stroke vs Double Stroke

The top of the camera, under where the photographer's right thumb rests, is an easy transport (or film advance) lever that is either single-stroke (SS) or double-stroke (DS).

Early M3 models featured a double-stroke lever, meaning it required two strokes to advance to the next frame of film and cock the shutter. This design decision was made to prevent the film advance system from tearing the film.

Later on, however, starting with camera number 919251 and onward, Leica began producing single-stroke cameras that advance the film with a single motion of the thumb that pushes the lever as far to the right as it will go.

A double-stroke Leica M3 cannot be fully advanced with a single long stroke, but a single-stroke Leica M3 can also be fully advanced with two half-strokes. Apart from the slightly extra time and effort required by the double-stroke over the single-stroke, both variants of the M3 remain popular with Leica photographers.

Other Features

The M3 has a solid shutter release button with no wobbling and a shutter system that is ultra-smooth, quiet, and precise, with no flipping mirrors of SLRs that are audible within a mile (that's how loud they seem, at least).

When coupled with the Leicameter MR or MR-4, the Leica M3 becomes an ergonomic indulgence to use, with fool-proof semi-automatic exposure.

When coupled with Leica's renowned M-mount Leitz lenses, the M3 can produce unrivaled image quality in terms of both sharpness and color.

Famous Owners of the Leica M3

Over the years, the Leica M3 has won the hearts of both renowned photographers as well as famous individuals outside the photography industry.

The late Queen Elizabeth II's 60th birthday commemorative postage stamp, issued in 1986, shows her with the Leica M3.

Even Miles Davis was immortalized with a Leica M3. The camera of royalty.

Famous photographers who were known to use the Leica M3 include Henri Cartier-Bresson (who used it as his tool for candid " decisive moment " photography), Robert Capa, Robert Frank, W. Eugene Smith, Elliott Erwitt, Garry Winogrand, and David Douglas Duncan.

A Camera for a Lifetime

Leica advertised the M3 as a "lifetime investment in perfect photography", and they had no idea how pre-sentient this would become for the M3. Many Leica M3s sold today on the second-hand market (which you can get for reasonable amounts unless you go for models with extremely rare serial numbers or the rarer black paint M3) come from owners who have left this world; like any other chef-d'oeuvre, the timeless Leica M3 outlives its mortal owners.

My own personal M3 was handed to me by Malta's foremost eminent artist, still alive in his eighties, but wishing for his M3, which has produced books and award-winning prints, to keep living on. And live on it still does - Leica still services the M3 and getting parts for it is unproblematic to this day, and it still works perfectly close to 70 years after its release.

The Leica M3's instruction booklet states, verbatim:

You are holding a LEICA in your hands - we hope you will derive as much pleasure from it as the multitudes of confirmed LEICA enthusiasts all over the world. In the LEICA M3, you have the utmost in photographic performance, speed, and convenience that we, as specialists in high-grade optical precision instruments, can provide. Such a camera does not come into being from one day to the next. It most favorably combines the experience of a long tradition in the design of scientific instruments with the latest advances in modern optics. It has matured through the many thousands of tests and trials at the hands of the elite of international photographers. You will see for yourself the scope and precision of the LEICA and how in many years' time it will still be as exact and reliable as it is now.

Hallowed words.

Among the many reasons the Leica M3 is one of the world's best 35mm cameras, especially today, is because it gets out of the way of the creative process. With the Leica M3, you are free to focus on producing a great image. The Leica M3 is embodied glory, perfection flawlessly purified.
About the author: Dr. Charles Paul Azzopardi is a fine art photographer, curator, photographic cultural heritage consultant, and writer. The opinions expressed in this article are solely those of the author. You can find more of Charles' work on his website and Instagram.

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Leica M3: The 35mm Film Camera That Became a Legend

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A look at the history and features of the Leica M3, exploring how the 35mm film rangefinder became legendary among cameras.

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A Nikon FTN era uma câmera SLR (Single Lens Reflex) que usava lentes intercambiáveis e apresentava medição de luz através da lente (TTL), tornando-a uma câmera SLR de alta qualidade.

Ano de lançamento: 1968

Marca: Nikon

País: Japão

Lente: 3.5

Milímetro: 140mm

Cor: prateada

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It is safe to say that the Japanese camera inrush around 1960 could not have been better timed. The western world, including the new world, was with few exceptions, stuck in old conventions and, for a wide variety of reasons, unable to exploit the opportunities at hand, despite the fact that there had already been developed several promising SLR concepts. The Japanese engineers saw the opportunities, and made the most of it.

At first Nippon Kogaku chose to build rangefinder cameras, but soon they realised that the SLR camera would be the future professional camera of choice, and launched their impressive Nikon F system camera. It was not the first 35mm SLR from Japan, it was not even necessarily the best camera, but Nippon Kogaku was the most determined one to make their camera a success, and they had already established themselves as a leading optical manufacturer. Several other Japanese camera and lens makers were equally successful in their market segments. In conclusion, it was a complete takeover.

The was introduced in 1959 with a comprehensive range of high quality lenses and accessories. During its lifespan, new items were continuously added, comprising bulk film magazine, electrical motor drive, viewfinders, focusing screens, close-up and scientific attachments, flash units, remote controls, and even a Polaroid back, the Speed Magny, as well as a wide variety of exposure meters, both separately available or as part of the finder prism, the latest of those being TTL meters, known as the Photomic.

It would be impossible to plan for every conceivable future attachment to go on the Nikon F, and although the designers have eminently well succeeded, quite a few less practical arrangements have been employed. Nippon Kogaku used their Nikon rangefinder camera as a starting point, adding a mirror housing and an interchangeable viewfinder, when developing the Nikon F body. The finder attachment resembles that employed for the Exakta Varex, using a number of catches. As it turned out, the system was not the best choice, and it has been the cause for several afterthoughts.

The most important attachment, however, is the lens. Nippon Kogaku developed a bayonet mount still found on their digital cameras. It is made of stainless steel and just sufficiently wide to accept all internal connections that have been added ever since its inception. The big challenge for every camera maker around 1960 was how to incorporate an exposure meter in their camera, and each came up with their own solution, some great, others less practical. None envisioned all the necessary interconnections, and a wide range of solutions were found. Connecting the meter to the shutter speed dial was obvious, but including the aperture ring was not so clear, most relied on manually transferring the meter reading to the lens aperture ring. The Nikon Selenium meter connects to the shutter speed dial, and the reading must be transferred manually. It is attached to the nameplate in front of the finder, surely looked upon as a temporary solution. In 1962, the Photomic CdS meter finder was introduced, with a circular external meter window. The meters were connected to the lens using an external fork on the aperture ring and a pin reaching down into it from the meter above. This system prevailed for decades and was sturdy, but rather clumsy and far from perfect. On the ensuing range of TTL finders, beginning in 1965, various improvements were introduced. The main problem was to calibrate the meter for the maximum aperture of the attached lens. This was at first accomplished manually, later on the Photomic Ftn, by twitching the aperture ring through its full range.

The Nikon F is extremely sturdy and reliable, and quite easily handled. The camera back, however, is not hinged and has to be set aside when changing film. Because the finder is detachable, the accessory shoe is at the side, requiring special attachments. A small window in front of the shutter speed dial shows the flash synchronisation setting, selectable by lifting the chrome collar surrounding the dial. In the middle of the shutter-speed dial is a small black dot a shutter wind indicator: at nine o'clock it is wound, and at seven o'clock it is run out. A film length reminder and an automatic reset frame-counter shares the space at the hub of the wind lever.

To remove the finder a stiff button at the camera back is depressed, possibly using a blunt object. To remove the focusing screen it has to be depressed again while the camera is held upside down to let it fall out on a soft lint free cloth. Replacing the plain prism finder or a waist level finder requires just depressing it onto the camera until the three latches catch. The Photomic finders rely on an additional mechanism grabbing around the Nikon nameplate. An additional handle at the right-hand front of these finders must be pushed simultaneously with the stiff one at the camera back. Removing and attaching the Photomic requires some practice to accomplish. Always double check that all the latches have engaged properly. When the finder is in place and a lens is attached, the meter must be set for the lens maximum aperture, aided by a scale on the meter prism front.

At the upper left-hand corner of the camera is the PC sync. contact, and lower down, close to the lens, is the lens release button. At the opposite side of the lens are a depth of field preview button and a mirror up knob. The mirror goes up when the shutter is released, and it stays up until the knob is returned to the index point. A small self-timer handle, with 4, 8, and 12 seconds index marks, is also at the right-hand front, doubling as a grip as on most SLR cameras.

The standard lens for the early Nikon F is the Nikkor-S Auto 1:2 f=5cm, half a year later the Nikkor-S Auto 1:1.4 f=5.8cm became available.

The variants

The Nikon F camera designation depends on the finder that is attached:

Nikon F - camera with plain pentaprism finder, introduced in 1959

Nikon F Photomic - camera with the Photomic external metered finder, introduced in 1962

Nikon F Photomic T - camera with the TTL Photomic T meter finder, introduced in 1965

Nikon F Photomic Tn - camera with the TTL Photomic Tn meter finder, introduced in 1967

Nikon F Photomic FTn - camera with the TTL Photomic FTn meter finder, introduced in 1968

In addition to these major iterations, there are many smaller iterations across all of the above. In fact, from introduction to the very last model, the Nikon F received a number of updates, either improvements or production economies. Many of the smaller parts were first machined, then cast, and later stamped. Some of the well-known or important include:

5 film advance lever types; ergonomics and economies

6 different self-timer lever types; mostly economies

5 mirror box housing assembly variations; some economies, others adaptations for finders

2 rewind forks; the earlier one notorious for being unnecessarily sharp

3 accessory shoe insulator schemes; the earliest sometimes shocked the user in humid weather

The successor

The Nikon F was succeeded in 1971 by the Nikon F2. It is a completely new camera with practically the exact same functions and solutions. New features of notice are a very early use of the 3 volt silver oxide battery for the meter circuits in the finder, and a wind-on lever operated battery power switch, - a red dot is visible when on; and the shutter is extended to 1/2000 second. The Photomic concept with the external link to the lens aperture ring is carried on unchanged. The Nikon designers has, however, sorted out the mirror-up function, and the self timer is calibrated in two seconds intervals from 2 to 10. The latter doubles as time exposure when set within the same range, and: the shutter-speed dial is set to B, the shutter-release collar is turned to T, and the ordinary shutter-release is depressed. A very useful Motor Drive MD-1 for the F2 was also introduced.

Bibliography

Reynolds, Clyde. Nikon F Book. Focal Press, 1977. 140 pages. ISBN 0240509056.

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It is safe to say that the Japanese camera inrush around 1960 could not have been better timed. The western world, including the new world, was with few exceptions, stuck in old conventions and, for a wide variety of reasons, unable to exploit the opportunities at hand, despite the fact that there had already been developed several promising SLR concepts.

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A Pentax ME Super era uma câmera SLR compacta com exposição automática e prioridade de abertura. Ela oferecia facilidade de uso e controle manual.

Ano de lançamento: 1979

Marca: Pentax

País: Japão

Milímetro: 35mm

Cor: prateada

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Demo of Joomla template 145 by JoomSpirit

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A Minolta Maxxum 7000 foi a primeira câmera SLR do mundo com foco automático integrado. Ela também apresenta recursos avançados, como medição de luz TTL e modos de exposição programados.

Ano do lançamento: 1985

Marca: Minolta

País: Japão

Lente: 50mm

Milímetro: 35mm

Cor: preta

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Minolta Maxxum 7000 (a.k.a. Dynax 7000 AF, 1985-1988)

World's First Autofocus SLR
© 2013 KenRockwell.com. All rights reserved.

Minolta Maxxum 7000 with BH-70L 4-AA battery holder ( 35mm autofocus SLR, Maxxum/Sony Alpha lens mount, 24.6 oz./698 g with 4-AA alkaline cells and film , about $20 used) and Maxxum 50mm f/1.7. enlarge. My biggest source of support is when you use any of these links, especially this link directly to them at eBay (see How to Win at eBay), when you get anything, regardless of the country in which you live. Please always use these links when getting any of your gear so I can continue to share what I know. It helps me keep adding to this free website when you get yours through these links - but I receive nothing for my efforts if you buy elsewhere. Thank you for your support! Ken.

Minolta Maxxum 7000 with Data Back 70. enlarge.

Minolta Maxxum 7000 with Maxxum 50mm f/1.7. enlarge.

May 2013 Minolta Sony Pentax Nikon Canon All Reviews Better Pictures

How to shoot the Maxxum 7000 digitally.

MAXXUM 7000 example photos, 13 and 14 February 2010.

Introduction top

This Minolta Maxxum 7000 is the world's first autofocus SLR. It is called Dynax outside the USA, and Maxxum 7000 AF in Europe; it's all the same camera.

There were some earlier attempts at autofocus SLRs prior to the Maxxum 7000 like the Nikon F3AF, but they were kludges with AF systems built into lenses instead of the camera.

The Maxxum 7000 has center-weighted metering, a body-integral AF system, and full digital computer control. The AF motor is in the camera and drives the lens through a screwdriver connection poking out of the lens mount.

The MAXXUM 7000 has a life-sensing touch switch: just touch it and the meter wakes up without needing any pressure on the button. Press a little more to turn on and lock AF and press the rest of the way to shoot.
Lenses
The MAXXUM uses the new Minolta "A" mount which was introduced along with it, and lives to this day as Sony's Alpha mount.

Minolta Maxxum AF lenses are fully compatible on the Sony Alpha mount, and Sony Alpha and Zeiss lenses for Sony Alpha likewise work great on the Maxxum 7000.

Specifications top
Lens Compatibility
Stainless-steel self-lubricating bayonet.

Works with all Minolta MAXXUM AF and Sony Alpha lenses.

Autofocus

TTL phase-detection with 8-bit digital on-board computer.

One central point.

Rated EV 2 to EV 19.

Focuses and locks in Single advance mode, continues to track moving objects in Continuous advance mode.

Finder

0.85x magnification with 50mm lens.

94% coverage.

Bright Acute-Matte screen.

Bottom data LCD is lit from ambient light above the MAXXUM 7000, or by amber LEDs when the light is dim.

To the left of the data LCD are four big LEDs: three LEDs ( > o < ) for focus, and one red flash bolt.

Light Meter

Center-weighted silicon photocell.

Second silicon photocell for TTL OTF flash meter.

Rated to read at a very wide LV -1 (LV negative one; 4 seconds at f/1.4 at ISO 100) to LV 20 (f/22 at 1/2,000 at ISO 100).

DX coded and sets manually from ISO 25 to ISO 6,400 (only to ISO 1,000 with TTL flash).

±4 stops compensation, set in half stops.

Exposure Modes

Program, Aperture-, Shutter-priority and Manual (P, A, S and M).

Program shifts itself when wider than 35mm or longer than 105mm.

Manually shiftable program.

Flash

Through-the-lens (TTL) off-the-film (OTF) real-time exposure control

Standard hot shoe (lacking in all newer MAXXUM and older Sony cameras).

Dedicated contacts.

The Minolta 4000 AF (large), 2800 AF (medium) and 1800 AF (small) were the usual flashes sold with the MAXXUM 7000.
Flash Sync
1/100.

Shutter

Vertical metal focal plane.

30 seconds to 1/2,000 and Bulb.

Maximum Bulb time: 9 hours with alkaline AA, 4 hours with alkaline AAA.

Sets in full stops in manual.

Sets steplessly and reads in half stops in auto modes.

10s self-timer.
Remote control
RC-1000 cord attaches to three pins hidden under a plastic cover on the front corner of the MAXXUM 7000 body.

Frame Rate

2 frames per second.
Power
As shipped, the MAXXUM 7000 uses 4-AAA cells in the standard BH-70S battery holder (not shown here).

The BH-70L battery holder takes 4-AA cells as shown here, making the camera bigger and heavier while increasing battery life.

The EP-70 external battery holder takes 4-AA cells and is used in cold weather so you can keep the batteries warm in your pocket.

The BH-70T takes a 6-volt lithium battery.

Maximum Bulb time: 9 hours with alkaline AA, 4 hours with alkaline AAA.

The manual claim that there is a lithium cell in the camera to retain frame count and ISO if you remove the main battery grip. If this cell is dead, you won't see these displayed with the main batteries removed, and supposedly they'll blink when the main battery is attached to let you know.

Quality

Made in Japan.

Stainless-steel lens mount.

Plastic covers and switches.

Environmental

LCDs work from -20º C to +50ºC (15º C to 120º F).

Size

52 x 91.5 x 138 mm.

2-1/16 x 3-5/8 x 5-7/16 inches.

Weight

24.610 oz. (697.6 g) measured with 4-AA alkaline cells and film.

19-9/19 oz. (555g) rated, empty.

Announced

January 1985.

Price, USA

May 2013: about $20 used, body-only.

May 1986: $700 at local retail, with Maxxum 50mm f/1.7 lens, corrected for inflation in 2013. ($329.95 in 1986 dollars).

Performance top
Overall
The MAXXUM 7000 is an autofocus SLR that does what we need, and nothing we don't. The only thing missing is a frame counter in the finder.

It's better than newer SLRs and DSLRs because it has a bigger, brighter finder and it's much faster and easier to set.
Autofocus
Autofocus works fine. It's much faster than newer cameras because it's so much faster to get it to go: with only one point, it just goes without having to read manual and spend all day in menus just trying to set it.

It is whiny as it motors in and out, what are you expecting for the 1980s? Silent motors weren't invented yet.

AF is fast and sure, but if you're pointed at something lacking vertical texture or contrast, it may get stuck. Likewise, just like today's newest cameras, if you're way out of focus, it may hang-up until you get it more in focus, and if it's too dark, just like the newest Nikon D600, it won't focus either.

For actual photography, it works great.
Finder
The finder is big, clean, clear and bright. In fact, it's data displays are far more legible than those in the newer and far more expensive Nikon F4!

It isn't loaded with garbage like newer cameras; the frame is one big cleat frame with a small rectangle in the middle to mark the AF spot.

It's easy to set and read the exposure mode, ISO and exposure compensation right in the finder.

The finder's lower data display is lit by ambient light, or an amber LCD in dim light. The LED lights automatically based on the light coming in the front of the lens, not the actual light illuminating the LCD from the top.

Minolta Maxxum 7000 with BH-70L 4-AA battery holder. The engravings define the meter pattern. enlarge.

If you look hard, the finder is very slightly dimmer in the center because a greater portion of the light is diverted to the light meter's photo cell.
Flash
There is no built in flash.

The Minolta 4000 AF (large), 2800 AF (medium) and 1800 AF (small) are all modern thyristor flash units dedicated to the MAXXUM 7000.

Older PX-series flashes flash OK and offer TTL exposure, but there is no AF illuminator and no flash distance check. Even older X-series flashes lose TTL metering as well.

Flash works automatically, set the MAXXUM 7000 to Program and snap away.

Flash control is TTL OTF, however it's not very smart.

In most modes, the shutter speed will only vary from 1/60 to the maximum sync speed of 1/100, regardless of the light level.

Likewise, regardless of distance or film speed, the MAXXUM 7000 defaults to f/2.8 when in Program mode with flash. (The Canon EOS flash system of 1987 is much, much smarter.)

It's hard to see the top LCD to read frame count with a flash mounted.
Shutter and Advance
The MAXXUM 7000's trigger pull is normal; it's smooth and requires the usual push-in to fire.

Nice is that it's got a life-sensor to wake up the meter; you don't have to press it - just touch it!

There is relatively little recoil (vibration) when fired.
Rewind
Rewind is initiated manually.

It takes 34 seconds for 36 exposures.
Ergonomics
The MAXXUM 7000 is simple, loaded with just what we need, so it's very easy to use. Everything is fast and simple to setup and adjust, and loading is completely automatic - and the film-type window is easy to read.

The top LCD shows frame count, exposure and film advance mode even when off or idle. Oddly, the top LCD is so close to the hot shoe that it can be hard to see when using a flash like the 1800 AF.

The touch-sensing shutter button is great; the meter wakes up without needing any pressure.

ISO is read by DX, and to set or confirm manually, just press the ISO button and the arrow buttons near the shutter. You can see it both on the top LCD, as well as through the finder.

Ditto for exposure mode and exposure compensation: hold the button and press the arrows, and you can read it at the top and through the finder. I wish all cameras today were this good.

I prefer the MAXXUM's slots for the shoulder strap instead of the lugs on Nikon.

With the 4-AA holder, it's a little heavy on the right side, as it looks in the picture.

The finder's LCD is well illuminated, but the top LCD is not.
Meter and Exposure
Easy! Simple, to the point center-weighted metering.

There's an AE lock, missing on many other cameras.

The range is very good, working to 30 seconds most of the time, even if not rated to read that low. Once it gets below the rated light level you'll see the up and down exposure arrows in the finder blink, and it works fine down to 30 seconds, below which the entire display blinks.
Noise
The shutter is about as noisy as any other motorized SLR, while the AF motor is pretty whiny.
Durability
People have given me about four of these. They all work fine after over 25 years.

The worst thing that happens is either batteries have been allowed to leak, or that the rubber trim, just like chocolate, will exude some white stuff from lack of use as seen here, which rubs off when put back in service.

Compared top

I prefer this original MAXXUM to the newer MAXXUM 7000i, mostly for the added simplicity, and the standard hot shoe.

With the 7000i, Minolta attempted to screw customers and third-party flash makers like Vivitar and used a bizarre dedicated shoe for which few others made flashes. This weird shoe was used by Minolta, and later Sony, right up until 2012.

Usage top
Loading
Loading is automatic: pull the leader to the right, and close the back. The MAXXUM 7000 advances to the first frame, and you're ready to shoot.

It reads and sets ISO via DX at loading. Feel free to change the ISO manually, but remember that the MAXXUM 7000 won't reset it back to the DX speed until loaded the next time.
Unloading
When you've hit the end of the roll, start rewind manually by pressing the "R" button near the eyepiece, and then slide that lever to the left.
Exposure
Hold MODE and press the arrows by the shutter to select the exposure mode. You can see this in the finder, too.

In Manual mode, the up and down arrow buttons by the lens change aperture, and the arrow buttons on the top change the shutter speed.

For program shift and setting apertures or shutter speeds in A and S modes, either button pair works to change the settings.

The program mode has three default programs, and shifts itself between them based on focal length. There is one program for wider than 35mm, the regular program for 35mm to 105mm, and another for lenses set longer than 105mm.

Program can be shifted manually too; just tap the arrow buttons. If you've set a manual program shift, it cancels in 10 seconds if ignored, or immediately after you shoot; keep your finger on the button to reuse the shifted program for the next shot.

If using a red (R60 or 25) filter, set exposure compensation to +1 stop.

Once it gets below the rated light level you'll see the up and down exposure arrows blink in the finder, and it works fine down to 30 seconds, below which the entire display blinks.

In Bulb, the top LCD counts to 99 seconds and rolls around to 0 at 100 seconds, and keeps repeating. AAA alkalines are rated for 4 hours and AA alkaline are rated for 9 hours total bulb exposure.
Flash
The bolt blinks in the finder for the ready! signal; blinking doesn't mean anything's wrong.

After your shot, a rapid blink means exposure was OK.

In most modes, the shutter will only range from 1/60 to 1/100. For slower speeds in automatic modes, Slow Sync is had by pressing the AE lock button while in A mode. Do this, and the MAXXUM 7000 now sets a shutter speed of double what the meter reads for ambient. Be careful to check the exposure with the flash off; you easily can press the AEL button and the MAXXUM 7000 might try to set a speed far higher than the 1/100 sync speed.
Reset
If you've been messing with the settings, hold the "P" button near the power switch to reset to Program mode, Single advance and ±0 stops exposure compensation.

Recommendations top

For shooting 35mm film with autofocus there are many choices, and I'd probably prefer any of the Canon EOS cameras for their better handing of flash exposures and seamless integration with the newer EOS digital cameras, but for $20 you can't go wrong.

If all I had to use was a MAXXUM 7000, I'd shoot and enjoy it. It works very well.

Additionally, if you shoot any of the Sony Alpha full-frame system, the MAXXUM lenses are completely interchangeable with the Sony.

If you've found all the time, effort and expense I put into researching and sharing all this, this free website's biggest source of support is when you use these links, especially this link directly to them at eBay (see How to Win at eBay), when you get anything, regardless of the country in which you live. Thanks! Ken.

Help me help you top

I support my growing family through this website, as crazy as it might seem.

The biggest help is when you use any of these links when you get anything, regardless of the country in which you live. It costs you nothing, and is this site's, and thus my family's, biggest source of support. These places have the best prices and service, which is why I've used them since before this website existed. I recommend them all personally.

If you find this page as helpful as a book you might have had to buy or a workshop you may have had to take, feel free to help me continue helping everyone.

If you've gotten your gear through one of my links or helped otherwise, you're family. It's great people like you who allow me to keep adding to this site full-time. Thanks!

If you haven't helped yet, please do, and consider helping me with a gift of $5.00.

As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. Thank you!

Thanks for reading!

Mr. & Mrs. Ken Rockwell, Ryan and Katie.

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Home Donate New Search Gallery Reviews How-To Books Links Workshops About Contact Minolta Maxxum 7000 (a.k.a. Dynax 7000 AF, 1985-1988) World's First Autofocus SLR © 2013 KenRockwell.com. All rights reserved. Minolta Maxxum 7000 with BH-70L 4-AA battery holder ( 35mm autofocus SLR, Maxxum/Sony Alpha lens mount, 24.6 oz./698 g with 4-AA alkaline cells and film , about $20 used) and Maxxum 50mm f/1.7.

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A Nikon N90s era uma SLR avançada com foco automático, exposição automática e múltiplos modos de exposição. Ela usava lentes Nikon F-mount e era conhecida por sua confiabilidade.

Ano do lançamento: 1994

Marca: Nikon

País: Japão

Lente: 4/5 6d

Milímetro: 35-80mm

Cor: preta

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Home Donate New Search Gallery Reviews How-To Books Links Workshops About Contact

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É uma câmera digital que usava um sensor de imagem CMOS de 3,1 megapixels. Ela pertencia à popular linha de câmeras EOS da Canon.

Ano do lançamento: 2000

Marca: Canon

País: Japão

Lente: 3.5-5.6

Milímetro: 18-55mm

Cor: Preta

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The EOS D30 (not to be confused with the much later 30D) is a 3.1- megapixel digital SLR camera made by Canon, first announced in 2000. It was vaguely notable for being the first all-Canon digital SLR (some earlier Kodak DCS cameras being based on Canon EOS film bodies), for having a CMOS (rather than CCD) sensor, and for being the lightest and smallest digital SLR of its time.

Sensor & firmware

The D30's sensor is a 22.7 x 15.1mm CMOS sensor (not a CCD, common both before and after the D30), giving an FOV crop of about 1.6x. ISO can be set in whole stops from 100 up to 1600 (although a strings dump shows references to 3200 and 6400 as well, which hints that they might be present but disabled). The firmware is based on Datalight's ROM-DOS, running on an x86 processor, as used in the Canon PowerShot Pro70 (among others).

One can create up to 3 parameter sets, with sharpness, saturation, and contrast from -1 to +1. However, this can not be set from within the camera. One must use Canon's TWAIN driver to create or edit parameter sets and transfer them to the camera, which will then be accessible via a "Parameters" menu item (where they will be, rather inconveniently, named "Set 1", "Set 2", and "Set 3", with no indication of what lies within). The details of camera-computer communication have been tightly guarded by Canon, though the gphoto team have reverse-engineered the protocol to permit transferring files from the D30 under minority operating systems like Linux and the BSDs.

Numerous custom functions are available. Some of the more interesting ones are "sensor cleaning" (which doesn't actually clean the sensor), and a part-time mirror lock-up (which locks up the mirror prior to exposure; when used with the self-timer, it reduces the self-timer delay to a couple of seconds, to facilitate easy and quick use in low light on a tripod).

The body's design is very similar to those of Canon's semi-professional film cameras of the time. The body is polycarbonate (plastic) around a stainless steel frame, with build quality characterised as "[s]turdy, but not a professional camera". At the time, it was the lightest (at 780g) and smallest digital SLR body around. The rear of the camera has a 1.8" TFT screen. It has dedicated or semi-dedicated (dual function) buttons for flash exposure compensation, metering mode, drive mode, autofocus mode, white balance, AE lock, and focus point selection. The "Set" button can be programmed to change ISO, image quality or camera parameter sets.

The camera is built around the autofocus Canon EF lens mount, and as such, is compatible with all Canon EF lenses. However, it will not mount EF-S lenses. Although the 1.6x cropped sensor is the same size as those in some later 1.6x bodies, the EF-S mount (which was introduced in 2003, around the same time as the 300D) is physically incompatible with EF mount cameras to prevent damage to the larger mirrors of 35mm EOS film cameras. Some more enterprising people work around this by attacking EF-S lenses with hacksaws,, or by replacing the plastic baffles of EF-S lenses with one from an EF lens.

The camera has a built-in pop-up flash (guide number 12/39 at ISO 100, which supports E-TTL operation, as well as a PC socket.

Metering and exposure

The D30's vertical-travel focal plane shutter has a top speed of 1/4000, with flash sync at 1/200. The meter is functional from EV 2 to 20 (at ISO 100, f/1.4), with AF functioning at up to EV 18. The longest automatically-timed exposure is 30 seconds, and there is a Bulb mode for exposures longer than that. One gets +/- 2 stops of exposure compensation (adjustable in either third or half stops), as well as auto exposure bracketing of up to +/- 2 stops. There are numerous exposure modes available, including fully manual. aperture priority, shutter priority, and Program. There is also a fully automatic mode (much the same as Program, except some "advanced" features are disabled and it will pop up the flash without asking you if it sees fit -- making the D30 into an oversized, overweight point-and-shoot), plus a few "scene modes".

The camera can run at up to 3 frames per second for up to 8 shots (with Large/Fine JPEGs; a smaller JPEG quality setting will fill the buffer less slowly, and RAW will fill it up much quicker).

Accessories

Along with the full range of Canon EF lenses, the D30 is compatible with a wide range of equipment from the Canon EOS family, including E-TTL and FP flash operation with EX-series Speedlites. The BG-ED3 battery grip, designed specially for the D30 (and being re-used in the later D60 and 10D, gives one two batteries, as well as a convenient grip and extra shutter release for vertical operation.

The D30 was originally supplied with a 16MB CompactFlash card, holding a mere 10 large/fine JPEGs. Much larger CF and CF Type II cards can be used, though cards larger than 2GB may not work at all (these cards post-dating the D30 by quite a while).

External links

# data[].attributes.attachment_link.description
The EOS D30 (not to be confused with the much later 30D) is a 3.1- megapixel digital SLR camera made by Canon, first announced in 2000. It was vaguely notable for being the first all-Canon digital SLR (some earlier Kodak DCS cameras being based on Canon EOS film bodies), for having a CMOS (rather than CCD) sensor, and for being the lightest and smallest digital SLR of its time.

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A Fujifilm X-T3 é uma câmera digital sem espelho que usa um sensor X-Trans CMOS 4 de 26 megapixels. Ela é conhecida por suas capacidades avançadas de vídeo e fotografia.

Ano do lançamento: 2018

Marca: Fujifilm

País: China

Lente: 8-4

Milímetro: 55mm

Cor: preta

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FUJIFILM X-T3 | Cameras | FUJIFILM X Series & GFX - Global

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Official product information for FUJIFILM X-T3 for FUJIFILM X Series.