Film cameras
Minolta Autocord I User manual
User manual for Minolta Autocord I. 27 pages in English. Read the original PDF, download or print a copy without registration.
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- Brand
- Minolta
- Model / document
- Minolta Autocord I
- Document type
- User manual
- Language
- English
- Pages
- 27
- File size
- 2.6 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 6 · Read text
rHE *linolta lfrilocord
The new Minolta Autocord Model It Ltt is a superautomatic
camera that does everything for the photographer - but think.
ttLtlThe Model incorporates all of the exclusive features that
have zocmed the Minolta Autocord to popularity in thetU. S.
in a few short years. However, the company that manufac-
tures these cameras is one oF the old"rt' camera and optical
plants in Japan, the Chiyoda Kogaku ieiko K. K. .
In addition to the many .gnique automatic features of the
Minolta Autocord, Model tt Lil has a built-in ,'Light Value
//Meter that takes the guess work out of, exposure time
without adding a single bit of equipment or changing the
shape, size or bulk oF the twin-lens reflex camera.
tt tlModel L has a sturdy die cast aluminum body for maximum
precision and durability. The exclusive Helicoid focusjng lever
is at the bottom of the camera directly under the lens,
enabling the photographer to fccus a picbure at a distance
oF a.s feet to infinity with one finger.
This one f inger, lever f,ocusing in contrast to the two
fingers required to turn a focusing knob is a distinct ad-
vantage. The photographer can hold the camera, focus it
and press the trigger with one hand - leaving the other hand
f ree to hold a f lashgun away f rom the camera. The
modelling that is possible with off - the - camera lighting
www.orphancameras.comView original page 6Page 7 · Read text
$F rdel l,
/'eliminates the criticism oF " f lat lighting that is often
levied a3ainst flashlighted photographs.
The taking lens ab the bcttom of the camera is a Rokkor
F g.s - 75 mm. I+ - elenient, f,ully coeted lens. lt is criti-
cally sharp and possessesgreat resolving power. The view-
ing lens, on top, is an F 3.2 Rokkor. lt is also f ully
coated and it provides a brilliant im:ge on the ground g,lass
with " Fresnel Lens " for easy focusing and composing. The
taking lens renders color as perfectly as it does black
/t uses the Seikosha-MX precisionand white. flodel " L
shutter flor trouble-free, accuraLe operation, and advances
the film auLomaticallywith a single back and forth motion
of the handle.
^ ,,.;:ri- .1j oView original page 7Page 8 · Read text
HOW TO USE
The Minolto Autocord Model t
R,emove the Lens Cop
by flipping up the lower section then turning
the upper port in a count-.r-clockwise direction.
Always keep the lens cap on when the camera
is not in use to protect the lenses against
scratches or fingerprints. Never touch the
lenses ond use o soft camel's hoir brush to
dust them lightly, or a lens tissue. (Do not
use lint cloth, facial cleonsing tissues or
fingers.)
To rqise the Hood
liFt the rear edge by its border. The hood
will spring up revealing the ground glass fo-
cusing and viewing screen.
To focus more occurqtefy
use the magnifier (29). To bring it into
position, press the front of the focusing hood
where the name " Chiyoko'/ appeors.
To remove the mognifier tip it down gently'
from the back.
To use the Sports Finder
continue pushing the front flap until it snaps
into a horizontal position. Then look through
the smoll window (30) in the reor of the hood
for a direct view oF the accurotely framed
picture just os it will oppeor on the film.
To cfose the Hood
press the button (31) on the rear of the
hood to release the center flap iF the sports
finder is open, then press the magnifier down.
The hood will told automatically when you
press back and downward on the front.
www.orphancameras.comView original page 8Page 9 · Read text
a p p e a r i n a w ' i n d c w ( . i 6 ) c n t o p o f t h e v i e w i n g l e n s , a n d a r e s e l e c t e d b y
m o v i n g t h e l e v e r ( 6 ) o n t h e r i g h t s i d e o f t h e t a k i n g l e n s r i m . T h e m a r k i n g s
. l 0 ,
a r e B , f , 2 , 5 , a n d u p t o 5 0 0 . B m e a n s B u l b , a n d t h e s h u t t e r w i l l
stay c p 3 n at t h i . s e t t i n g a s l o n g a s th e sh u tte r re le a se b u tto n (1 0 ) r em ains
depres s ed. T h e n u r r , b e r s s t a n d fo r I se co nd , t f z, | ' 5 a n d so o n thr ough
l, '5Oo t h s ec cn d . A c a b l e r e le a se o r a se lt-time r ca n b e scre w ed into
t he s oc k et o F t h e s h u t t e r r e l e ase b u tto n .
eppe a r in a w i n d o w ( 1 6 ) c n t o p o f th e vie win g le n s. Th e y a re com m only
r eFerred t c a s " t / / s t o p s a n d are se t b y mo vin g th e le ve r (lB) o n the leF t
side o f t h e t e k i n g l e n s r i m . T he " F // sto p d e te rmin e s th e a mcu n t oF light
passin g t h rc ug h t h e l e r r s a s w e l l a s th e a re a o f sh a rp fo cu s in yo u r pictur e.
Rete r t c p a g e 1 I t o r a n e x p l a n e tio n o f h o * th e se Fa cto rs a re a tfected by
t h e " t ' i s t o p s e t t i n g o F t h e l e n s .
Whe n t hc He l i c o i d l e v e r ( l 2 ) mo ve s Fro m rig h t to le Ft, th e tro n t oi the
cam era mo v e s o u t a n d i n . T h i s t o cu se s th e le n s o n th e su b je ct yo u a re photo-
gr ap h ing. lF y o t r p r e t e r t o f o c u s b y me a su rin g o r e stima tin g th e distance
bet w e e n t he c a m e r a a n d s u b j ect in ste a d o F sh a rp e n in g th e ima g e on the
gr cund gla s s , m o v e t h e l e v e r u n til th e silve r a rro w p o in ts to th e cor r ect
dist anc e in f e e t , i n o t h e r w o r d s, ycu p re se t th e to cu s.
l F F o c u s i r ' gl e v e r i s a d j u s t e d t o r e d l 5 a n d i r i s d i a p h r a g m l e v e r t o r e d 7 ,
all c b jec t s F r o m a b o u t l 0 t o 3 0 tt. will b e in fo cu s to r sn a p sh o ts.
Not e-t o p re s e t t h e f o c u s w h e n yo u a re u sin g in fra re d film, p o in t the r ed
ar r o w in s t e a d o f t h e s i l v e r a t th e d e sire d d ista n ce .
(,View original page 9Page 11 · Read text
Ncte z 620 Film Spools will not fit this
camera. Use No. 120 Film only.
1. Pull the top btrtton (24) on the lett
side to open the camera.
2. Remove the empty tilm spool trom the
u p p e r f i l m s l o t a n d p u t i t i n t h e l o w e r .
To do this pull and twist the knob (26)
right below the opening buEton. I his will
cause the knob to stay out so You can
easily remove the spool. Put the empty
spool in the lower film slot, iitting it
' into position at the right hand side with
the lett hand knob (28) to hold it. The
lett hand knob will stay out it it is
pulled and twisted.
3. Put the roll of film in the upper slot,
fitting it into the right hand button and
holding it in place with the lett hand
knob (26), which returns to place when
twisted.
4 . P u l l o u t t h e f i l m l e a d e r a n d i n s e r t i t i n
the longer groove of the empty spool.
\flith the camera back open, wind the
f i l m a d v a n c e c r a n k ( 7 ) u n t i l t h e a r r o w s
on the film - backing line up exactly
with the red dots (33) on both sides of
the film rail of the camera. Then close
the back of the camera until you hear
a c l i c k .
5. !/hen the camera back is closed, a
mark \Z appears in the exposure counter
(4). \flind the film advance crank until
the number (1) appears. At this point
the arm will move no Farther.
Note : When the camera is not loaded the
mark \z will appear in the exposure
counter. lt it has not appeared, turn the
crank one half turn anti-clockwise and
return handle to holder.View original page 11Page 12 · Read text
faking Pictures
1. Tuin the film advance crank until it stops (about 2ft turns), and the
n u mber @ a p p e a r s i n t h e e xp o su re co u n te r win d o w (4 ). Th e num ber
O . uy a p p e a r b e f o r e t h e h a n d le sto p s tu rn in g b u t co n tin ue winding
u n t il it s t o p s . T h e n t u rn th e h a n d le b a ck a n d sn a p it in to the cr ank
'now cocked (ready to snap open and shut) rack' (3).' The shutter is
a n d t h e f i l m i s w o u n d t o th e first tra me , a t th is time th e wa rning signal
(9) t u r n s t o r e d . ( N o t e : Th e sh u tte r ca n n o t b e re le a se d until the
film advance crank is returned to the handle holder position.)
2. Set the desired shutter and diaphragm opening. These are set by
moving the levers on either side of the taking lens rim, and their values
appear in separate windows on top of the viewing lens.
While viewing the picture on the square focusing glass in the hood,
move the helicoid lever at the bottom of the camera back and forth
until the image is clear. Use the magnifier to sharpen the tocus.
4. Compose the picture you want on the viewer, then release the shutter
by pressing gently on the shutter release button on the lower right side
of the front of the camera.
Turn the film advance crank until it stops, then turn it back in the
opposite direction to the handle holder position. N". @ will appear
in the exposure counter and you are ready to make your second picture.
Repeat 3, 4, and 5 etc. for subsequent pictures.
(Note: lf you are taking rapid sequence shots it is not necessary to
snap the handle into the crank rack after each exposure but it is a good
idea, otherwise, as it prevents the handle from being turned by accident )
6. A f t e r t a k i n g 1 2 p i c t u r e s , tu rn th e film a d va n ce cra n k u n til all the film
is wound on the bottom spool, (about'4 full turns.) Then turn the
crank back in the opposite direction to the handle holder position and
open the back of the camera to remove the spool.
7. It you do not expect to use your loaded camera for some time, keep the
lens cap on/ turn your diaphragm setting to F 22 and, release the shutter.
To use the camera again, turn the crank in the reverse direction just
once, (see lntentional Double Exposure P 7.) This will cock the shutter
without wasting a frame of film.
@ www.orphancameras.comView original page 12Page 13 · Read text
To make a time exposure
( k e e p t h e s h u t t e r o p e n
w i t h o u t c o n t i n u o u s p r e s -
su re on the release
button) move the shutter
l e v e r u n t i l i t p o i n t s t o
B ( b u l b ) ; p r e s s t h e b u t -
t o n a n d h o l d i t d o w n
w h i l e y o u l o c k i t b y
m a k i n g t h e d o t o n t h e
outer ring of the release button coincide with the dot on the inner ring.
To close the shutter again, separate the dots trom one another and the
s h u t t e r w i l l c l o s e . N e v e r w i n d t h e f i l m a d v a n c e c r a n k w h i l r t h e
s h u t t c r r e l e a s e b u t t o n i s l o c k e d a s i t w i l l c a u s e t r o u b l e .
A F t e r t a k i n g a p i c t u r e t h e s h u t t e r c a n n o t b e r e l e a s e d a g a i n u n t i l t h e
t i l m i s a d v a n c e d t o t h e n e x t p i c t u r e p o s i t i o n .
l F y o u w a n t t o m o k e a d o u b l e o r t r i p l e e x p o s u r e o n t h e s a m e t r a m e o F
t i l m , s l i d e t h e c r a n k r e v e r s i n g b u t t o n ( 5 ) t o t h e l e f t , t u r n t h e c r a n k b a c k - .
w a r d s ( c o u n t e r c l o c k w i s e ) o n e F u l l r e v o l u t i o n a n d i t w i l l s t o p a t t h e c r a n k
r a c k . T h e o r i g i n a l t r a m e i s n o w i n p o s i t i o n t o r a d o u b l e e x p o s u r e . T o
triple expose, simply repeat the operation. You can make as many expo-
s u r e s a s y o u w a n t o n o n e p i e c e o F f i l m .
When the shutter cocked, conversion oF
the speed to +1-,oosec. trom the others
m a y b e d i f t i c u l t . I n s u c h a c a s e , a t t e r
r e l e a s i n g t h e s h u t t e r w i t h t h e l e n s c a p
on set the speed to l,'-'1111s€c. then cock
the shutter again by one full backward
t u r n o F t h e c r a n k .
T h e r e a r e c l e a r l i n e s d r a w n o n t h e
g r o u n d g l a s s o n a l l f o u r s i d e s . T h e s e
l i n e s h e l p t o c o m p o s e t h e p i c t u r e i n
e i t h e r a h o r i z o n t a l o r v e r t i c a l s h a p e a l -
t h o u g h t h e f i l m i t s e l t i s s q u a r e . T h e
l i r r e s a r e s o a r r a n g e d t h a t a p i c t u r e
c o m p o s e d w i t h i n t h e m i n e i t h e r d i r e c -
t i o n w i l l t i t t h e m e a s u r e m e n t s o F s t a n d a r d
p r i n t i n g p a p e r s / t h a t i s , 1 ' s , ) i o / e t c .
\1,View original page 13Page 14 · Read text
t t ' tT h e M i n o l t a M o d e l L b u i l t - i n Light Value meter is the simplest of all
electric cell exposure meters to o p e r a t e ; a n d i t i s b o t h d e p e n d a b l e a n d
accu rate.
1 . There is a wheel (B ) on the lett of
t h e c a m e r a . T u r n t h e k n o b u n t i l t h e
part of the wheel marked A S A is
toward the bottom. Continue turning
until the number opposite the silver
t r i a n g l e ( C ) i s t h e s a m e a s t h e g u i d e
number given in the instruction sheet
f o r t h e f i l m t h a t y o u a r e u s i n g . ( s e e
F i g . I )
F i g . I
T o o b t a i n a r e a d i n g w i t h t h e l i g h t v a l u e m e t e r w h e n u s i n g a f i l t e r o v e r
t h e l e n s , s i m p l y t u r n t h e p s r t o f t h e w h e e l b e g i n n i n g w i t h A S A
u n t i l t h e g u i d e n u m b e r o f t h e t i l m i s o p p o s i t e - 1 i f t h e t i l t e r f a c t o r
i s 2 . l F t h e t i l t e r f e c t o r i s 4 , m a t c h t h e g u i d e n u m b e r o F t h e f i l m
t o - 2 . ( s e e F i g . I )
2. Flip up the nameplate (D) on the tront of the camera to exPose
t h e l i g h t c e l l ( E ) . W h e n t h e l i g h t h i t s t h e c e l l i t c a u s e s a r e d
n e e d l e ( F ) t o a p p e a r b e s i d e a n u m b e r o n t o p o F t h e k n o b . ( s e e F i g .
i s ) www.orphancameras.comView original page 14Page 16 · Read text
How to Cqlculote qn Exposure wirh the
Built-in Lighr Vqlue Meter
'l
. Portraits : When takino a p o rtra it in th e su n lig h t, b rin g th e light cell
u p clo se to th e su b je ct' s fa ce , (6 -t2 inches) ,
and measure be.th the light and shadow sides
of the face. An average between the two
numbers suggested by the meter will give an
accurate reading. Be sure that the shadow of
the camera does not fall on the subiect
wh ile yo u ' a re g a u g in g th e lig h t.
2. Landscapes : To t! readtt a landscape
tilt th e ca me ra d o wn wa rd u n til th e light cell
is tacing midway between your feet and the
h o rizo n lin e . If yo u sh o u ld h a p p en to in-
clude the sky in your measurement, the read-
. in g will b e fa r to o h ig h .
3 . ln a cce ssib le Su b ie cts: It yo u a re unable
to bring the meter close to a subject (when
photographing a game from an arena/ caged
animals or celebrities protected by police),
measure the light ref lecLed f rom the palm
o f yo u r h a n d . Ho ld yo u r p o lm th e nor m al
d ista n ce tro m th e Iig h t ce ll (6 -t2 inches)
and make your exposure according to this
reading. An attachment is available to mea-
sure the light projected to an object with extreme color contrast. tt
NOTES ON I.IANDLINGTI.{EMETER
1. The Light Value meter should not be subjected to any unnecessary shocks.
2. Try to avoid humidity.
3. Keep your wrist watch avyay as the meter is magnetic and may damage it.
4. The adjusting screw of the meter (A) should be moved as little
as possible. lf the needle should slip from its 0 position, move it
carefully and slowly in either direction to return it to 0.
@ www.orphancameras.comView original page 16Page 17 · Read text
Relctive Diophrogm Openings
to Shuffer Speeds
The Diaphragm Opening of a Lens controls the Volume of Light that
r eac h e s t he f i l m i n a g i v e n p e rio d o f e xp o su re . Th e Dia l Ma rkings indi-
cate this Volume of Liqht in the followino ratio.
F, No. 35 4 5.6 8 il 16 22
(-) gl f) $ E3 9,3{t
%V+%Ve%zYi'imr3 r
Each Stop opening indicated on the dial by the numbers 4 to 22 reduces
the amount of llght passing through the lens by 16, or conversely, opening
the lend trom one mark to the next from the number 22 to 4 doubles the
amo unt of lig h t p a s s i n g t h r o u gh th e le n s, (f :.s, is | \s time s f + ). T he
numbers are called " f // stops and the speed of a lens is designated by
the largest " tlt stop on its diaphragm, such as f 3.5.
The shutter controls the amount of light reaching the film by the length
of time it remains open, i.e., I second, /6, second, ],t second, etc. Now,
suppose you have determined by an exposure meter reading or other means
that t h e c orr e c t e x p o s u r e f o r yo u r film u n d e r ce rta in lig h t co n d i tions is
](g second at t g, and you want to use a faster shutter speed because
your subjecb is in motion.
A shutter speed of 11 1111second cuts the light in half, so you must open
t he lens one s t o p t o I s . 6 , w hich will a llo w twice a s mu ch lig h t to pass
through as before and the amount of exposure remains the same as
before. Conversely, if you need to stop down the lens for greater depth-
of-ti"ld (see explanation of Depth-of-Field next) and you select t6 as the
correct stop opening you have reduced the amount of light to li. Then
you must give the tilm an exposure 4 times as long or Ytg second, in
this case you select the nearest shutter speed which is lrio second.
@View original page 17Page 18 · Read text
Depfh-Of-Field
The depth-of-field of a lens is the range of distance within whicfi all
objects are in relatively sharp focus when the lens is set for a given
distance. This range varies with the diaphragm opening, being greatest
when the lens is stopped down and least when it is open full. The range
also varies with the. distance tor which the lens is set being least at close
digtances and greatest at farther distances up to a point where it takes
in everything beyond an intermediate distance to infinity, which is indicated
by o on the distance scale. (See explanation of Depth - of - Field Scale {
b e l o w a n d D e p t h - o f-Fie ld Ta b le o n ' p a g e 2 1 .)
Deprh - Of - Field Scole
The depth-of-field at any distance can be
worked out by this scale. The inner
side figures denote the distance and the
outer ones on both sides of the arrow f
mark denote the diaphragm openi?rgs.
After focusing, turn the inner table right
o r le ft u n til th e a rro w ma rk in d icates the t\
object distance shown on the disrance scale. Then the pairs of diaphragm
f igu res in d ica t e t h e n e a r a n d fa r Jimits o f sh a rp fo cu s co rre sp o n d ing with
t he d iaphra g m o p e n i n g c h o s e n .
For instance, fccused at t 5 feet with the diaphragm opening of f a, the
depth of field is from about t2 to 2 t feet.
@ www.orphancameras.comView original page 18Page 19 · Read text
forACCES$c*"lEg
The Minoltcr Aufocord Model L
The following exclusive accessories are available for the Minolta Auto-
,,Ltl and are recommended in order to obtain the best results cord Model
wttn' . I lE.
'l . Minolta Lens Shade
2 - Minolta Filters
3 . M i n o l t a J u n i o r B' C' Fla sh
4 - Self-timer
5. Close-up Lenses and Parallax Correction Kit
6 - M i n o l t a P a r a j u ste r
Minolto Lens Shcide
The Minolta Lens Shade is square' This shape
is better because a round shade sometimes cuts
of f the outer corners of the negative i$ it's
large enough to cut out stray light effectively'
A lens shade is necessary to Prevent stray light
from hitting the lens and causing light-flare
spots or streaks on the photograph' A lens
shade is particularly necessary when using
fl ash.
Minollcl Filters
Filters help you to take better pictures
and to secure unusual effects'
@View original page 19Page 22 · Read text
The Min o lt a A u t o c o r d M o d el " L tl can t o c u s on l y o n o b j e c t s a t d i sta n ce s gr ea t e r t h a n 3 . 3 f e e t . F o r to kin g clos e- u p p ict u r e s , s p e c i a l c l o s e -u p le n se s a re n e ce ssa ry. \X /h e n a twin- lens ref le x c a m e r a i s u s e d a t sh o rt d ista n ce s, p a ra lla x ca u se s th e im age see n t h rough t h e v i e w i n g l e n s to b e slig h tly d ifFe re n L tro m th a t seen by t he t a k ing le n s . T h i s i s d u e to th e se p a ra tio n b e twe e n th e two lenses and t he f ac t t h a t t h e i r a x e s a re p a ra lle l. Pa ra lla x is q u ite a p p a rent when t he c a mera i s u s e d a t c l o s e d i :ta n ce s, th e re fo re , a sp e cia l p a ir o f close- up le n s e s p lu s a p a r a l l a x c o r r ectio n le n s is n e e d e d to co rre ct th is elfect, Two s e t s of c l o s e - u p l e n s e s a re a va ila b le , a n d e a ch co rrta in s 2 convex l e n . e s o l r r s a n r i s m a t i c l e n s . Set N o . I e n a b l e s y c u t o t a ke clo se -u p s a L d ista n ce s b e twe e n I 5 and 26 inches . S e t N o . 2 p e r m i t s c l ose -u p s to b : ta ke n a t d ista n ce s b e tween 1 4 a n d l B i n c h e s . €D www.orphancameras.comView original page 22
Page 23 · Read text
T h e M i n o l t a P a r aj u s t e r e l i m i n a t e s
t h e e t f e c t s o f P a r a l l a x u n d e r a l l
c o n d i t i o n s i n c l o s e - u p p h o t o g r a p h y '
It also obviates the need ior special
prisma ic close - up lenses. The Parajuster produces the exact image on
t h e g r o u n d g l a s s t h a t w i l l b e t a k e n b y t h e t a k i n g l e n s , b e c a u s e t h e
mechanism shitts the taking lens into the position occupied by the view-
i n g l e n s w h i l e f r a m i r g a n d F o c u s i n g t h e p i c t u r e C l o s e - u p s c a n ' b e t a k e n
w i t h a s i n g l e c l o s e > u p ( p r o x a r ) l e n s b y u s i n g i t o n t h e v i e w i n g l e n s w h e n
f o c u s i n g , t h e n r e m o v i n g i t a n d p l a c i n g i t o v e r t h e t a k i n g l e n s * h i l e
making the exposure. Or two identical proxar lenses may be used' one
o v e r t h e v i e w i n g a n d t h e o t h e r o v e r t h e t a k i n g l e n s .
T h e A d v a n t a g e s o f t h e P a r a i u s t e r a r e 3
l . T h e p i c t u r e t h a t i s t a k e n i s t h e p i c t u r e t h a t w a s s e e n o n t h e g r o u n d
g l a s s .
I Objects are relatively in the same posi-
t i o n s a s t h e y a P P e a r e di n t h e g r o u n d g l a s s '
The picture won't show unexpected re-
t l e c t i o n s t h a t w e r e n ' t i n t h e g r o u n d g l a s s
because o[ the slightly ditferent level oF
the lenses.
4 . N o n e o F t h e h i g h l i g h t s t h a t y o u s a w w i l l
d isap pea r.
5 . ' f h e c o m p o s i t i o n o F t h e p i c t u r e w i l l b e
e x a c t l y a s i t w a s o n t h e g r o u n d g l a s s '
6 . P i c t u r e s d r e f r e e t r o m t h e d i s t o r t i o n t h a t
i s s o m e t i m e s p r o d u c e d b y p r i s m a t i c c o r -
rection oF tcrcus (through an additional
l e n s) .
7 . N o s l i p - u p s c a n o c c u r b e c a r t s e o f m a l -
a d j u s t m e n t o F t h e p r i s m s w i t h c l o s e - u p
le n ses.
8 . Two or more close-up lenses can be trsed
together to permit even closer work than
i s p o s s i b l e w i t h a s i n g l e c l o s e - u P
( p r o x a r ) l e n s .View original page 23Page 24 · Read text
Since th e estab lis h me nt of -l the lenses, production of the
Chiyoda Kogaku Seiko K. K. in
r e t h a n 3 0 d i f f e re n t E shuttersassembly andand cameratesting ofbodiesthe com-and 19 2 7r mo
mcdels . efi cameras have been El pleted product, are all carried
out within our own resoective put on the market. They have tactories. At the same time,
been so successful .in meeting however, in view of providir,g t h e d e man d s o f t h e p u b l i c th a t (^ for further expansion of our o*n
today the Minolta is the tavorire { as well as the general camera
wi t h c a me r a , f a n s t h e . wo rld in d u stry th ro u g h o u t Japan, we
over. have adopted the use of the ncted You may recognize ycur favorite o Se iko sh a -MX S h u tte r in our new
ca mera am o n g t h e f o l l o w in g F Minolta Autocord and Minclta
names oF cameras produced in the Au to co rd Mo d e l "L //.
quarter century since our found- Osaka l-'lead Office ' in g : NiFc a r e t t e ,N i f c a k l a p p , N i fca -
dox, Nifcasport, Hup,py, Minolta 3-chome, Kitakyuhoji-machi,
" Hisashi-ku, OSAKA. Baby; Minolta Vest, Minolta Six, Minolta Semi, Minolta Press, Auto o To lyo B ra n ch Off ice :
Press Minolta, Auto Semi Minolta, rl 3-chome, Ginza, Chuo-ku,
Minoltaflex, ALitomati etc. Since TOKYO.
t 9 4 5 a n im p r o v e d m o d e l o f th e Head C{f ice Factory ;
Minolta Semi, Type - P has made Minolta Autocord, Minolta
its debut while the production of 3 Autccord Model " Lt/ and I
t h e Min o lta M e m o h a s be e n Min o lta I 6 a re ma de in this
su s p e n d e d . T h e i m p r o v e d m od e l factory.Mi nolt a -os M o d e l l I , . a v a i la b le z Ita mi Fa cto ry:
wi t h F 2 o r F z . A l e n s i s th e Optical Glass Production. latest design of its kind. Simi- o
larly the previous Minoltaflex ll F Sakain l . Factoryt . . l :
B has been superseded by the F o r s n r n g a n o F i n i s h i n g o f
-l Lenses to be used in variousne w Minolt a - f l e x I l I , a n d a t th e
same time production the of its //, D MinoltaIn a d d itioCamerasn L e n seiss anddonePrhere.ism ssister model the " Minolta-cord
for overseas various custo- "and the Minolta-Autocord was " . me rs a re b e in g ma de in thisbe g u n . Th i s l i n e n o w c u l m i n a te s
factory. Also the entirein the lMinolta Autocord Model rt
" L t l. A t 6 m m . s u b - m i n i a tu re Minolta-g5 cdmera is Dro-
duced here.ca mera ; t h e M i n o l t a t 6 , a n d a D
35 mm. c ame r a / t h e . M i n o l t a ' A' Toyokawa Factory :are currently in production. = Th e h o me o f th e M inolta-
A distinctive feature of Minolta tn c o r d , a n d t h e M i n o l t a ' A ' .
Cameras is the fact that the pro- Nishinomiya Research Laboratories:duction of the entire .u."ru Frorn v Reiearch in optical glass for-
tormulation oF the optical gl6ss, mu la tio n a n d th e devising
its me lt in g , c r y s t a l i z i n g , g r i n d in g , and testing of new lenses is
po lis h ing an d f i n a l a s s e m b l y o f (rl done here.
@ www.orphancameras.comView original page 24From the M. Butkus archive. Original publisher and archive notices are retained.
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