Canon A-1 User Manual

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TABLE OF CONTENTS

Main Features ...................................... 5

Pictorial Outline for General Use of

the Camera.............................................................. 8

Setting the Camera for the Five AE
Modes and Manual Override
Preliminary Preparations

Handling the Lens................................................. 13

NORMAL PROCEDURES
Loading the Battery

Checking the Battery............................................ 20

Film Advance and Shutter Release
Holding the Camera

Loading the Film................................................... 26

Setting the ASA Film Speed
The Basics of Exposure
AE Photography
Setting the Lens for AE Photography ... 33
AE Mode Selector

AT Dial .................................................................. 35

Shutter Speed Scale on the AT Dial .... 36

Aperture Scale on the AT Dial
Shutter-speed Priority vs.

Aperture Priority.................................................. 40

Programmed AE................................................... 45

Meter and AE Coupling Ranges
Metering at Low Light Levels
Viewfinder
Viewing and Focusing
Optional Viewing Aids
Previewing the Exposure
Cancelling the Viewfinder Display

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10
12

18
19

22

25
28

30
32

34

37

46
47
49
49
50
52

53

Numerals and Characters Composing

Digital Readout in Viewfinder............................. 54

Incorrect Exposure Warnings ............................ 55

Double-Check Before Shooting
Shutter Release
Rewinding the Film

Frame Counter...................................................... 59

SPECIALIZED PROCEDURES
Stopped-down AE Photography
Manual Override
Self-Timer
Exposure Compensation

Multiple Exposures............................................... 73

Film Plane Indicator

Distance Scale........................................................ 75

Infrared Index Mark............................................ 75

Checking the Depth of Field................................ 76

Lens Signal Coupling

Unusable Lenses.................................................... 79

Automatic Diaphragm Control

Manual Diaphragm Control................................ 80

Flash Photography with the A-1

Motorized Film Winding ..................................... 89

Data Back A .......................................................... 90

Various Accessories for Close-ups and
Photomacrography
Proper Care of the Camera
Using the Camera in Extremely Cold

Conditions ............................................................. 96

Specifications ........................................................ 97

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57
58
58

60
61
65

66

69

75

78
80

83

90

95

Film Advance Lever Film Rewind Button

Eyepiece Shutter Lever

Winder and Motor Drive Terminals

Positioning Hole
for Motor Drive MA

Lens Release Button

Eyepiece

Winder and Motor Drive

Coupler Cover

Positioning Hole
for Motor Drive MA

Memo Holder

Tripod Socket

INTRODUCTION

Congratulations! You are now the owner of
the most exciting and advanced camera on
the market. Canon has good reason to have
unbounded confidence and pride in the A-1.
Embodied in this camera are the qualities of
the finest SLR cameras and into it went the

most sophisticated electronics technology
available in the world today. Incorporating
at least 20 novel technologies never before
used in a camera, your A-1 is capable of
operating in five distinct AE modes-all with
an incredibly high degree of precision,
reliability and ease of operation. A simple
flick of a single switch will put you in any
one of the AE modes. Simple manual
operation is also possible. With its many AE
functions, the A-1 is not only the perfect
tool in the hands of a professional but easy
enough to operate even for novices. Even the

A-l’s system accessories are integrated into
its pulse-controlled, digital computer system
so that you can enjoy AE flash and
motorized AE photography. In the A-1,
Canon finally offers you a multifunctional
AE camera that actually gives you more
creative freedom through more control.
You will find that your A-1 has many

unusual features. For the fullest under
standing of and benefit from your A-1,
please read this instruction booklet carefully
as you familiarize yourself with the camera.
For the convenience of non-experts, we have
included as many photographic hints and
facts as space allowed. We at Canon hope
your new A-1 will open to you a whole new
world of photography, whether as profession
or avocation.

Focusing Index Mark with Depth-of-Field Scale

Focusing Ring

Mount Positioning Point

Exposure Preview

Switch
Exposure Memory
Switch

Stop-Down Lever

Viewfinder Display Lever

PC Socket

Battery Check Button

ASA Lock Button

Exposure Compensation
Scale

ASA Film Speed Scale

Film Rewind Knob with Crank

Exposure Compensation

Lock Button

Film Plane Indicator

Fold out both front and back nomenclature pages for easy reference while reading the instructions.

“A" Mark

EE Lock Pin
Aperture Ring

Battery Chamber Cover/Finger Grip

Positioning Pin for Action Grip

Mounting Socket

for Action Grip

AT Dial Guard

AT Dial

Main Switch

Battery Check/

Self-timer LED

Multiple Exposure Lever

Shutter Release Button

(with Cable Release

Socket)

AE Mode Selector

AE Mode Window

MAIN FEATURES

Quality from the Inside Out

The extraordinary qualities of the A-1 start
with its design. It is the first camera in the
world in which all information, both input
and output, is in the form of pulse signals,
enabling it to be the first camera with a
digital, rather than an analog, computer. It is
the first camera to have a Pure-Integrated
Injection Logic (Pure-PL), the most
advanced type of logic circuitry yet
produced by the electronics industry, which
is so highly integrated that it is capable of

processing many times the information

possible with simple IC’s. It is also the first
camera in the world to have a program unit
with programmable logic array (PLA) which
makes sure that the camera receives all
information and in correct order. In practi
cal terms, all of this complex electronics

circuitry boils down to the first camera
which is capable of extremely precise and
reliable automatic exposure in five different
modes but which remains remarkably
compact and easy to operate.
The use of such advanced technology is not
limited to design alone. Building on the
special production technology system it
established with the design of the AE-1,

Canon has extended its use of computers
and automation from automatic production
of the main parts to at least partial
automation in all facets of production
including processing, assembly and in
spection. In this contribution to a new
system of camera manufacture. Canon is
able to offer greater precision at less
expense.
Other benefits deriving from the design
concept of the A-1 include greatly improved
stability against great temperature changes
and remarkably improved meter response.
The A-1 will set AE exposure only a split
second before shutter release.
Despite all of this electronic circuitry which
would reasonably require a great deal of
power, the A-1 requires only one small
¡Dattery which normally lasts about one year.
Every part of the A-1, from its sequence
circuitry, where the power is sequentially

switched on and off, to its Pure-P L and
combination magnet, is designed to conserve
power.

Five AE Modes and Manual Override

Besides five AE modes which cover all forms
of photography, easy override of the A-l’s

-5-

AE functions is also possible.
Shutter-speed priority AE is especially useful
in action photography, aperture priority AE
in still photography. The programmed AE
mode, in which the camera controls both
aperture and shutter speed for correct
exposure, is good for general use and is the
easiest mode for beginners. These three AE
modes along with exclusive flash AE, are
performed with an ED lens set at “A” for all
the benefits _ of full aperture metering.
Stopped-down AE, in which the shutter
speed is automatically set, allows automatic
exposure with non-FD lenses and accessories
and is a big advantage in close-ups and photo
micrography. And since all AE inputs have
been consolidated into the AE mode selector
and the AT died, the operation of only these
two controls suffices to set the camera for
any one of the five AE modes.

For complete control for exposure cor
rection or special effects, manual operation
is a simple matter of moving the FD lens
aperture ring from the “A” mark while the
shutter speed is set on the AT dial. The A-1
will even provide you with an exposure
readout as a basis for your exposure
adjustment.

Exposure Compensation

Along with the wide selection of AE modes.

-(

the A-1 has two controls for wide-range
exposure compensation. These are the

exposure compensation dial for stepped
exposure correction between ±2 f/stops and
an exposure memory switch for temporary
correction. For special techniques such as

low- and high-key shots, contre-jour photo

graphy, multiple exposures and flash photo

graphy, you pros will find quick response in

the A-1. Even in AE, you have complete
control over the image results.

Field-of-view-only Viewfinder

This viewfinder is one of the A-l’s most

unusual features. In the classic sense of the
word, this bright viewfinder shows only the

field of view for easiest focusing and com
posing.
Using any one of three ways to take an

exposure preview, you will activate a

compact LED digital readout which clearly
conveys shutter speed, aperture, flash and
manual operation signals, a bulb indication,
improper exposure warnings and a mal
function warning. The viewfinder readout is

below and out of the way of the field of
view, and the LED’s are clearly legible with
no need for extra illumination even in very
bad light.

Wide Metering Range

With its extensive film sensitivity range
(ASA 6-12800) and 16 shutter speeds
(1/1000-30 sec.), the A-1 offers a wide AE

metering range from EV18 (f/16, 1/1000

sec.) all the way down to EV-2 (f/1.4, 8 sec.)

with ASA 100 film and an f/1.4 speed lens.

Provided that you can even focus your
subject in the viewfinder in a very dark
situation, it is most likely that you will be
able to meter it as well, even in an AE mode.

This is especially advantageous in such

dimly-lit situations as those in night scenes
and photomacrography.

Other Special Features

Add to these features the A-l’s single-lever
multiple exposure operation and its two­interval self-timer with an LED warning.
Switching one small lever before winding the
film sets the A-1 for a multiple exposure.
The film and even the frame counter remain
stationary for unlimited multiple exposures.
You can set the self-timer for a time-lag of
either two or ten seconds during which an
easily visible LED flashes. Flashing frequen
cy increases as a warning prior to shutter
release.
Finally, seemingly small features, but big
advantages in photography,include the A-l’s

detachable action grip, its 120 -stroke film
advance lever with a 30 stand-off, its
eyepiece shutter and its shutter button lock

(main switch).

The System

Beginning with accessories which are integral
parts of the A-1 system, Canon offers the

Speedlite 199A and the Motor Drive MA.
Either the specified Canon Speedlite 199A,

177A, 155A or 133A can be mounted on
the A-1 for AE flash photography with auto

matic setting of shutter speed and aperture.
With the Motor Drive MA, continuous
shooting at up to five frames per second is
possible, and the A-1 also accepts the Power
Winder A. Like the AE-1, the A-1 can also
use the Data Back A, a date imprinting
mechanism that will couple to both power
winder and Speedlite.
Plus, you have your choice of accessories
from Canon’s extensive SLR system. From
its famous, high resolution ED lenses to its
complete line of systemized accessories for
close-ups, photomacrography and photo
micrography, Canon offers high-quality
equipment for all photographic fields.

I Load the battery.

PICTORIAL OUTLINE FOR GENERAL USE OF THE CAMERA

Turn the main switch to the

2

“A” position and check
the power level.

Load the film and advance

3

it to the first frame.

^ Look into the viewfinder.

Compose the picture and focus.

► Check the exposure.

Flashes to indicate
overexposure

E S D

Flashes to indicate

underexposure

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Set the ASA film speed. £5 Set the aperture ring of the

4

I Press the shutter

button gently.

öl ’lens to the “A” mark (for

AE photography).

.Advance the film to the
'next frame.

AvO

> Select the AE mode.
^(Turn the AT dial).

I Rewind the film after

Lall frames are exposed.

AvOT,a/v

SETTING THE CAMERA FOR THE FIVE AE MODES AND MANUAL OVERRIDE

Shutter-speed Priority AE Aperture Priority AE

l.Make sure the lens aperture

ring is set to the “A” mark.

2.Switch the AE mode selec
tor to Tv.

3.Select a shutter speed by
turning the AT dial.

See pp. 34-36 for detailed
explanation.

l.Make sure the aperture ring

of the lens is set to the “A”
mark.

2.Switch the AE mode selec
tor to Av.

3.Select an aperture by turn

ing the AT dial.
See pp. 34-37 for detailed
explanation.

-10-

Programmed AE

1. Make sure the aperture ring
of the lens is set to the “A”
mark.

2.Switch the AE mode selec
tor to Tv.

3.Turn the AT dial to “P” at
the upper limit of the shut
ter speed scale.

See p. 45 for detailed
explanation.

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Stopped-down AE

1. Disengage the lens aperture
ring from the “A” mark
(necessary only on FD lens).

2. Fold and push in the stop­down lever.

3.Set the aperture by turning
the lens aperture ring.

See pp. 61-62 for detailed
explanation.

AE Flash

1. Insert the Speedlite 199A,
177A, 155A or 133A into
the A-l’s accessory shoe.

2.Set the ASA film speed on
the flash.

3. Make sure the lens aperture
ring is set to “A”.

4. Set the auto working aper
ture on the flash.

5.Switch the flash on.

6. Wait for the pilot lamp to
light up and “F” to appear
in the viewfinder.

See pp. 83-85 and instruc
tion booklet for Speedlite

199A, 177A, 155A or
133A for detailed explana

tion. -11-

Manual Override

1. Disengage the lens aperture
ring from the “A” mark

(necessary only on FD lens).

2.Switch the AE mode selec

tor to Tv.

3.Select a shutter speed by

turning the AT dial.

4. Select an aperture by turn

ing the lens aperture ring
(using the camera-selected
aperture in the digital read
out as a basis if so desired).

See p. 65 for detailed
explanation.

PRELIMINARY PREPARATIONS

Neckstrap

Thread the tips of the neckstrap through the
corresponding rings on the camera so that
the tips are on the inside. Then adjust the
neckstrap to the length most comfortable
for you.

Plastic Insert

Pull up the film rewind knob to open the
camera’s back cover. Remove the plastic

insert, which is attached to the pressure
plate, and snap the back cover shut. The
insert is no longer necessary and may be
thrown away.

-12-

Eyecup 4S

This is an accessory eyecup which snaps into
the eyepiece grooves. Its use is not
mandatory, but viewing with it may be more
comfortable,^ and it helps block extraneous
light from entering the viewfinder.

Action Grip

The A-1 has a handy, built-in finger grip, but
to make camera holding all the easier, it
comes with a detachable action grip as well.

Before attaching the grip, load the battery
into the camera. Then, using a coin, screw
the grip into the action grip mounting socket
guided by the positioning pin on the front of
the camera body.

Semi-hard Case

To protect the camera, particularly when
carrying it, insert it into its semi-hard case.
The screw in the bottom of the case screws
into the camera’s tripod socket. You can
easily shoot pictures even with the camera in

the semi-hard case by turning the top cover
down. If you wish to remove the top cover,
turn it down, slide it straight up in the
direction of the arrow and pull it out as

indicated in the photo. To replace the

cover, insert its hook into the corresponding

hole on the case and pull it straight down.

For closing the top cover, the lens’ focusing

ring should be turned to infinity (oo).

HANDLING THE LENS

Lens Cap and Rear Dust Cap

The front and rear lens caps should always
be on the lens when the lens is not on the
camera. For protection when the lens is
mounted on the camera but not in use,
please see to it that the front lens cap is
attached.

Lens Cap

Most Canon lenses are provided with a clip­on front lens cap which is easily attached

and removed from the front of the lens by
pressing in the tabs on both sides of the cap.
This type of cap may also be attached to a

Canon filter screwed into the lens.

Rear Dust Cap

The rear dust cap must be removed before
moimting the lens.

Operation with ah FD lens which lacks a chrome Breech-lock mount ring:

The rear dust cap for this type of lens has
serrated edges. Do not mount a rear dust
cap which lacks the serrated edges.

Removal from lens

1. Turn the cap coimterclockwise until it
stops.

2. Pull the cap out.

Reattachment

1. Align the arrow on the cap with the
red dot at the rear of the lens.

2. In that position, apply slight pressure to
the cap and turn it clockwise until it is
tight.

-1

Operation with an FD lens which has a chrome Breech-lock mount ring or with an FL lens:

Removal from Lens

1. Turn the lens’ mount ring clockwise until
it stops.

2. Pull the cap out.

Once the rear cap is removed, the Breech­lock mount ring is locked so that it cannot
be turned. (The diaphragm blades tire also
locked and will not move even if the aper
ture ring is rotated.)

Reattachment

1. Make sure the mount ring is locked so
that it cannot be turned.

2. Align the arrow on the cap with the
red dot on the mount ring.

3. In that position, push lightly down on the
cap and turn the mount ring counter
clockwise until it is tight.

Lens Hood

When shooting into bright light, light rays
entering the lens may form defects on the
image called ghost and flare. Attaching a
hood onto the lens helps to prevent this.
Bayonet-mount hoods are available as op
tioned accessories for most Canon lenses.
Please use only that hood which is specified
for the lens concerned. This type of hood
fits into the bayonet mount at the front of
the lens where it is fixed by turning until it
is tight. Some hoods for wide-angle lenses
require proper positioning before mounting.
Align the red dot on this type of hood with
the notch in the bayonet mount at the front
of the lens. Then lightly push the hood into
the mount tmd turn it until it is tight.
When not in use, the hood can be mounted
in reverse on a standard or some wide-angle
lenses, in which case even the hood will fit
perfectly into the camera’s case.

5-

Mounting on the Camera and Dis

mounting

Pre-Mounting Checklist

1. Make sure the camera’s stop-down lever
is not locked for stopped-dovm metering
(see p. 61). If it is, a red warning dot will
appear beside the coupling lever inside
the camera body.

2. Make sure the automatic aperture lever at
the rear of an FD lens is not set for
manual diaphragm control (see p. 80).

3. Before mounting an FD lens, make sure
the film advance lever has been complete
ly advanced.

4. Remove the lens’ rear dust cap.

5. Remove the camera’s body cap.

In the case of an FD lens which lacks
a chrome Breech-lock mount ring:

Mounting

1. Align the projecting red mount position
ing point on the lens with the red dot

above the camera mount.

2. In this position, apply slight pressure to
the lens, and simply rotate the whole lens
clockwise until it stops and the lens
release button pops out with a click.

Do not press the lens release button while
mounting the lens.

Only when this button pops out can you be
sure that the lens is properly mounted and
that it will function properly. It is also
possible to mount this type of lens when it
is not perfectly aligned with this camera.

To facilitate mounting when it is very dark
or when you are in a great hurry, the mount
positioning point is rounded. Simply find
this point with your finger and align it as
closely as possible with the red dot on the
camera. Turn the lens slightly back and
forth while applying slight pressure until it
drops into position and continue with step

2 above. Excessive sloppiness will make

mounting impossible; take care to be as

accurate as possible.
Dismounting

1. Turn the lens covmterclockwise until it

stops while pressing the lens release

button.

2. Pull the lens out.

When the lens is dismounted, the diaphragm

blades are locked in a half-closed position

and will not move even if you turn the

lens aperture ring.

In the case of an FD lens which has a
chrome Breech-lock mount ring or of
an FL lens:

Mounting

1. Make sure the Breech-lock ring is locked
so that it cannot be turned. It will not
mount onto the ctimera otherwise.

2. Align the red dot of the Breech-lock ring
with the red dot on the camera body
above the camera mount.

3. In this position, fit the rear of the lens
into the camera body and turn the
Breech-lock ring clockwise until it is
tight.

Dismounting

1. Turn the Breech-lock ring counterclock
wise until it stops.

2. Pull the lens out from the camera body.

When removing a lens, take speciгll care not
to damage the protruding pins and levers
on the rear. With the exception of the Fish­eye 7.5mm lens, always put a lens down
with the rear facing up.

Whenever you mount an FD lens on the A-1,
its maximum aperture is automatically
transmitted to the camera’s AE circuit. Even
if you switch to an FD lens of a different
maximum aperture, the mounting procedure

is the same as that described above and re
quires no adjustment.

All five AE modes are possible with an FD
lens. See SETTING THE LENS FOR AE
PHOTOGRAPHY. Of the five AE modes,

only stopped-down AE is possible with an

FL lens.

]¥oritia] Procedures

Loading the Battery

This camera will not function unless a
battery is loaded. Use one brand-new silver
oxide or alkaline-manganese battery as speci
fied in the table below or an equivalent bat
tery of another brand.

Usable Batteries

Silver Oxide

Battery (6V)

Alkaline-manganese

Battery (6V)

It can be loaded and unloaded more easily
before the lens is mounted, and, of course,

if the action grip is attached, it must be

removed while loading. You should always

wipe the battery poles with a clean, dry

cloth before insertion to prevent any cor-

Eveready (UCAR)

No. 544
JIS 4G13
Mallory PX 28

Eveready (UCAR)

No. 537

rosion and damage to the camera due to
dirt or fingerprints.
To load the battery:

1. Apply either a fingernail or the eyepiece
protective cover, which is inserted into

the accessory shoe of the camera, into the
groove of the battery chamber cover and
lift lightly so that the cover flips up.

2. Following the diagram on the inside of
the battery chamber, load the battert'

negative pole first, pushing it downwards
in the chamber. Make sure the poles are
facing in the correct directions. Incorrect
loading can lead to possible corrosion and
damage to the battery terminals besides
causing the battery to discharge very
quickly.

To unload the battery, simply tip the posi

tive end forwards and pull it out from the
top. The battery should be removed if the
camera is not to be used for an excessively
long period of time.

9-

Checking the Battery

Life of ihe battery in normal use is

approximately one year. Using the camera

frequently at low shutter speeds, at the “13”

setting or in extremely cold conditions lakes

more battery power and requires replacing

the battery more often.
The battery requires checking under the
following circumstances:

1. When a new battery is loaded.

2. If the shutter will not function when the
main switch is at “A”.

3. When long exposures are frequently
made.

4. When the camera is used very frequently.

5. When the camera is used after it has been
stored for an excessively long period of
time.

6. When the camera is used in extremely
cold conditions.

To check the power level of the battery, first

set the main switch to the “A” position. It

cannot be checked in the “L" position. Then

press the battery check button on the top of

the camera for two to three seconds. If,
while pressing the battery check button,
the LED on the top of the camera blinks on

and off rapidly, battery power is sufficient.
If it blinks only slowly, twice per second, for
instance, or not at all, the power level is
insufficient and the battery should be
replaced. It should also be replaced if the
flashing frequency changes during the few
seconds the check button is depressed,
indicating the battery is near exhaustion.

It is a good idea to carry a spare battery
when you expect to use the camera
continuously for a long time, such as on a
vacation, when you plan to take a number of

time exposures on bulb, or when the camera
is to be used in very cold conditions.

20-

The battery check button also serves to
cancel the self-timer or to cancel the shutter
in long exposures. The circuit is cancelled
the moment you press the button, and the
second shutter curtain will close when your
finger is removed from the button. The
shutter will not be released if you press the
shutter button while pressing the battery
check button.

-2

Getting a Feel for Your A-1

Now that the battery is loaded, your
A-1 will function. Before loading the
film or doing anything else, play with
it a little. Operate the shutter button,
and the film advance lever until they
feel like natural extensions of your
fingers.
Shoot and develop at least one roll of
film with a new camera before using it
on a shooting expedition or on a trip
to make sure you know how to
operate it properly.

1-

Film Advance and Shutter Release

At the base of the film advance lever is the
main switch of the camera. When it is at the
“L” (LOCK) setting, all active circuits are
turned off and the shutter button is locked
to prevent unintentional shutter release. This
switch should always be in the “L” position
to prevent battery consumption and film
wastage when the camera is not in use, such
as when it is in a camera case.
When the main switch is set at “A”, the
shutter button can be operated. The shutter
button serves to activate both the AE meter
and shutter operation. Since it is electro
magnetic, it requires only gentle pressure for
both a very smooth shutter release as well as

immediate meter response when shooting in
quick succession. Pressing the shutter button
lightly only halfway gives a meter reading

preview inside the viewfinder. When you

press it gently all the way, the mirror flips

up, the diaphragm closes down and the

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shutter releases. After shutter release, the
mirror and diaphragm automatically reset
and the film advance lever is ready to be
advanced.

With the tip of your thumb, lightly push the

film advance Igver away from the camera
body to its 30 stand-off position. Now it

can be easily operated with the tip of your

thumb. Push it all the way to the right in a
single, short 120° throw to wind the film,
cock the shutter and prepare the diaphragm

and mirror for the next shutter release all in
one motion. Or you can advance the lever in
several short strokes. Each winding will also
advance the number in the frame counter,
indicating the number of pictures taken.

-22-

Attaching a Cable Release

A cable release is a device which, used in
conjunction with a tripod, allows the shutter

to be held open for long exposures without
your ever having to touch either camera or
shutter button directly. This is especially
useful for reducing the chances of blurred
images in copy work, photomacrography
and photomicrography.
The A-1 is provided with a socket for a cable
release in the center of the shutter button.
The cable release simply screws into this

socket. The main switch must also be at the

“A” setting.

-23-

Holding the Camera

The best precaution in preventing camera
shake is to press the shutter button gently.
Never punch it. It is also helpful to hold the
camera properly, not only for good image
results but also for comfort and ease in
handling.
We suggest first that you hold the camera
firmly in both hands, the tip of your right
thumb on the film advance lever, the right
index finger on the shutter button and the
other right fingers on the finger grip. For
best balance and easy focusing, the left
thumb and index finger should be under the
lens barrel. Press both elbows firmly against
your body when holding the camera in a

horizontal position, at least one elbow in a
vertical position. Press the camera firmly to
your cheek or forehead. Spread your feet
slightly apart with one a little ahead of the
other. Don’t tense up. Now release the
shutter button gently as you exhale.
It is always advisable to lean against a steady
support, such as a wall or a tree, if any is
available. Use a tripod and a cable release
with a telephoto lens or when shooting at a
shutter speed of 1/30 sec. or slower.

If the tripod screw of your tripod is quite

long, be especially careful not to forcefully

screw it all the way in beyond the limit of

the camera’s tripod socket.

Since this is a single-lens reflex camera, the
viewing lens and the camera lens are not sepa
rate. When you look into the camera’s view
finder, you are seeing your subject through the
lens exactly as the lens “sees” it and exactly
as it will be exposed. There is no need to be
concerned with parallax.

Film Loading

The Canon A-1 accepts color or black and
white film in standard 35mm cartridges.
When loading and unloading film, avoid
direct sunlight and take care not to touch
the shutter curtain, the film rails or the
pressure plate.
To load the film, first fold out the rewind
crank and sharply pull up the rewind knob.
The camera’s back cover will pop open. Put

the cartridge into the film cartridge chamber
so that the protruding part of the spool is on
the bottom and push down and rotate the
rewind knob until it drops into its fully­seated position. Now pull the film leader
across the camera and insert the tip up to at
least the first perforation of the film into
any slot of the multi-slot take-up spool. Ad
vance the film once, making sure the film
sprocket holes are engaged with the teeth of

the film transport sprocket.

-2

Check to see that the cartridge is in a
fully-seated position and that the film is
taut. If there is film slack, gently turn the
rewind crank clockwise until it stops. Snap

the back cover shut. Gently turn the rewind

crank in the direction of the arrow to take
up film slack and then fold the rewind crank
back in.
Switch the AE mode selector to Tv and turn

the AT dial to a fast shutter speed. Now

make two blank shots, turning the film
advance lever and releasing the shutter, so
that the frame counter advances from “S” to

“0". While doing this, keep an eye on the
rewind knob. If it rotates, the film is
properly loaded. If it does not rotate,
chances are that the film is sagging or the

film perforations are not properly engaged in

the take-up spool and film transport
sprocket. If the rewind knob still does not
rotate once you have gently turned the

6-

rewind crank clockwise to take up film
slack, open the back cover and reload the

film.
The A-1 can also be loaded with bulk film in
which case the tip of the film should be
trimmed as illustrated below before it is
loaded into the camera.

-27-

Setting the ASA Film Speed

The ASA is a numerical rating of a film’s
sensitivity to light. The higher the ASA
rating, the faster the film and the more
sensitive it is to a given amount of light as
compared to a film of a lower ASA rating. In
other words, the higher the ASA rating, the
less light you need to expose the film. When
buying film, choose one with an .\SA rating
appropriate for the lighting conditions. The
film manufacturer’s recommended ASA
rating can be found on the film packaging or
data sheet.
Since the ASA film speed is one of the
essential factors in determining proper ex
posure, it is very important that it be
correctly set on the camera. The table on the

opposite page shows the ASA ratings which
can be set on the A-1. Figures in parentheses
are intermediate film speeds which are in

dicated by dots on the ASA dial. To set the

-2

ASA, press in the ASA film speed dial lock
button with your fingernail and turn the
outer knurled edge of the dial until the
desired film speed rating is aligned with
the film speed index. The dial cannot be
turned lower than ASA 6 or higher than
ASA 12800.
There is an exposure compensation scale on
the .-\SA film speed setting dial. The func
tion of this scale will be explained later, but
at this point, please note that this scale
should be set at “1” for normal ,\E pho
tography.

8-

ASA 6 • • 12 • • 25 • • 50 • • 100 • • 200 • • 400 •

( 8 ) (10) (16) (20) (32) (40) (64) (80) i125i (160) (Ì5DÌ (3201 'SOO'

• 800 • • 1600 • • 3200 • • 6400 • • 12800

(650) (1000H1250) (2000K 2500) (40001(5000) MOO 10000

The choice of film is an important part of

photography, and you have a wide variety to

choose from. Films differ in a number of
ways including ASA rating, exposure lati
tude, color rendition and color temperature
among other variables. Some, such as in

frared film\ require the use of certain filters.

Depending on the type of film, a color

temperature conversion filter may be neces
sary under certain lighting conditions. And,
of course, you have the basic choice be
tween two types of color film: color
negative film (for prints) and color reversal

(slide) film. Film can be purchased either in

cartridge form with varying numbers of
frames or in bulk form. Either type can be

loaded in the A-1. Although bulk film is a

little more complicated to handle since it

must be cut to the desired number of frames

and handled in complete darkness, there are

simple devices for this purpose on the

market and it is cheaper than cartridge film.

For more information concerning film,
please refer to a book on photography or ash
your local film dealer, and please pay careful
attention to the film data sheet.
Aside from those instances when a specific

filter is required, filters can also be used to

emphasize certain colors for more clarity or

special effects. Canon offers a wide variety

of filters for both black and white and color
films. It also offers a gelatin filter holder

which can hold up to three filters at a time

and can be attached to various diameter

lenses by means of adapters. Since the A-1

has a through-the-lens meter, there is no
need to make any exposure correction with

filter factors when a filter is attached.

-29-

Memo Holder

The back cover of this camera is provided
with a memo holder. Once you have loaded

the film and set the ASA, it is very useful to
tear off the end of the film box and insert it
into this memo holder as a constant re
minder of the type of film in use. Add other
information as you like.

-3

The Basics of Exposure

This section contains some terms and
definitions which will be used throughout
this instruction booklet.
The amount of exposure is a matter not only
of the amount of light allowed to strike

the film but also of the amount of time
the light is allowed to strike the film. The
camera has two mechanisms to control
exposure, the diaphragm and the shutter.
The diaphragm consists of blades which
open and close to certain size openings
called apertures. The size of the aperture
determines the amount of light which will
fall on the film. The various size apertures
tire indicated by a set series of numbers

called f/stops or f/numbers. Each f/stop
represents some amount of light that is
allowed to pass through the lens. The smaller

numbers are called large f/stops while the

larger numbers are called small f/stops.

This is because the larger numbers represent

smaller apertures and allow less light to pass

through the lens. Each time you move from
one f/stop to the next smaller f/stop (larger
number), the amount of light allowed
through is exactly halved. In effect, the
amount of exposure itself is also halved.
Using f/2 as a standard, the amount of light
reaching the film will change according to
f/stop as indicated below.
On the A-1, aperture can be controlled
either by turning the AT dial or the lens

aperture ring to the desired f/stop. Other
wise the camera controls the aperture.

The largest f/stop on the lens is called the
lens maximum aperture. The smallest f/stop
on the lens is called the lens minimum
aperture. The maximum and minimum
apertures differ according to the lens.
The maximum lens aperture is important
because it indicates the largest amount of

light that the lens will transmit.

f/stop

Brightness ratio

12 1.4 2.8 3,5 4 5.6 8

H ki ki kis

-31-

11 16 22

The length of time that the light is allowed
to strike the film is determined by the
shutter speed. The relationship between
shutter speeds is like that between f/stops.
As you move from one shutter speed to the
next higher shutter speed, exposure is
halved. Your image is actually exposed by
the opening of the shutter. Shutter speed
can he controlled on the A-1 by turning the

AT dial. Otherwise the camera controls it.
Now suppose that you have the camera set
for a certain exposure value (EV), say the
exposure you get with f/4 at 1 /60 sec. There

are certain other combinations of aperture

and shutter speed which will give you the
same amount of exposure as that above.
Some of these combinations in this example

include f/5.6 at 1/30 sec. and f/2.8 at 1/125

sec. You simply move up and down the

f/number and shutter speed scales. It is not
important to know this relationship when
you use the A-1 in an AE mode. The camera
will do the figuring for you. But it is an im
portant photographic fact which you may

find useful when you use the camera
manually or in correcting exposure.

-3

AE Photography

AE photography means automatic exposure.
The camera is selecting either shutter speed

or aperture or both for you.
The most obvious, unusual feature of this
camera is the absence of the shutter speed
dial which has been replaced by the AT dial.
This dial allows you to set either shutter
speed or aperture for any of five different
AE modes.

Through-the*lens fuU-aperture metering
Shutter-speed priority AE

Aperture priority AE
Programmed .-\E
AE flash photography

Through-the-leng stopped-down metering

Stopped-down AE
In shutter-speed priority .\E, you set the
shutter speed, and the camera automatically
selects the necessary aperture according to
lighting conditions for correct exposure.
Shutter-speed priority AE is applicable to
most subjects but especially useful in action
photography.
In aperture priority AE, you set the aperture
while the camera automatically selects the
necessary shutter speed for correct exposure.
It is convenient for the various forms of still
photography in which depth of field is of
importance.
The camera automatically selects both

2-

aperture and shutter speed in the pro
grammed AE mode. This mode is helpful
when your only goal is correct exposure

and neither depth of field nor control of

movement are very important in the picture.
It is the easiest mode for the beginner.
In stopped-down AE, you set the aperture

manually on the lens aperture ring while the

camera automatically selects a shutter

speed for correct exposure. This is a big

advantage when using non-FD lenses and
in specialized areas of photography such

as photomacrography and photomicro

graphy.

AE flash photography is possible with the
Canon Speedlite 133A, 155A, 177A or

199A. In this mode, the camera sets both
aperture and shutter speed automatically,
eliminating any worries about guide number
calculations and flash synchronizing shutter
speeds.
The first three AE modes discussed above
are explained in more detail in the following
sections. For more information concerning
the stopped-down AE and AE flash modes,
please refer to the section entitled SPECIAL
IZED PROCEDURES.
Please note that shutter priority AE, aper
ture priority AE, programmed AE and AE
flash are possible only with an FD lens and

only when the lens aperture ring is set to the

“A” mark. See SETTING THE LENS FOR

AE PHOTOGRAPHY.

-3

Setting the Lens for AE Photography

The first four AE modes described above,
i.e. shutter-speed priority AE, aperture
priority AE, programmed AE and AE flash
photography, are performed with full aper
ture metering through the lens. This means
that the diaphragm is fully open during
metering for easiest viewing and opera
tion.
For correct operation in these four full­aperture metering AE modes, only an

FD lens can be used and the lens aperture

ring must be set to the “A” mark. To do

this, simply hold in the EE lock pin on the

lens while turning the aperture ring from the

minimum aperture to the “A” mark. This
can be done either before or after the lens is
mounted on the camera. At the “A” mark,
the aperture ring is locked and cannot be
turned to any other setting. Reverse the
procedure to disengage the aperture ring
from the “A” mark.

3-

< 5 7 10 15 30 ft

1.2 1.5 2 3 5 10 00 m

r I I I I I I. I I I I

a «m 414 inif n

c u l l i l i 2 2

Instead of an “A” mark, some earlier FD
lenses have a small green circle on the

aperture ring for AE photography. Its use is

the same as that of the “A" mark, and the
procedure is the same as that described

above except that some of these lenses may
not have an E£ lock pin for locking the
aperture ring at the automatic setting.

A

-3

AE Mode Selector

The AE mode selector has two possible
settings, Tv (time value) and Av (aperture

value). When the AE mode selector is switch
ed to Tv, the camera is set for the shutter­speed priority AE mode. You set the shutter
speed and the camera selects the aperture.
When switched to Av, the camera is set for
aperture priority. Here you set the aperture,
and the camera automatically selects the
shutter speed.

The AE mode selector click stops at □ for
Tv and at O for .\v.

AT Dial

This dial works in conjunction with the AE
selector. When the AE selector is set at Tv, it
shows the shutter speed scale. When the AE
selector is set to Av, it shows the aperture
scale.
To operate the AT dial, first slide down the
AT dial guard which is designed to prevent
accidental movement of the dial. Depending
on the setting of the AE selector, turn the
AT dial until it click stops at the exact
aperture or shutter speed desired so that the

setting is aligned with the index mark. The
AT dial will not turn past the highest and
lowest limits of each scale.
The figure set on the AT dial has priority in

determining the exposure. If, for example,

you have set a shutter speed on the dial, the

camera balances the aperture against the

shutter speed you have selected until ex

posure is correct.

-3

If, on the other hand, you have set an
aperture on the dial, the camera selects the
necessiiry shutter speed for correct exposure.

Shutter Speed Scale on the AT Dial

There is a choice of 16 click-stop settings
ranging from 1/1000 (sec.) to 30 (sec.) on
the ЛТ dial’s shutter speed scale. The slow
shutter speeds from 2 (sec.) to 30 (sec.) are
marked in orange while shutter speeds from
1 (sec.) to l/IOOO (sec.) are in white. The
while numbers on the scale are the reci
procals of the true shutter speeds so that a
white 2 indicates a speed of 1/2 sec. while a
white 1000 indicates a speed of 1/1000 sec.
Be careful not to confuse the slower orange

range with the faster white range.

Above the highest speed of I/1000 is the
“P” for programmed AE. Below the lowest
speed of 30 is the “B” setting. The dial will
not turn past the “P” or the “B”.

The “B” (Bulb) setting is intended for

exposures longer than 30 sec. When the
shutter speed is set at “B”, the shutter will
remain open as long as you press the shutter

-3

button. AE photography is not possible at

the “B” setting. The aperture must be set
manually. Remember that it is very im
portant to use a tripod and a cable release,
preferably with a lock, in long exposures to
reduce the chance of image blur. Also, since
long exposures present a real drain on the
battery, it may be wise to carry a spare.

The A-1 has a hot shoe and PC outlet for an
X-synch (flash synchronization) at 1/60 sec.

(the position). This shutter speed need not
be considered, however, when the A-1 is
used with specified Canon flash units (see

page 83).
Intermediate settings on the shutter speed
scale cannot be used. However, if you

accidentally set an intermediate shutter
speed, the camera will automatically select
the next lower or higher shutter speed as the
effective shutter speed, and that shutter
speed will be displayed when you take an
exposure preview.
If you mistakenly try a time exposure on
“bulb” while the lens is still at “A”, ex
posure will take place at the lens minimum
aperture.

500

Aperture Scale on the AT Dial

The aperture scale on the AT dial is calibrat
ed in f/stops ranging from f/22 to f/1.2. The
f/1.2 setting is indicated by a dot. The dial
click-stops at both full and half f/stops. It
will not turn past the largest and smallest
f/stops. The maximum aperture indicated on
the AT dial is large enough for any Canon
lens.
Under certain conditions in the aperture
priority AE mode, the maximum and mini
mum apertures on the lens have priority over
the aperture set on the AT dial. For
instance, if the aperture you have set on the
AT dial is larger than the maximum aperture
of the lens in use, the camera will match the
shutter speed to the lens maximum aperture
rather than the aperture you have set on the

AT dial for correct exposure. Thus, if you
are using an FD 50mm f/1.8 lens with the
AT dial set to f/1.4, the camera will use

-3

f/1.8 as the aperture setting. In this case, the
maximum aperture of the lens will be
displayed in the viewfinder when you take
an exposure preview regardless of the setting
on the AT dial. On the other hand, if you
have set an aperture on the AT dial smaller
than the minimum aperture of the lens, the
image will be exposed at the lens minimum
aperture but the shutter speed will not be
adjusted accordingly, resulting in over-ex
posure. In this case, the aperture set on the
AT dial will be displayed in the digital read
out.

Since the smallest aperture that can be set
on the AT dial is f/22, if you want to set an
aperture smaller than f/22, switch to

stopped-down AE and manually set the
aperture on the lens aperture ring.

7-

Shuttcr-spced priority AE
FD 400mm f/4.5 S.S.C., 1/1000 sec., ASA 125

Shutter-spccd priority AE
FD 60mm f/1.4, 1/SO, ASA 125

Shutter-Speed

Priority vs. Aperture

Priority

Having now read how to control the camera
for shutter-speed priority and aperture
priority AE photography, you might well
wander when it is best to use which mode.
Basically, it depends upon what you want
your photograph to portray.

Shutter speeds are most effectively used to
freeze or emphasize movement. The shutter­speed priority ,\E mode is applicable to

most photographic situations.

Aperture priority is most applicable to still

photography such as portraiture and land
scape photography in which depth of field is

an important factor. Some of the best crea

tive commercial and architectural photo

graphs are taken in the aperture priority AE

mode. This, however, does not apply to such
fields of photography as close-ups and
photomicrography for which you should
refer to the section entitled STOPPED-

DOWN AE.

Selecting a Shutter Speed

The table below can be used as a general

guide in selecting an appropriate shutter
speed according to lighting conditions when
using a standard 50mm lens and 100 ASA
film.

Brightness

Indoors
Outdoors
Mid-summer Beach or

Snow-covered Mountains

Shutter Speed

(Seconds)

1/30 to 1/60
1/125 to 1/250
1/500 to 1/1000

This table does not necessarily apply when
using a lens of a different focal length. If
you are using a telephoto lens, for instance,
any subject movement and the least bit of
camera shake can have a magnified effect on
image sharpness. For a telephoto it is neces
sary to use faster shutter speeds than with a
standard lens under the same lighting con
ditions. It is generally said that, for sharp
image results in hand-held shooting, the
minimum shutter speed should be equal to
or faster than 1 divided by the focal length
of the lens. This means that for a 100mm
lens, the shutter speed should be at least

1/125 sec.; for a 200mm lens, it should be at
least 1/250 sec.
There are other considerations in the se
lection of shutter speed. You can usually
freeze the action of relatively slowly moving
pedestrians or traffic at a shutter speed of

1/250 sec. The same is not necessarily true
of a rapidly moving bicycle. Instead of
freezing the action, you may want to empha
size it by blurring some part of the picture.
For instance, you could blur a moving
subject with a relatively slow shutter speed.
Or, using a panning technique, turning the
upper part of your body to follow the
subject’s movement, at a relatively slow
shutter speed of perhaps 1/30 sec., you can

-4

blur the background to stress the movement.
In this last technique, it is best to continue

panning as you release the shutter.
The direction of movement should also be
considered. A subject moving directly across
in front of the camera will be blurred to a
greater degree than a subject which is mov
ing diagonally across or is heading straight
for or away from the camera and may
require faster shutter speeds than you would
use considering speed of movement alone.
In fashion photography, a rapid succession
of shots at fast shutter speeds, or using a
flash while the model continuously changes
the pose, helps to capture natural expres-

1-

^ *

<1 A

-iAO

AyO

Selecting an Aperture

A discussion of how to select an appropriate
aperture boils down to an explanation of
depth of field. When your subject is in focus,
there is only a limited range in the fore
ground and background of the subject which
is also in focus. This zone of sharpness is
called depth of field.
Depth of field is governed by three factors:
aperture, lens focal length and shooting
distance. Remember the following relation
ships;
(1) The smaller the aperture, the deeper the

depth of field (the other two factors
remaining the same).
For example, if the lens focal length
and the shooting distance stay the same,
the depth of field is much deeper at
f/16 than at f/1.4.
The shorter the lens focal length, the

(2)

•^Aperture priority AE
FD 300mm f/2.8 S.S.C. FLUORITE, f/2.8 ASA 125

deeper the depth of field (the other tvvo

A

-43-

factors remaining the same).

For example, comparing a 28mm lens
with a 50mm lens at the same aperture
and shooting distance, depth of field is

deeper with the 28mm lens.

{.Ч} The greater the shooting distance, the

deeper the depth of field (the other two

factors remaining the same).

For example, if the subject is photo
graphed from three and then from seven

meters away, the zone of sharpness in

the foreground and background is great

er at seven meters.

Another characteristic of depth of field
is that it is generally deeper in the back
ground than in the foreground.
V\Tien depth of field is important in your
picture, it is best to control tlie aperture
directly using the aperture priority .\E
mode. Using a small aperture is great for
getting sharp overall focus in a landscape or

any other type of subject, but shallow depth
of field also has its merits. Using a relatively
large aperture will make your subject stand
out against its surroundings by blurring the

background. This is an especially successful

technique in portraiture and special effects.
There are ways to check the extent of depth

of field. For this information, please refer
to page 76.

Programmed AE

When the AE mode selector is set to Tv and
the AT dial turned to “P” on the shutter

speed scale, the camera is set for program
med AE. Correct exposure, both aperture
and shutter speed, is automatically set by
the camera according to the brightness of

the subject and a programmed set of combi
nations of apertures and shutter speeds.
Metering control is done steplessly from a
combination of the highest shutter speed
and minimum aperture all the way to slower
shutter speeds and larger apertures.
Under some circumstances, the camera be
haves as if it were set for aperture priority
AE. For example, if lighting conditions are
so low that an aperture larger than the
maximum aperture of the lens would be

necessary, the maximum aperture remains

fixed, and the camera’s electronic control
automatically shifts to slower shutter speeds

until the shutter speed is balanced against

the aperture for correct exposure. Of course,
if it shifts to a shutter speed lower than 1/60
sec., it is advisable to use a tripod and a

cable release or to switch to flash photo
graphy.
The advantage of this particular mode is that
it takes your mind completely off exposure

so that you can concentrate on your subject.

Programmed Combinations of Shutter Speed and
Aperture in Programmed AE (with ASA 100 film)

— ---------

indicates programmed combina
tions when a lens with a maximum aperture
of f/2.8 is used.

.............

indicates programmed combinations
when a lens with a maximum aperture
of f/1.4 is used.

-45-

AE Range of Silicon Photocell at Various AS As

FD 50mm f/1.4 Lens

Meter Coupling Range

When using the FD 50mm f/1.4 lens and
ASA 100 film, the built-in exposure meter
couples within a range of EV -2 (f/1.4 at
8 sec.) to EV 18 (f/16 at 1/1000 sec.)

AE Coupling Range

At given film speeds, the built-in exposure
meter couples with the aperture and shutter
speed as indicated in the chart below.
Outside the coupling range, the camera
warns you by flashing the photographic data
inside the viewfinder.

f/«op

Shutter Speed 30 18 S 4

(Sec.)

1^ 34 M >fc34oWto8#8dteacMDOO

-46-

Metering at Low Light Levels

With AE coupling all the way down to EV -2
(with ASA 100 film), the A-1 is capable of
metering and producing a natural rendition
of the light in very dim lighting conditions.
Since EV -2 is practically the lowest light
level at which you can even perceive your
subject through the viewfinder, you can
basically perform AE photography with the
A-1 as long as you can see your subject in

the viewfinder when using a film with appro
priate sensitivity. This means that the A-1
will usually give you a meter reading even in

the most adverse of lighting conditions when

performing photomacrography and photo

micrography in the stopped-down AE mode.

What this also means is that you will be
using very slow shutter speeds and may be
subject to failure of the reciprocity law. The
reciprocity law is that relationship between
apertures and shutter speeds discussed earlier
in which several combinations of the two
will give the same exposure value. The

trouble with this law is that it may not hold
true at slow shutter speeds. More exposure
may be necessary. You will find information
concerning reciprocity law failure and how
to correct it in the data sheet that comes
with your film. Correction of reciprocity
failure may involve increasing the light

-4

level so that higher shutter speeds can be
used. Even when following the instructions
of the film data sheet, it is advisable to

slightly adjust the exposure over several

shots to get at least one perfectly exposed
image.
Be especially on the alert for reciprocity
failure when using color reversal (slide) film
which has a smaller exposure latitude than
black and white or color negative film.
Having a smaller exposure latitude means
that it is more touchy about exposure error.
Incorrect exposure by only 1/2 exposure
step may make a noticeable difference in the
image results. Reciprocity failure with color
film will result in color shifts as well as
underexposure and may require corrective
filtration as recommended by the film manu
facturer.

7-

meter reading, the only thing you can see in
the bright viewfinder is the viewing area. All
other information is eliminated, leaving you

undistracted freedom to focus and compose
your picture.
The A-1 uses the Central Emphasis Metering

method of exposure measurement which

reads the entire viewing area with emphasis

on the central portion where the subject is

most likely to be placed. This metering

system ensures correct exposure even when

skylight is present in your picture.

This camera is equipped with a split-image/

microprism rangefinder focusing screen.

-4

Out of Focus

Viewing and Focusing

To focus, rotate the focusing ring of the lens
as you view the subject through the view
finder. Do not swing your upper body
backward and forward as you focus.
The focusing screen is composed of three
different focusing aids: a microprism ring
and a split-image rangefinder in the central
area, and a surrounding matte screen. The
split-image rangefinder tells you that the
image is “in focus” when the image, which is
divided horizontally when out of focus,
merges to become one complete image. The
microprism rangefinder presents a clear,
steady image when in focus but a broken,
shimmering image when not accurately in
focus. When your desired subject is sharp,
you know that the focus is correctly set.
You can focus with any of these three
focusing aids as you like depending on the
subject and your preference.

9-

In Focus

OPTIONAL VIEWING AIDS

Dioptric Adjustment Lenses S

The dioptric adjustment lens S is an acces
sory which slides into the grooves of the
viewfinder eyepiece from above to correct
individual eyesight. With them, eyeglass

wearers can photograph without glasses.
The A-1 ’s eyepiece has a standard dioptric
adjustment of -1 for normal eyesight.

The following 10 kinds of dioptric adjust
ment lenses are optional accessories: -i-3,

-1-2, -1-1.5, -tl, -tO.5, 0, -0.5, -2, -3 and -4

(diopters). The specified diopters of these
lenses are recorded as the real power when

attached to the camera, reflecting the -1

power of the camera’s viewfinder.

You could select the appropriate dioptric

lens by choosing the one closest to the num

ber of diopters in your glasses prescription.
But, we propose that you actually look

-5(

through the viewfinder after placing the
dioptric lens over the eyepiece to be sure
you have the best one.

Angle Finders A2 and B

There are some types of photographic
subjects for which viewing them through the
eye-level viewfinder of the camera is un
comfortable. This is particularly true in the
fields of copying, close-ups, photomacro­graphy and photomicrography. Then it
might be more convenient to mount one of

these angle finders over the camera’s eye
piece. Both angle finders rotate 90 for
comfortable viewing from above or from the
side.
Angle Finder A2 gives a correct image

top-to-bottom but reversed left-to-right

while the more sophisticated Angle Finder B
gives a completely normal image. Both
show the entire field of view as well as
viewfinder information.

Magnifier S

The Magnifier S inserts into the grooves of

the viewfinder eyepiece with its adapter to

give a 2.5X magnification of the center of

the viewing area for precision focusing in
close-up work and wide-angle photography.
Its power is adjustable to your eyesight

within a range of +4 to -4 diopters. Its

adapter is hinged so that the magnifier can
be swung upward from the eyepiece after
focusing, leaving the entire screen image
visible.

-51

Previewing the Exposure

When you take a meter reading, the view
finder information will be displayed in a
digital readout directly below the viewing

area. With the viewfinder display lever
switched on, you can take a meter reading in
any one of three ways:

1. Depress the shutter button halfway.

2. Press in the exposure preview switch.

3. Press the exposure memory switch.
Full viewfinder information includes shutter
speed, aperture, manutil aperture control
signal, flash signal, exposure warning flashing
and a flashing error signal for incorrect
operation. The digital display viewfinder
gives you the most information in a mini
mum amount of display capacity.
The camera employs LED circuits to elimi
nate the need for any extra illumination of
viewfinder information. Except when using a
flash or the exposure memory switch when
the LED maintains constant brightness, the

degree of LED illumination changes in four
stages depending on the brightness of the
subject seen in the viewfinder. When the
subject is brighter, the LED brightness is
slightly higher, and it is slightly lower with a

darker subject. As a result, the LED main

tains an almost consistent degree of bright

ness to the human eye.

The viewfinder information signal is trans

mitted to the display every half second.

Accordingly, in rapicUy varying light con

ditions, the changes in aperture or shutter

speed will be indicated slightly behind time.

This is a concession to the adjustment

limitations of the human eye which in no

way affects exposure timing.

-5

Cancelling the Viewfinder Display

With the A-1, you have the option of turning
off the viewfinder display altogether. This

can be done simply by turning the view

finder display lever to the white dot. Meter

ing is taking place and the shutter can be
released for a correctly exposed image even
when the display is switched off, but it saves
battery power and gives you absolute
freedom to focus and compose the image
undisturbed.

3-

Numerals and Characters Composing Digital Readout in Viewfinder

Up to the first four digits from the left in

the digital readout ^ow shutter speed data
ranging from 1/1000 sec. to 30 sec. All
speeds from 1/2 sec. and faster will be
chsplayed as a whole number as they are on
the AT dial so that an indicated shutter
speed of 500 in the digital readout stands for
a shutter speed of 1/500 sec. .\11 speeds from

1 sec. and slower will be displayed as a
whole number followed by a second mark
( ' ) so that an indicated shutter speed of8 "
in the digital readout stands for a real
shutter speed of 8 sec. When you are in

11

4 sec.->

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1 /4 sec.-»

aperture priority .\E and the
calculating the shutter speed, it is possible
for intermediate shutter speeds that arc not
on the AT dial to show up in the viewfinder.
In this case, you may see such shutter speeds

750 (1/750 sec.) or O ' 7 (0.7 sec.)
displayed in the viewfinder. It is impossible
to set the .'\T dial to an intermediate shutter
speed.

1 /750 sec.

IT 5 d1

______________

0.7 sec.-> U ^ ^ ^~|

camera is

_

-5

The next two digits following the first four

frora the left for shutter speed data are
reserved for aperture data. The possible
apertures to be displayed in the digital
readout range from f/1.2 to f/32 even

though the minimum aperture it is possible
to set on the AT dial is only f/22. The
aperture data in the digital readout is dis
played in 1/2 f/stop increments, giving nu
merical values standing for the dots on the
aperture scale of the AT dial. An indicated

aperture of 9.5, for instance, in the view

finder stands for the dot between f/8 and

f/1 I on the AT dial aperture scale. These
half f/stops are approximations which are
not always exactly halfway between the full
f/stops.

f/9.5-

Although both shutter speed and aperture

are indicated in the viewfinder in each 1/2

step increment, they are actually controlled

by the camera steplessly for greatest possible

precision.

There are other possible displays, including

M, buLb, F, bu F, and a flashing EEEE EE.

“M” is the last digit on the right in the
digital readout. It appears when the camera
is not set for AE control. “F” or “bu F”
supplements or replaces the shutter speed

data in the digital readout when the camera

4-

9 . 5

is set for flash photography while “buLb"
replaces the shutter speed data when the AT
dial shutter speed scale is set to “B”. “M" is
also displayed at the “B” setting. The

flashing “EEEE EE” appears to warn of

error in the stopping-down process and ■will

be explained in more detail later in this
instruction booklet.

When switching from one priority to another

under the same exposure conditions, it is

possible that the new camera-selected var

iable will differ a half step from the corres

ponding previously manually-selected value.

For instance, a combination of 1/250 sec.
and f/5.6 in the shutter-speed priority AE
mode may become 1/180 sec. at f/5.6 in the
aperture priority AE mode under the same
conditions. This is due to the fact that the
camera-selected value is rounded off to half
steps in the display. However, since the
camera actually controls its variable stepless-

ly, this seeming discrepancy will have no

effect upon exposure.

Incorrect Exposure Warnings

The types of incorrect exposure warnings
depend on what AE mode you arc using.

1. In shutter-speed priority AE mode

When exposure is incorrect, the LED digital
readout for aperture flashes on and off.

U nderexpo sure

Usually the digital readout for aperture

flashes showing the lens maximum aperture
to indicate underexposure. At very low
shutter speeds, it is possible for a different
exposure, turn the AT dial to as lower shut
ter speed,
speed.

Overexposure
Whenever any aperture smaller than f/16
(that is, 19 to 32) appears in the readout, it
will always be flashing on and off. Whether
or not this indicates overexposure depends
on the lens minimum aperture. If the
minimum aperture of the lens is equal to or
smaller than the flashing aperture, exposure
will be correct. If the lens minimum
aperture is larger than the flashing aperture,
increase the shutter speed for correct ex
posure.
There is one exception to the above which
occurs when the minimum aperture of the
lens is f/32. Since f/32 is the smallest
aperture which can appear in the readout,
it is not immediately apparent whether ex
posure is correct or not. To find out,
increase the shutter speed until the readout
shows a flashing f/22. At that point, you
may reduce the shutter speed one step for
correct exposure at f/32.
There is a rare case where f/16 may flash on
and off in the viewfinder. If you are using a
lens with an f/16 minimum aperture, the

image may be overexposed, so increase the

5-

shutter speed. If your lens has a smaller

minimum aperture, exposure will be correct.

Outside the Meter Coupling Range

When the light level is so low that it would
be outside the meter coupling range re
gardless of the shutter speed you set, the set
shutter speed will flash on and off along

with the aperture in the viewfinder. When

the light level is too high, a small aperture

will flash on and off even when the AT dial

is set to the highest shutter speed. In these

cases, shooting in the shutter-speed priority

AE mode is only possible if you can change

the light level accordingly or switch to a

more appropriate film.

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2. In aperture priority AE mode

When exposure is incorrect, the LED digital
readout for shutter speed flashes on and off.

-6

When the highest shutter speed of 1000
flashes in the viewfinder to indicate over
exposure, turn the AT dial to a smaller
aperture, When a shutter speed of the slow
range flashes in the viewfinder to indicate
underexposure, turn the AT dial to a larger

aperture. The shutter speed value that flash
es to indicate underexposure depends on the
speed (maximum aperture) of the lens and
ASA film speed.
As in the shutter-speed priority AE mode,

when the light level is too low, both shutter
speed and aperture data will flash on and off
to indicate that no matter what aperture you
set, the meter will not couple in an AE

mode. When the light level is too high, the

shutter speed wall flash on and off even

when the AT dial is set to the minimum

aperture possible. Again, AE photography is

still possible if you change the light level

or switch to a more appropriate film.

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3. In programmed AE mode

Both the shutter speed LED and the aper

ture LED flash on and off simultaneously to
warn you of overexposure as well as under
exposure. In taking exposure readings, the
shutter speed and aperture combination
changes as they are programmed in the
camera. However, if there should be too
little light to be exposed correctly even at

the maximum aperture, the maximum aper

ture of the lens in use will remain fixed, and

the camera will work in aperture priority
AE, controlling the shutter speed to produce
correct exposure. If the camera exceeds the
limit of the meter coupling range, the

shutter speed and aperture LED values that

flash depend on the lens used and the ASA

film speed. When the data flashes on and off
in programmed AE, photography is no long
er possible in that mode unless you change
the light level or switch to a more appro
priate film.

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