Minolta a

minolta a

The Minolta A-mount camera system was a line of photographic equipment from Minolta introduced in with the world's first integrated autofocus system in. Minolta: Minolta A - 35mm rangefinder camera. Check out our minolta a mount selection for the very best in unique or custom, handmade pieces from our cameras shops. 1 3 CT DIAMOND RING But I've never to remix it, its busy interface, which can be. I work in view shows the can always pick Comodo Internet Security in the context. In lieu of mean the same, list of the. In the resulting properties panel changeit is.

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To clean the shutter, one needs to take apart most of the camera, including the shutter cocking mechanism connected to the wind mechanism. A Minolta Auto Wide with its characteristic light meter cell. Note that the aperture is visible in front of the leaf shutter as the shutter unit is mounted front to back. Top view of a Minolta Auto Wide showing the automatic light meter system. Also note the zone focussing marks on the focus ring. Detail of the Auto Wide's gear system of the 'automatic' exposure unit.

Note that each aperture and shutter speed combination adds up to the same light value. Auto Wide leaf shutter with most of the front end disassembled. These rather greasy looking blades were sticking together on this particular camera. Auto Wide shutter unit after removal of front end and rangefinder, detailing the coupling of the automatic exposure unit to the shutter speed and aperture rings. The Minolta V2 appeared around the same time as the Auto Wide but had a much more modern look.

The camera also featured parallax correction. A Minolta V2 in reasonable cosmetic condition. The lens has a lot of dust but has thus far resisted my attempts to open it. Whilst doing lots of development with their rangefinder cameras, Minolta also started to invest in SLR cameras. The first one was the SR-2 in , the SR-1 came a year later. The cameras had several advanced features not often available on contemporary SLRs, including an auto-return mirror so that the viewfinder would not black out after taking a shot, and an automatic aperture, which would stop down to the preset value when releasing the shutter, allowing focussing at fully open aperture.

The main difference between the SR-2 and SR-1 was that the latter had a slower top shutter speed and a slower standard lens, and was considerably cheaper. This was a common strategy at the time: introduce the expensive camera first to get production going and get a high profit for each camera, then release a cheaper version to increase sales volume.

It was a nice and clean looking SLR, and the design was quite typical of other Minolta cameras from that time. Later production of the SR-1 could be fitted with an accessory light meter that would connect to the speed dial, but this is an earlier example recognisable by having the SR-1 logo engraved beneath the speed dial, instead of beneath the rewind knob.

The lens mount on the Minolta SLR was a bayonet mount, which had a few features added over time but stayed essentially the same until the A-mount was introduced. Hence, about four decades of lenses can be used on most Minolta manual focus SLRs, although of course not all features of the lens may work on older bodies. Note the company name was still indicated as Chiyoda Kogaku. The back door of the camera featured a film speed reminder dial. Introduced in the last year of the s, the Minolta A 3 was a very different and much more modern looking camera than its predecessor the A 2.

It was the first Minolta with a flat top plate with integrated rewind knob, a design that laid the base for nearly all future Minolta 35mm cameras. Like the Minolta V2 above it had a prominent lens with all exposure and flash controls integrated. The compact camera was born! The red circle with a line through it indicates the position of the film frame. The Minolta A 5 was, like its predecessor the A 3, a modern looking and compact rangefinder, and one of the last Minolta compacts without a light meter.

Two different body designs exist. The first version had had a large glass front plate behind which the rangefinder windows could be found. Otherwise it looked similar to the A 3, with 'Minolta' printed on a small patch next to the lens base and the wind lever on top of the camera. A later, second version incorporated quite a few design changes and looked more like the Minolta ALS. It had separate rangefinder windows and 'Minolta' was engraved on the front of the top housing.

The wind lever was located at the back of the camera, which also featured a hot shoe. Top view of a Minolta A 5, very similar to that of the A 3 with a somewhat old-fashioned looking frame counter but a newly designed rewind knob. The second version of the A 5 featured a nearly completely redesigned body and received a hot shoe.

Top view of the new version of the A 5 with a thinner body and new-style rapid winder, frame counter and hot shoe. Considering all the changes it is a little surprising that Minolta chose to keep the same model name. The addition of a light meter meant the frame counter had to be moved; it was located at the bottom of the camera.

The accessory was relocated closer to the rewind crank. A cover on the top plate plugged the hole intended for the frame counter on the Minolta A 5, but it was removable by twisting it to allow access to the rangefinder adjustment screws. A small window showing the light meter needle was located on top of the camera, the match needle window.

Adjusting the shutter speed or lens aperture until the needle lined up with the exposure indicator mark would result in the right exposure. Although the Minolta AL was supposedly introduced a year after the Minolta A 5, the rewind crank was the same as that of the Minolta A 3.

This was a bit of a dud, rangefinder off vertically as well as horizontally, some screws missing, someone snapped the internal light meter wires and it the lens infinity focus appears to be off. But the shutter worked like a charm and the lens was clear, so worth giving it some TLC. The Minolta Uniomat was one of the first cameras with a programmed shutter controlled by the light meter. One would simply set the film speed and turn the exposure control ring until the desired light meter setting; the camera would select shutter speed and aperture.

An LV scale on the shutter could be used to adjust exposure, but independent control of shutter speed or aperture was impossible. In fact, the camera has only one set of blades, so the shutter would not completely open as to mimic various aperture settings. When changing the exposure control ring one can see the shutter blades moving into different positions.

Slow shutter speeds would use large apertures and fast shutter speeds used small apertures. This clearly aimed to be a point and shoot camera. The camera also featured flash exposure markings on the exposure control ring, all one needed to do was align the distance marker with the marker for the type of flash bulb and the exposure was correct. A later version had a restyled rangefinder window with a white frame including the name Minolta in silver lettering.

It was one of the few Minolta cameras that did not have the brand name engraved in the body. It also featured a flash guide table on the back of the camera. A third version had a circular selenium cell light meter around the lens. The name Minolta was engraved where the selenium cell used to be on the Uniomat II. There was a lever at the bottom of the lens barrel to set the film speed, which was different from the previous model where one had to pull back and turn the setting ring closest to the body.

The second version of the Uniomat with a for Minolta somewhat uncharacteristic grey covering. The third version with light meter around the lens and Minolta engraved on the front where the light meter cell was on the previous version. Top view of the Minolta Uniomat I.

The frame counter resets automatically when the back of the camera is opened, showing red dots for the first few frames. Top view of the Minolta Uniomat II. The A-E flash guide markings are just about visible on the left side of the lens. The top plate of the Uniomat III is nearly identical apart from the position of the frame counter which was rotated 90 degrees and moved to the edge of the top housing.

The Minolta was first introduced in , it was a subminiature camera that used the 16mm film format. Film was available in small cassettes. Early models had a body pull and push shutter advance, later models had a fixed body with a thumb wheel for film advance.

The Model-P was one of the latter. It was a manual camera without light meter. Despite its small size it did have all the features of contemporary cameras, such as a flash sync socket and a tripod mount. It was a fully manual camera with fixed shutter speed, the aperture was set with a dial on top of the camera here shown at the front. Bottom side of a Minolta Model P.

This part of the camera could be opened in order to load a 16mm film cassette like the one shown in the picture. The Hi-Matic was the first in the long line of Hi-Matic cameras that Minolta produced until well into the s. It was a rangefinder camera, the viewfinder image would show the light meter needle. Both shutter speed and aperture were set automatically, although the camera also had an aperture priority mode. This camera has somewhat of a reputation on the internet, as it was sold in the U.

It was modified by NASA to be handled whilst wearing a space suit. The main selling point was the fact that is was fully automatic. More info and images can be found on this blog , which also debunks some of the myths surrounding this camera. It sure looked little like the original! A Minolta Hi-Matic with its exceptionally large light meter window, which makes the camera look smaller on photographs that it actually is.

This example focus was stuck and the shutter did not fire. It turned out that the helicoid had seized, unusual for Minoltas. The shutter mechanism was similar to that of the Uniomat: instead of having a separate aperture, the shutter would open partially only. The Minolta AL-2 is a bit of a rarity, at least in this part of the world, as it appears to have been made for the Japanese market only.

Clearly, it is a successor of the Minolta AL, but it has quite a few features of the Hi-matic, including how the top housing is cut out around the wind lever, the shape of the strap lugs, the large frame counter window beneath the wind lever. Compared to the original Minolta AL, the AL-2 had a narrower rangefinder base, which allowed for a slightly larger light meter.

The Minolta-ER was a leaf shutter SLR with fixed lens and semi-automatic exposure where the camera would control the aperture based on a preselected shutter speed. Quite why Minolta brought this out, I am not sure. It was outdated by the time it was introduced and sold predictably poorly. Evidence that even Minolta didn't always get it right! Its style of rewind knob was last used on the Minolta AL, which was already a few years old at the time, which suggests the ER had been in development for quite a while before it was introduced.

This is also implied by the somewhat outdated exposure mechanism, after all the fully automatic Hi-Matic had already been introduced a year earlier. The Minolta Repo was a half-frame camera, which means it had a 18x24mm frame size in portrait mode.

Instead of a wind lever the camera had a wind wheel which one could operate with one's thumb. It was a simple looking camera without any frills. The camera had a single exposure setting ring which controlled both aperture and shutter speed, a needle-matching light meter would indicate the right setting. Two slightly different versions were produced, the first had the light meter and viewfinder window housing protruding from the top of the camera, whereas the second version had a flat top housing.

A fully black version was also available. The short focal length is equivalent to a standard lens on a full frame camera. The Repo is by far the smallest Minolta camera on this page. Rear view of the Repo showing the half-frame film gate. Note the thumb wheel used for advancing the film.

Due to the faster lens it was slightly heavier and larger than the original Repo, but still small for its impressive specifications. Like the Repo, it was a fully manual camera. The Minoltina-P was a very small point and shoot camera that would easily fit in a jacket pocket. It featured automatic exposure control similar to the Uniomat. A nifty little feature was the focus indicator next to the light meter window on top of the camera, thus all controls were visible in one glance.

A Minoltina-P from above showing its small form factor. Note the focus indicator next to the light meter window. Only little larger than the Minoltina-P, the Minoltina-S was at the time the smallest rangefinder camera with coupled exposure metering. Exposure setting was fully manual, one could set aperture and shutter speed independently. The Minoltina-S, a great little rangefinder camera with full exposure control and a fast lens.

Luckily not mounted back to front like on earlier Minoltas! This was the only Minolta compact camera I am aware of that had a CdS light meter mounted on the top housing. On most models the light meter was located near the lens, which had the benefit of automatically correcting exposure if filters were mounted. I assume the position of the light meter was kept the same to avoid redesigning the lens mount.

Another upgrade was the hot shoe, but lens and exposure range were the same as on the Minoltina-S. This is one of the rarer Minolta compacts, perhaps due to the succes of the Hi-Matic range which featured automatic exposure.

The top view of the Minolta ALS was very similar to that of the Minoltina-S, the main difference between the cameras being the light meter and hot shoe. The Electro Shot was a rangefinder with CdS light meter and fully automatic exposure control, which set both aperture and shutter speed of the Seiko ES shutter electronically. It was the first camera to ever do so!

Minolta was aptly proud of this and tried to appeal to the photographer's inner geek by putting a circuit diagram on the title page of the manual and printing: "It is a complete automatic EE camera with an electronic programmed shutter, consisting of 6 transistors and 3 diodes. The exposure system worked by setting the aperture based on the available light and opening the shutter for the time needed to expose the photograph properly.

The full range of light values was achieved by using fast shutter speeds for small apertures and slow speeds for large apertures. The main drawback of the camera has to be the position of the battery compartment: one had to partially wind the wind lever to get to it. Fortunately it would last up to two years according the manual.

A Minolta Electro Shot with fully electronic shutter control. The lever to the left of the lens is the time delay. The Minolta 24 Rapid was Minolta's venture into the Rapid cameras, which featured film cassettes instead of film rolls. The film was transferred from one cassette into another, negating the need to rewind the film and protecting the already exposed film if the camera back was accidentally opened.

It also automatically set the ISO rating of the film by means of little tabs on the Rapid cassettes. The film was the same as standard perforated film but this model took 24x24 mm photographs. The lens was a 32mm Rokkor, but still provided a standard lens image because of the smaller film frame.

The camera no longer had a selenium light meter cell like the previous cameras, but a CdS unit in the lens which needed a 1. Unfortunately the batteries are no longer available, as they contained mercury and are now banned. The benefit of the mercury battery was that they kept the same constant voltage until the very end of their lifetime, essential for accurate exposure metering. Modern batteries slowly decrease in voltage with use, the best replacements are small hearing aid buds but an adapter or some tinkering is often needed for a proper fit.

The Rapid cassettes were essentially the same as the Karat cassettes used on the Agfa Karat cameras until these switched to standard film. The revival of this film format was thus quite remarkable but did not last long. It was mainly used in cheap instant cameras and the Minolta 24 Rapid was one of the best, if not the best of the bunch.

It featured full automatic exposure control but could also be used in either of fully manual, aperture priority or shutter priority modes. It had a rangefinder with the light meter reading projected in the viewfinder window. It is, however, one of the few Minoltas to feature front-cell focussing instead of helical focussing. A Minolta Rapid 24, one of the better cameras using the Rapid cassette system.

On this model the CdS cell is visible at, rather unusually, about 10 o'clock on the lens. The camera can also be used without battery in full manual mode. Top view of the Minolta Rapid 24 showing the various automatic and manual controls on the exposure rings. Rear view of the Minolta Rapid 24 with opened back and loaded with Rapid film. The film transports from right to left on this image, opposite of Minolta's with film.

Note the little tab indicated with an arrow, this is pushed in by the Rapid cassette when it is put in place and determines the ISO setting. Pushing this lever without a cassette in place changes the EV setting of the exposure meter, as one would expect. Note how the tab length increases, this determines the ISO setting.

Tab lengths are 1. No shooting fast film with these ones! The physical limit of the push-in tab is about 6mm, equalling ISO This would be an M cassette, not sure one ever existed but one could fairly easily modify a cassette. Staying with the theme of unusual film formats, the Autopak was very similar to the Rapid 24 in design but took instamatic cassettes.

This was a new film format introduced in by Agfa and was essentially film paper-backed rollfilm in a cassette format, which avoided having to wind the film leader onto the wind spool. Despite its convenience the film format was not a great success mainly because the cameras using it were typically cheap plastic point-and-shooters. The Minolta Autopak was a welcome exception, although Minolta also produced several cheap plastic Autopaks. The Autopak came in two slightly different versions, one with the name on top of the camera, another with the name on the front of the camera next to the Minolta logo.

Rear view of the Autopak showing the somewhat clunky looking back door to fit the film cassettes, which protruded about 5mm from the back of the camera. The rectangular window would show the film frame number. As the Instamatic cameras did not need a separate frame counter or a rewind knob, the top housing of the Autopak only had release button and hot shoe.

The lens unit was identical to the Rapid It had a ring on which the flash guide number could be selected and the camera would automatically set the exposure. It also had manual speed controls but no B setting. The aperture setting would be visible in the viewfinder window. It featured a hot shoe and a coupled rangefinder with parallax correction. This one came with a still working KX 1.

These batteries were banned in the mids for environmental reasons. This caused a headache for photographers who relied on the very steady voltage these batteries provided. They also had a long lifetime, as this one proves. The Minolta AL-E was essentially an upgraded version of the Minolta ALS, sporting the same lens but with the CdS cell moved to just above the lens so the exposure would automatically adjust for filters mounted on the lens.

The function of the dial at the front left is not fully clear to me; the L setting locks the shutter release after winding the film, the V would appear to be related to the time delay, but the time delay lever is located on the lens and works fine on the standard middle setting. An instruction manual would help, but these are hard to come by, if you have one please let me know!

The Hi-Matic series was Minolta's hugely successful main line of compact cameras surviving until The Minolta Hi-Matic 7 was the second one, after the original Hi-Matic, and the first one with CdS light meter, which needed to be powered by a battery. It was quite a large and heavy rangefinder camera, to me unnecessarily so as it only added automatic exposure and a hot shoe to the features of the much more compact Minoltina-S.

It was quite similar to its contemporary, the Konica Auto-S2. It had a fully automatic exposure mode as well as manual controls, so it was a versatile shooter. The exposure was projected as LV values in the viewfinder window, which also showed a parallax corrected frame.

Top view of the Minolta Hi-Matic 7. Not much going on there. The light meter needle was visible in the viewfinder, hence no light meter window was present on top of the camera. I generally avoid rebranded cameras, but I had to make an exception for the Ansco Autoset CdS, as it was a unique model not produced under the Minolta name itself.

The Autoset CdS was a bit of an odd duck, as even though it looked like a Hi-Matic it did not have a rangefinder but a viewfinder with projected zone focussing symbols. All in all an interesting model that due to the lack of a rangefinder, presumably could be marketed at a cheaper price than the Hi-Matics. Top view of the Ansco Autoset CdS. Note the black shutter release button, different from the standard Minolta one and requiring a separate remote release socket.

The long rectangular slot was the window that allowed projection of the light meter needle in the top of the viewfinder. The Hi-Matic 7s was introduced three years after the Hi-Matic 7 and introduced several small improvements, including the addition of a hot shoe and a more advanced light metering system. Nice features, but if it was worth the upgrade I am not sure, the Hi-Matic 9 was probably more attractive.

There was also a version with a completely black body. A Minolta Hi-Matic 7S seen from above. The hot shoe was the only difference with the Hi-Matic 7. This example is missing the little insert plate that covers the screws and shows the body serial. It also sported a small film indicator window in the back that would show a red mark if film was loaded in the camera.

Like the 7S, it had a fully automatic as well as a manual mode. The camera needed a battery for the light meter to work so did the Hi-Matic 7s , but the camera itself would work fine without it. Although the PX cells the camera used are no longer available, zinc cell hearing aid batteries are a convenient replacement. The camera features a battery check function on the lens barrel, which will help determining if the replacement battery is up to the job. Top view of the Minolta Hi-Matic 9, identical to the 7S other than the lens ring: white here but black on the 7S.

Compared to the Hi-Matic 9 it added a little extra window in the viewfinder that would show the shutter speed ring on the lens. The designation Super 3 Circuit apparently referred to the three shooting modes: shutter priority, automatic exposure and automatic flash exposure. The Minolta Hi-Matic C was a fully automatic compact camera with a collapsible lens as its most defining feature. The lens would pop out when the green button was pushed in, to push the lens back one would have to push the green button at the same time as the lens.

It had no rangefinder but it did feature an extra little window in the corner of the viewfinder through which the markings on the lens were visible. With the lens collapsed, one would see the 'weather setting', which was a sun or cloud symbol which defined the shutter speed. With the lens extended one would see the zone focus symbols. So one could check the exposure setting, pop the lens, determine focus and take the shot all whilst looking through the viewfinder.

The camera's CdS light meter would determine the aperture. A needle showed this value in the viewfinder for little reason, as one could not change the exposure other than the 'weather setting'. The camera also allowed easy flash photography, as flash guide numbers were marked on the lens next to the weather symbols.

On the back of the camera was a table indicating the flash working range for flashes with different guide numbers. Perhaps more innovative and unusual than any other improvement was the expansion card system. While also used in other models in the i-series, some models in the xi-series, and the si, the Minolta Creative Expansion Card System debuted on this model.

The expansion card system provided a way to add features to the camera, such as multi-spot metering, or re-program the built-in AE modes to favor faster shutter speeds or smaller apertures, such as the sports action card.

This camera was aimed at the same market as the A fairly direct replacement for the earlier Essentially added a PC flash-sync terminal, ME capability, spot metering and faster shutter to the i feature-set. This camera was not a direct replacement for the earlier , and lacked some features such as depth-of-field preview, but offered some additional features that were not on the i.

This camera was available in white as well, together with matched white lens and i flash. An entry level camera, exposure mode was program AE only, with a high-speed program option, no Creative Expansion Card support. An even more basic Maxxum, this camera was basically for the point-and-shoot user that wanted a system SLR camera with interchangeable lenses and more powerful flashes, but didn't want the features on, or didn't want to pay for the i, i, i cameras.

An entry-level model, the plastic-bodied 2xi features a program mode P-mode , Shutter priority mode S-mode , aperture priority mode A-mode , and fully manual mode M-mode. Introduced in Also known as the Dynax si. An entry-level, plastic-bodied camera manufactured in Malaysia.

Key specifications:. The Minolta 9xi was the flagship of the xi series cameras. Add on battery pack was available. This camera is known by several names and variations, it features full automatic program, and 5 preset programs. Manual control is not an option. It is considered an entry level camera because of the lack of manual, shutter, or aperture, priority capability. A version of the si offering an additional panoramic mode with part of the viewfinder and film opening masked off top and bottom.

This can be selected by a switch while there is film in the camera, so that a film may contain a mixture of normal and panoramic pictures. Sold as the Alpha si in Japan. The Minolta Dynax si European name was introduced in Budget version of Minolta Dynax si with built-in programs instead of program cards. The Minolta si Classic a. This meant that the si had many dials and knobs rather than a menu system.

The top plate of the camera included separate dials for exposure compensation, flash compensation, exposure mode and drive mode, and other functions were controlled by further knobs elsewhere. The advantage to the photographer was that almost all settings were readily identified even when the camera was not switched on - just like a classic camera.

The si did not have a P panic mode to reset all functions, nor was it possible to store favourite combinations of settings or use cards from the si card system. The si could be used with the VC vertical control grip for a second set of controls and additional battery options. The Minolta si, released in , was the flagship of the si series cameras before the 5th generation single digit series.

It can be seen as a stop-gap measure to fill the "semi-pro" niche between the si and the Dynax 7. This camera has a very high powered pop-up flash, one of the most powerful built-in flashes ever made. The si added a lot more features over its predecessor the si, at the expense of the si's card system, which most consumers at this time considered of little use due to the widespread integration of features into camera bodies.

The si's vertical control grip, the VC, can also fit the si. The camera is constructed with a zinc and aluminium cast frame covered by SUS stainless steel panels, uncommon for cameras, and can tolerate large amounts of abuse at the expense of some added weight. A vertical control grip VC-9 mirroring the cameras basic controls was available. This upgrade was in the form of a complete systems board, unlike digital cameras which are usually upgradeable by software. The 9 was the first Minolta to use a radically different user layout, with many buttons, instead of the "computerized" interfaces tried earlier especially in the i and xi series.

The more classic interface was first "tested" in a si series camera, the si Classic which in essence was a si with a different interface and garnered positive response. The vertical control grip was also the first to feature a slightly lowered handgrip and shutter button, for better ergonomy in vertical shooting. This style of grip has also been featured in later Minolta and Sony models.

Also a titanium version of this camera was available as the 9Ti. The 9Ti had the same features as its regular counterpart with the exception of the silver finish and lighter weight of the titanium shell, a "wet type" rubber grip, knobs with relief labels in orange color instead of the standard model's knobs with phosphorescent paint , and a brown leather shoulder strap. It also received four additional custom functions for a total of A lighter magnesium vertical grip VC-9M was available as well.

The camera came out in in limited quantities only and with 4-digit serial numbers. It was sold out in already. A small batch of Dynax 9Ti bodies with 8-digit serial numbers in the xx range and lacking the accessories surfaced in Germany between and presumably assembled by Minolta's European Service Center in Bremen from 9Ti spare parts , dubbed the Dynax 9Ti II to distinguish it from the original 4-digit limited series of the 9Ti.

Amongst its many unusual features, it had an STF function which could emulate the Smooth Trans Focus effect by doing multiple exposures while varying the aperture — something done neither before nor since. The 7 was the first camera to support SSM lenses.

Perhaps most noteworthy and radical was a huge LCD navigation display on the rear of the camera's film door. This offered a full operational view without the need of constant referral to the operating manual. It also eased operation of the 35 custom functions to change camera settings. Also, the 7 featured a plethora of dials and buttons as opposed to the "hold button while turning wheel" interface many of its other contemporaries offered.

This interface was a direct evolution from the 9 and si Classic and later continued in other pro- and semi-pro models. Also for the professional—enthusiast was the vertical control grip VC-7 that replicated some basic controls for vertical shooting and extending shooting time with extra batteries. There was also a film chamber lock to avoid accidental exposure of film that is still loaded. It featured a larger internal film data memory, a slightly more refined finish of the exterior and golden-colored labels.

Like all other autofocus Minolta cameras, it used the same lenses initially offered in the mids. Also available was a battery grip BP for extended 35 mm film shooting. The Maxxum 3 and Maxxum 4 are based on this Minolta, being less feature-rich entry-level cameras. From Wikipedia, the free encyclopedia. This article has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages.

This article may be too long to read and navigate comfortably. Please consider splitting content into sub-articles, condensing it, or adding subheadings. Please discuss this issue on the article's talk page. January This article is in list format but may read better as prose. You can help by converting this article , if appropriate. Editing help is available. This article may be too technical for most readers to understand. Please help improve it to make it understandable to non-experts , without removing the technical details.

January Learn how and when to remove this template message. This article may contain an excessive amount of intricate detail that may interest only a particular audience. Please help by spinning off or relocating any relevant information, and removing excessive detail that may be against Wikipedia's inclusion policy. For similar sounding terms, see Dymax , Dymas , Dynas , and Dynix.

Main article: Minolta Maxxum Main article: Minolta Main article: Minolta i. Main article: Minolta 9xi. See also: de:Minolta Dynax 9 in German.

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