Maxxum/Dynax 7D – belated child of Konica Minolta

These days, you can't surprise anyone with a camera equipped with the auto focus system - quite the contrary, today it is likely more difficult to find a camera without this standard feature. But far back in 1985, the world's first fully reflex camera Maxxum 7000 by Minolta was a real sensation. Indeed, the indubitable convenience of the novelty was hard to overemphasize - that was a special joy for paparazzi (in the reports coverage, splits of seconds matter) and photographers who wear glasses for whom the manual focusing was traditionally a headache. In a word, the technology fitted right in the place, and the whole "reflex" industry started hastily switching to the auto-focus optics. To that end, the existing fasteners for interchangeable lens - bayonets - had to be fully reworked. It seems that only Nikon was able to switch to the auto focus optics with the compatibility to its old "F-type" fastener preserved. Other companies were in fact compelled to start all "from scratch" - both in the area of cameras and lens thereto. Following Minolta's example, a true revolution broke out in the world of photography.

The «hero» of the tumult, however, was not hasty at resting on the laurels and went on bombarding the market with novelties – auto-focus "reflexes" Maxxum (known outside the USA as Dynax and Alpha) based on the newly-fledged «Minolta A» bayonet.  Maxxum's most notable representatives there proved the Maxxum 7000i model (a more «intelligent» heir to 7000 with a tracking auto focus), Maxxum 9xi (the first reflex camera of the minimum shutter exposure time 1/12000 sec), Maxxum 4, Maxxum 5, and many others.. Nor the manufacture of optics was lagging behind – for the time of existence of «Minolta A» bayonet, a quantity of compatible lens have been produced for any case of the photography life. All that provided Minolta stable stales, as well as brought a whole army of faithful worshippers.

However, time was not still, and announcements of first digital cameras started appearing increasingly in the news reports. Minolta also didn't stay away from all these new trends. In 1995, it made its debut on a new market through releasing (jointly with AGFA) the RD-175 model based on the popular filmed camera Maxxum 500si. That was a true 1.75-MP reflex camera compatible to the «Minolta A» fastener, weighing about 900 g. However, its high price (over $5,000), low resolution and general technical imperfection prevented RD-175 from wining a wide audience. This camera would have remained a purely niche product like actually most similar solutions of that time. Technologies were definitely not ready for the mass market yet.

Since then, Minolta «turned silent». Not at all - as before, it continued producing filmed cameras and lens thereto, then made a successful move on the market of compact digital cameras, and was one of the first to enter the market of super-compact cameras. However, digital reflex cameras were neither seen nor heard of. Meanwhile, competitors firmly entrenched in that niche and wouldn't give in their positions. Minolta was then facing a quite realistic prospect of losing most of its adherents already owning some amount of «Minolta A» optics but not experiencing sheer need just for a digital reflex camera. The missed time played against Minolta, and while in 2002 it sufficed to merely go back to the digital market, then late in 2004 only a triumphant return could save the day.

And Minolta (having consolidated with Konica by that time) did that! The Maxxum/Dynax 7D model announced at the Koeln expo Photokina 2004 definitely shattered the photo market, if not produced the same sensation like the famous Maxxum 7000 did in due time. Not only did the consolidated Konica Minolta manage to release a worthy product being second to none of the nearest competitors. And not only was a humane price tag (about $1600) was set at the product. Apart from all that, the company also got another trump in its hands which competitors even had nothing to cover. Of course, it was the Anti-Shake image stabilization technology meant. Here, we have to depart into one more digression into history.

"Stirring" ('jitter" of the frame because of trembling hands) was a traditional problem for photographers of all times, however, until the recent times a tripod has been the only measure to battle that unpleasant effect. The situation changed in 1994 when Canon presented its optical image stabilization system for the public judgment. The idea behind it was simple enough. In the object-glass, there was a special lens (a stabilizing element) movable across the optic axis. That lens was able distorting the light flux depending on its position. Besides, special sensors-gyroscopes were embedded into the object-glass. They were continuously measuring the angles and traverse speeds of the device in space and sending commands to electric drives which then deflected the stabilizing element so that the image map on the film fully replicated the device's fluctuations. As a result, provided vibrations are moderate, the map always stayed immovable relative to the film, which gave necessary clearness to the frame. That was a tradeoff between the object-glass performance: an additional optical element had a negative effect primarily on the aperture ratio. Nevertheless, the optical stabilization technology was enthusiastically picked up by other manufacturers and made a superb showing in a number of telescopic lens where it has been in use up till now.

For almost ten years, the optical stabilization maintained firm positions, and transition to the digital did not bode well to it in the sphere. However, unlike its colleagues from competing companies, engineers at Konica Minolta decided to look at the problem in a new way. «What if we "catch" the slipping projection not with an optical element inside the object-glass, but with a matrix positioned on a mobile platform?» - they thought.

It's just this ingeniously simple idea that was embodied in the Anti-Shake technology which for its innovation character was immediately awarded with a prestigious medal by EISA.

The new approach brought evident dividends. First, stabilizers positioned inside the camera housing provided its operability with absolutely any object-glass, regardless of the type and structure. Secondly, the lack of optical elements in the stabilization system made the effect on the picture quality null and void. Thirdly, the new method allowed making object-glasses simpler, and thus more reliable and cheaper.

For the first time, the Anti-Shake was tested in a non-reflex DiMAGE A1 camera and then was ran in with its heiress A2 and finally applied in the budget «ultra-zoom» DiMAGE Z3. That done, very few doubted in what sort of a "secret weapon" Konica Minolta was preparing for its blitzkrieg onto the market of digital "reflex" cameras. The company did answer the expectations: Anti-Shake for 7D camera proved just the pearl which effectively completed the image of the already superb product.

Anyway, it is high time we had a closer idea of it. Here is a traditional summary table of specifications:

The package bundle includes the camera itself, NP-400 battery with a charger thereto, a remote control, a protective lid for the bayonet, a protective screen for the LCD, a USB interface cable, a cable for plugging in to the TV, CDs with software, a neck-strap, and a user's guide.

Traditionally, we start with the review of the design and usability because, as is well known, "clothes make the man". At that, Konica Minolta indeed proved up to the mark. If you take the camera to the hands, you immediately take a liking to it - even the exterior points to a professional tool. Large, rubber-covered, "leathered" handle of 7D is exceptionally convenient to any size hand and provides a firm grip both in the horizontal and vertical positions. Add to that the possibility to plug in an additional handle of the VC-7D, a fast shooting at 3 shots per second, plus a rather fast auto focus and you almost get a reporter's camera. The housing of the camera also wins you favor - it is fully (except the rear panel) made of a magnesium alloy, which gives the device's contents increased protection. Of course, we were not going to check the expensive camera for strength, but some unexpected circumstances came up during the tests. One of our authors, Pavel Sinyakov, was spending his New Year holidays in Cuba and had picked the test specimen of the "seven" with him for the journey. One day, Pavel went out to look round the local sightseeing on a hired motor scooter but at one of the steep bends failed to control the vehicle and at full sway fell of the scooter with the camera hanging on his neck. Well, nothing was was told about the author's health status, but it is known with certainty that the camera did not suffer at all but for merely minor scratches on the blind. The "test" of course was not quite impartial indeed, but - admit it - really indicative.

Anyway, we'd better come back to the usability now turn to the camera's controls. Frankly speaking, the view was slightly scaring: all the effective area of the housing was peppered with small levers, switches, limbs, buttons, and rotary selectors. It seems like impossible to make head or tails of all this functional abundance (and simply remember where all is located). However, after first attempts of active shooting it becomes clear how convenient and thorough the user interface suggested by Konica Minolta was designed. Absolutely all the functions which may be use during shooting are all at hand - starting with the selection of white balance and exposure metering up to instant switching between the manual and automatic focusing. Of special note is the separate control of the exposure and diaphragm with two different limbs - an extremely convenient solution.

The 7D's controls are large enough, all the switchings and presses are maximum informative – the interface of the device can be fully regarded as «tangible». The rotary selectors for exposure modes and expo correction levels, like the camera's handle, are all covered with high-quality rubber that prevents fingers from slipping over the surface of disks. Besides, these selectors are equipped with spring-loaded holders meant to prevent accidental switching. We should admit that tests of the camera were mainly run outdoors at -20 C frost, so the author's hands were covered with quite thick gloves. Nevertheless, that practically did not affect the shooting convenience.

All the above stated will not be a surprise for long-standing admirers of Minolta produce - due to known reasons, the company preserved the usability succession of 7D with filmed models to the maximum.

Another noticeable plus of the "seventh" is its luxurious 2.5" LCD. Only few competitor models can boast such display dimensions, and only in the most advanced and expensive models. However, the display is not merely large - its area is also effectively made use of, in addition. In the shooting mode, it is not silent the way it is in most cameras but displays in-depth information about all the current settings and modes. In fact, so as not to disturb the photographer from making a snapshot (and for power-saving purposes as well), the display is damped automatically once the camera is brought close to the face (to that end, there is a special sensor close to the viewfinder's ocular). The display is rather functional in the preview mode as well. For instance, on the display screen you can outline underexposed or overexposed image areas and simultaneously display all the bracketing snapshots (for facilitate selection of the most successful shots), display its brightness histogram for it together with the snapshot etc. The intriguing feature of the 7D display is automatic change of its orientation as the camera is turned by 90 degrees - an exceptionally convenient feature.

But the cheerful situation with the visualization and obviousness is somehow saddened by one annoying issue which is perhaps the most essential in the "seventh". The thing is, since the upper part of the camera proved "peppered" with whatever controls, no space on it was found for an auxiliary LCD. Probably, the large dimensions of the main screen were meant to make up for the loss, but hardly can such a replacement be regarded as fully adequate. Even leaving out the power-saving issue, it is not always convenient to shoot with the main screen constantly on. The problem is that the 7D display is extremely bright. Of course, that is simply fantastic if you run a photo-shooting session in the dazzling sun. However, while taking snapshots in the dark cinema hall such a feature would be absolutely out of place: the display will start functioning as a flashlight attracting attention and disturbing the audience. In such a situation, an auxiliary display with a dim illumination proved to be quite of use. And giving up habits is frankly hard.

Anyway, we should not forget about the duplicating indicators combined with the viewfinder. They are informative enough and display all the most important parameters of snap shooting, so in any case the photographer won't find himself a "blind kitten".

The viewfinder merits a special mention - the picture in it is exceptionally clear and bright. According to Konica Minolta, that was achieved due to use of a focusing screen with pointed matrixing. Somehow or other, it's all pleasure making a snapshot with the aid of it. In the right-hand part of the viewfinder, there is a 5-segment vibration indicator that vividly demonstrates the activity of Anti-Shake system. A simple but very convenient feature that allows pressing the shutter release button precisely on the moment when camera vibrations are minimum.

Of course, the camera is compatible to all "Minolta A" object-glasses and supports both object-glasses with own auto-focus drive and passive optical systems whose mechanisms are driven by the camera's embedded motor. The device uses 4 modes of auto focusing: frame-accurate AF-S, tracking AF-C, automatic AF-A in which switching between the frame-accurate and tracking modes is effected dynamically depending on the mobility of the subject, as well as the mode of manual focusing MF. In the MF mode, the electric drive of the auto focus is switched off, and the focusing ring starts moving softly and smoothly allowing the photographer a most accurate focusing. Using the «AF/MF» button under the right-hand thumb you can instantly switch between the auto-focus mode and the mode of manual focusing (and vice versa), which is especially convenient under scanty illumination where automatics frequently fails. There is also the special feature DMF (Direct Manual Focus) which switches the object-glass to the mode of manual focusing once the automatic focusing has done its job. That allows quickly "fixing" the imprecisely operated automatics without pressing any extra buttons.

The auto-focus system uses 9 focusing points which are clearly seen through the viewfinder. They are selected with the "joystick" on the rear panel. In so doing, unlike many other cameras, the focusing point is not selected sequentially, through sorting out all options, but directly - "in one touch". That is definitely a convenient solution which tells again in favor of the smart usability of 7D. So as not to put out the focusing point by accidental touch of the "joystick", there is a special blocking mode. Besides, there is the automatic mode in which the camera selects the optimum focusing points on its own.

The camera uses a 6.1-MP CCD-matrix of the APS-C format. Generally, the resolution is not record-breaking according to current standards, but it provides a good sensitivity of the sensor and low noise level. Even with the sensitivity ISO 800, the matrix provides to the picture a quality quite enough for further printing. Nor ISO 1600 can ve regarded as a purely marketing trick of no practical use - although in this mode the camera produces a high "noise". The complete sensitivity range is within 100 to 3200.

In fact, camera manufacturers adhere to two (contrary) views on the picture quality: preserving greater details at the expense of high enough noise level, or on the contrary, more aggressive noise-reduction due to some loss in details. Developers at Konica Minolta have definitely preferred the second option: as compared to the immediate competitors (especially, Nikon D70), the image generated with 7D looks cleaner although is slightly worse at clearness. Anyway, that is all a matter of taste and personal preferences of the photographer. On the whole, the sensor of the device has nothing to complain about, and its high sensitivity combined with the Anti-Shake technology makes the 7D camera quite a promising choice for snap shooting under scanty illumination.

7D is equipped with 14-segment exposure meter able operating in the multi-segment, centrally weighed, and point modes. Switching among these modes is effected with a special lever combined with the button for exposure blocking, "AEL". Like in any other "reflex" camera, the «seventh» uses classical exposition programs with the priority of exposure (S) and diaphragm (A). There is also a fully manual mode (M) and two automatic. In one of them (P), the camera itself determines the optimum expo couple and other parameters but allows the photographer correcting them if necessary. The second, automatic mode (P, highlighted in green on the selector) makes the camera a "point and shoot" device where the processors takes on a full control of the shooting parameters. This mode is convenient especially when you have to instruct the inexperienced photographer, e.g. your wife, to take a picture of yourself.

Current settings of the device made in any of the exposure modes (except the "green P") can be recorded with the "MSET" button, and it is also possible to assign the saved profile to any of the user positions (1,2, or 3) on the rotary selector.

The white balance feature has also been implemented in quite a curious way: the user is given 7 presets for various lighting sources, with each of them having as many as 7 gradations marked with figures within -3 to +3. On the one hand, this approach requires some habit: even having decided upon the source type (in the case of mixed lighting, that is not so simple), it is difficult to select the appropriate digital value. On the other hand, white balance fine-tuning capabilities give snapshots a more precise color-rendition. Anyway, thirdly, it is always possible to shoot snaps in the RAW format and then, without haste, easily sort out with the white balance at the computer, using a RAW converter. Apart from the white balance presets, the camera offers auto-balancing, reference sheet calibration, as well as the possibility to define the color temperature of the light source directly in Kelvin degrees.

The camera is equipped with an embedded flash of "cobra" type which is opened manually (which, in author's opinion, is a plus since that helps prevent accidental snaps). The embedded flash is not outstanding in anything - it is able operating in the simple fill mode and the "red-eye suppression" mode through sending a preliminary pulse right before illuminating the scene. On the other hand, for external flashes Program Flash plugged in via the proprietary «hot boot», a wide range of quite professional features is accessible, among them wireless control, TTL-metering, fast synchronization (exposure starting with 1/125 s), synchronization by the second shutter etc. Although the camera itself supports only proprietary flashes, there is an adapter for flashes with a central synchronizer.

During snap shooting with a flash, the device is able taking account of the object-glass' focal distance during exposure metering and for calculating the pulse power. This feature named ADI (Advanced Distance Integration) allows in many ways to avoid overexposure, glares and other annoying effects which often accompany shooting with blinker units. The ADI-meter operates both with the embedded and external flashes, both in the automatic and manual focusing mode. However, it requires support from the object-glass (these have the suffix "D" in their marking).

By the way, regarding the object-glasses - a "reflex" camera is normally bought because of freedom in choosing optics to any taste. Well, things are not going bad with choosing optics. Konica Minolta alone produces for its bayonet around 40 object-glass models for various tasks and to wallet sizes. Besides, the «Minolta A» fastener is supported by such eminent manufacturers of budget-level optics, like Sigma, Tokina, and Vivitar. On sale are also widely available adapters for various fasteners - in particular, the M42 thread. So, there are no problems with attaching your favorite "Peleng", "Jupiter", or "Zenitar" to 7D (although in this case the camera disables most of its automatics). Because of somehow less popularity of the Konica Minolta trademark as compared to Canon and Nikon, there are some problems with the availability of optics for «Minolta A» straight at shops – it is purchased for sale not so willingly. However, you can buy any object-glass on a "by request" basis, and the long-awaited release of 7D allows looking at the situation optimistically.

Temporal characteristics are also of importance for a camera of this class. In this regard, 7D has some problems related to not only the start time – about 2-2.5 s passes from switching the device on up to the readiness to make the first snapshot, which is a bit too much for a modern semi-professional «reflex» camera (especially in view of the fact that the major competitors – Canon EOS 20D and Nikon D70 – are initialized almost instantly). However, in all the remaining aspects 7D demonstrates quite a sharp response to the user activities. This also applies to the auto-focus - it is precise enough and, to my personal experience, it works no worse that competitor solutions.

There is one more issue which the author had to come across was about the speed of exchanging data with CompactFlash cards. The pre-release specimen of the camera which we received for tests stood out with extreme sluggishness – the average speed of writing to the flash memory did not exceed 1.5 MB/s (although the CF-card itself supported much higher speeds, as well as the USB2.0 declared for the device). The author was about to burst into unflattering comments on that, however during preparation of the article Konica Minolta released a renewed "update" to version 1.10 where the issue with the CF-interface was successfully fixed.

I must admit, the device's power consumption caused trouble from the very start - the LCD of such size and the always-on Anti-Shake should in fact affect the power-saving. Fortunately, these fears have not come true - the full charge from the nominal battery is quite enough for a shooting day or for 300-400 snapshots. In fact, for those who find the capacity of the standard battery insufficient, there is a special accessory - a vertical handle VC-7D combined with a container for 2 Li-Ion NP-400 batteries or for 6 Ni-metal hydride AA cells.

Shooting

So, it is time we tried the camera in action. We have to make a reservation though that the device was granted to the author for merely a few days which were certainly not enough for comprehensive tests (additionally, the January frosts do not dispose to enduring photo sessions in the open air). Nevertheless, even the express test which we managed to conduct allows making certain conclusions on the practical capabilities of the device.

All the photos were taken with the stabilization on and off the hands, without using a tripod. Color space – Adobe RGB, object-glass: Konica Minolta 28-75 mm, f/2,8 (D).

Let's start with snapshots taken in the normal daylight.

As you can see, in the regular conditions the automatics works fine - the automatic white balance and exposure meter did a perfect job.

In fact, in terms of the sensor characteristics and Anti-Shake system efficiency, we are more interested in scenes taken in the scanty illumination.

Of course, noises at ISO 1600 are seen to the named eye, however they make the snapshot unusable for large-format printing.

We see a perfect clearness and practically no stirring even at 75 mm focal distance, maximum for this object-glass. The precision settings of the white balance allow getting natural enough color rendition while shooting in the JPEG mode.

Wide-angle snapshot taken with object-glass Konica Minolta 17-35 mm, f/2.8-4 (D):

No comments are needed – we see an absolutely clear picture with the exposure as long as half a second (although at not a long distance).

We have to assert the following: the Anti-Shake does work and works very well. Of course, that is not a panacea - if the vibrations are strong indeed, it is useless to the device. Besides, with the increase in focal distance of the object-glass the effectiveness of Anti-Shake reduces considerably – at long focuses, the matrix has to transpose too fast at quite a large amplitude, so it simply can't catch up with the "slipping" projection. On the other hand, the Anti-Shake allows indeed reducing exposure by 1-3 stages, so the availability of this system in the 7D is definitely a big plus.

Findings

Therefore, we can assert with confidence that Konica Minolta has made a more than successful debut on the market of digital reflex cameras. Having let the competitors forward, the company made use of the time odds and finally brought to the market a product which is practically free of shortcomings. The breakthrough Anti-Shake technology literally makes the camera a contender for leadership in its price niche, allowing 7D to compete on par with Canon EOS 20D and Nikon D70.

In a word, if you think of buying a digital reflex camera, have not yet acquired a kit of optics, still hesitant at choosing the system, we recommend that you should draw a close attention to the hero of our review. If you have already acquired a compete package of optics for "Minolta A" bayonet (and therefore you have got experience of using Minolta cameras), then it's no use thinking too much: 7D is your only right choice to date.

Meanwhile, a real intrigue is the plans of Konica Minolta for the nearest future - the company is very unlikely to stop at merely one model of a reflex camera. Which camera will be next? 8-MP «upgrade» to 7D? A budget-level response to Canon EOS 350D? A smashing report-coverage "monster" like 1D Mark II? Time will tell. For now, Konica Minolta Maxxum/Dynax 7D received a well-deserved medal of our editorial board.