Month: February 2020

The 1984 Konica MG is a delightful, clam-shell, compact autofocus camera. Konica also produced an “MG/D,” which was the same camera but with a date-imprinting feature. With a fixed four group, four lement 35mm f/3.5 lens, the ability to manually set the ISO, and an auto load/advance/rewind, there is much to like about the little MG. The only real drawbacks are the loud film advance, an easily-fooled light metering system, and a primitive passive autofocus system that lacks feedback. Let’s take a closer look.

In 1975, Konica produced the first 35mm compact camera with a built-in flash: the C35 EF. In 1977, Konica produced the first commercially-available autofocus camera: the C35 AF, which licensed the “Vistronic” technology from Honeywell. The C35 AF actually had an indicator to show the distance the camera autofocused on the photo you just took, but not before you took it. The C35 AF was amazingly successful, selling over a million copies. From 1978 to 1982, Konica then produced a number of mostly-forgettable compact cameras aimed primarily at the mass market. Here they are compared.

Konica’s MG certainly constituted a more “fully-featured” compact point & shoot. The MG was not necessarily cheap, being advertised for around $120-150 during the summer of 1984 (about $350-430 in today’s dollars). With MGs remaining fairly affordable and largely unnoticed by 21st-century influencers, is it a serious contender for one’s everyday point and shoot? Let’s take a look.

Specifications

There is no question that the MG was Konica’s then-most advanced point and shoot to date and outclasses all prior models in functionality.

Operation

Auto Film Loading, Rewinding, and Advancing: The MG will automatically load the film, auto-advance, and auto-rewind. There appears to have been no attempt to muffle the sound of any of it. The auto-rewind does not automatically shut off. You will have to listen to the change in sound when the film becomes entirely rewound.

Taking Photos: The MG has pretty simple operation with almost no user override. A half-press of the shutter should “autofocus” when a green light pops up by your eye. The autofocus zone is a small square in the middle on the viewfinder. A red light by your eye means underexposure. There is no warning if you are too close to a subject to autofocus the lens. Consequently. you will need to make sure that you are physically at least 1.1 meters away from your subject. There is no confirmation in the viewfinder or thereafter how far the lens focused for a particular shot. The manual assures us that if you partially depress the shutter button, the focus will lock and then you can reframe the shot. There is a slight lag between pressing the shutter button and the camera taking the shot. Unfortunately, the built-in light meter is easily fooled by any strong backlighting in a scene, requiring some guesstimating of exposure compensation.

Automatic Aperture & Shutter Speeds: The MG has automatic shutter speeds from 1/30 to 1/500. No manual override. The 1/30 bottom shutter speed effectively prevents “shutter shake” in low-light situations.

35mm f/3.5 Lens: The MG sports a four element, four group lens. I would guess that this lens provided the template for Konica’s later A4 / Big Mini series of cameras. The f/3.5 lens performs exceptionally well, even wide open, with almost no distortion.

Manual ASA Selector: The ASA is adjustable via a switch above the lens in full steps of 50, 100, 200, 400, and 1000. Unlike later-generation point and shoots that only used DX film coding, this permits the user easily to use home-rolled film, to push/pull film at one’s leisure, or even to adjust exposure on the fly.

Parallax Correction: In the viewfinder, there is an etched line within the frameline to estimate the framing at closer focusing distances.

Pop-Up Flash: To turn on the flash, there is a gray lever on the side of the camera that pops it up. There is an orange light on the back of the camera that informs when the flash is charged. The flash recycles quite slowly. The flash will work in automatic fill-flash mode.

Auxiliary Lens Capability: At least one company made auxiliary lenses for the MG. There is a “wide angle” and a “telephoto.” The wide angle appears to decrease the view to about 28mm from 35mm. The telephoto seems to increase the view to about 50mm. Any auxiliary optics will degrade the image quality at least slightly. But they are small enough to carry around.

Optional Date Back Model: The MG/D model had the standard date back that would imprint the date in the corner of the frame. Still do not understand why those were a thing.

Conclusions

It is difficult not to like the MG. It has a very sleek, easy to use, and fairly inconspicuous apart from its film advance noise. The ability to select an ASA setting not only allows the use of reloadable film cassettes but also permits some degree of exposure compensation in difficult lighting situations. The primary drawbacks are the lack of useful autofocus feedback and a light meter that picks up any strong backlighting. That being said, I have been pleasantly surprised by the results. It is certainly a camera I will keep in the stable. If you are looking for a slightly “better” Konica point-and-shoot from the mid-1980s, check out the MT-11 of 1986.

Sample Shots

Please check the Instagram associated with this website at hashtag #konicamg for sample photos from the Konica MG.

The Konica MG Manual

Because the MG Manual is not otherwise available on the Internet, please enjoy!

The Nikon N50 (F50) was an entry-level autofocus camera body produced from 1994 until 1998, when it was replaced by the N60 (F60). Compared to the universe of Nikon autofocus SLRs of the 1990s and early 2000s, the N50 has somewhat limited capability and awkward interfaces. Given the existence of numerous, superior, and affordable alternatives, is there any case for the N50 today? Probably not.

From the introduction of consumer autofocus SLRs during the late 1980s until their general demise in the early 2000s, the market was incredibly competitive and all models radically improved through the era in all respects, most notably in autofocus speed and accuracy. Unfortunately, Nikon had to play some serious catchup in this segment to Canon, which was introducing some fine SLRs with faster autofocus speed and accuracy. Starting in 1986 with the N2020 (F-501), Nikon produced a series of advanced consumer autofocus cameras: the N4004 (1987), the N8008 (1988), the N4004S (1989), the N6006 (1990), and the N8008S (1991). These models were followed by the well-featured N90 (F90) in 1992, and then by the updated N90s (F90x) in 1994. The N90s was clearly and purposefully the best of the bunch and an important stepping stone between the professional Nikon F4 (1988) and the F5 (1996).

Alongside the introduction of N90s, Nikon introduced two consumer-level cameras for 1994: the N70 and the N50. The N50 was often packaged with two “kit” zoom lenses: the 35-80mm f/4-5.6 AF-D and/or a 80-200mm f/4.5-5.6 AF-D. The general consensus is that the 35-80mm is not a very good lens, but the 80-200mm has its fans. The N50 was replaced with the more-intelligently designed N60 in 1998 and then by the further improved N65 in 2001.

Specifications

Here are the compared specifications of the 1994 N90s, N70, and N50.

Operation

While certainly capable of taking great photos and with a variety of useful features, the N50 is nevertheless hobbled by a poor user interface and limited capability to use both manual focus lenses and Nikon’s later and better AF lenses. Even in its class of entry-level cameras, later models like the N75 and N65 just blow it away. Given that, and without going exhaustively through all of its features, let’s look at what it can and cannot do.

Limited Nikon Lens Compatibility: The N50 was designed to work primarily with Nikon’s contemporary line of AF and AF-D lenses. While there are some winners in this line-up, especially the professional zooms and the prime telephotos, Nikon’s later AF-S lenses were largely a significant improvement. While the N50 cannot autofocus either AF-S or AF-P lenses because of a lack of appropriate interfaces, it still can operate them in all shooting modes with a focus-assisted manual-focus mode. More importantly, the N50 cannot meter or focus-assist the AI or AI-S line of lenses.

Viewfinder: The N50 seems to have borrowed the viewfinder design of the Nikon F4, with its signature green LCD screen at the bottom displaying the shutter speed, aperture, and focus assist indicators. Unlike the F4, where the illuminator has to be switched on, the N50 illuminator always lights up when the exposure meter is activated. The 92% frame coverage with .78x magnification is not that great but similar to the N90s and N70.

Autofocus: The N50 uses the same 1988 autofocus module as the Nikon F4. The AM200 is relatively fast and accurate but had certainly been long-surpassed by 1994. The autofocus from the screw drive is fairly noisy. A half-press of the shutter button will trigger the autofocus and turn on the exposure meter. To lock the exposure, one must press an external AE-L button on the back upper-right of the body. The N50 has both a single and continuous autofocus mode. The continuous mode remains fairly primitive by modern autofocus standards.

Exposure Metering: When using AF, AF-D, AF-S, or AF-I lenses, the N50 automatically defaults to a now-primitive six-segmented matrix light metering. When switching to manual exposure mode, the N50 will switch to center-weighted metering.

TTL Flash: Apart from a fairly useless built-in pop up flash, the N50 can use the world of Nikon TTL flashes contemporary to it and has a fairly average x-sync speed of 1/125. The N50 can use Nikon TTL flashes for automatic daylight fill.

Other Features: The N50 had a variety of other standard features, like an integrated motor drive and automatic film loading and rewinding,

Shooting Modes: The N50’s most significant shortcoming is its often-confusing and unnecessarily complicated shooting modes. Instead of using what ended up becoming “standard,” a top mounted LCD readout and rotating dials moved by one’s fingers, the N50 uses a series of buttons and LCD readouts consisting of pictures, numbers, and letters that on a good day would take some getting used to. The primary modes are labelled “Simple” or “Advanced.”

In “Simple” mode, the camera gives you four pre-set options to select on the LCD menu on the top right of the body: (1) “General Purpose Program” (camera icon); (2) “Landscape” (mountain icon); (3) “Portrait” (lady in a hat icon); and (4) “Close-Up Program) (a flower icon). No technical exposure information (shutter speed or aperture) is displayed in the viewfinder. However, there is an autofocus confirmation circle and the flash icon will blink if there is not enough light.

In “Advanced” mode, to choose standard exposure modes (P / A / S / M), the user selects with a button under the appropriate letter. If P is selected, there are four additional pre-programmed modes to choose from: (1) “Sport Program” (runner icon); (2) “Night Scene Program” (buildings with moon icon); (3) “Motion Effect Program” (a runner with wind icon); and (4) “Silhouette Program” (setting sun with palm tree icon).

By selecting “A,” you can use the top controls to select your preferred aperture without having to change the settings on the lens itself. If insufficient light exists, the viewfinder will blink the “flash” icon. By selecting “S,” you can use the top controls to select a preferred shutter speed and the camera will set the appropriate aperture. If your shutter speed is too high or low for the lighting, the viewfinder will signal “Lo” or “Hi.” By selecting “M,” you can use the top controls to manually set a shutter speed and aperture. If your manual settings disagree with the camera’s meter, the viewfinder will tell you in +2 / -2 how much you are off and also blink the flash icon if necessary.

Conclusions

Because N50s are basically free today, it is difficult to find anything wrong with the camera at that price point. I think that the N50 is best used in a standard “Program” or “Aperture Priority” modes, which allows the camera to fully function so you can focus on the shot, and not trying to figure out how to change the settings on the fly. The inability to autofocus the much better and quieter AF-S lenses is a real downer, especially since, save for the 1998 N60, Nikon would never make another 35mm film SLR that could not autofocus them. The inability to effectively use manual focus lenses is also a bummer. You just have to deal with the pain of its relatively loud autofocus mechanism and one of Nikon’s earliest autofocus modules.

Instead of the N50 for an easy-to-use, entry-level AF Nikon SLR, I would look at the early 2000s N80 (F80) or the N75 (F75). These cameras are much more fully featured, relatively lightweight, and can use virtually every Nikon AF lens ever made. If you have a few more bucks, consider the F100, which has everything you would want in Nikon autofocus camera. Unless a camera like the N50 falls in your lap, I would skip it entirely.