1989 was an exciting year in photography. Autofocus SLRs were exploding. Canon and Nikon were staking their claim with their respective systems, but one company was already working on their second generation of these revolutionary automated wonders: Minolta. They changed everything with their Maxxum system in 1985 and would hope to do it again with a new innovative technology.

MINOLTA CAMERAS

Maxxum 9000

First off, what may come as a surprise, was the Minolta Maxxum 9000 was still being promoted four years after its release. The advertising ensured that you would “ascend to the height of professionalism” and that the 9000 was “fully equipped to elevate your photography”. It was still relevant but on its way out to make way for the new kids on the block.

I SERIES

That would be the Minolta’s Maxxum i-series of cameras. This included the 3000i, 5000i, and 7000i. These three represented the second generation of the Maxxum cameras. Posted in January, the background says “The Legends Continues” and besides the cameras containing the “world’s first AF-integrated multi-pattern real-time metering” that promises a predictive intelligent focusing system, a Creative Expansion Card System was added to their 5000i and 7000i. More on that in a bit.

Petersen’s Photographic would do a shootout of affordable SLRs in their October issue, pitting it against the Canon EOS 750 and the Nikon N4004S. The conclusion was that all three were great cameras, but the EOS 750 and 3000i edged out over the N4004S. Sorry Nikon. It’s important to note that the 3000i is a program mode only camera, and the user can’t set the shutter, nor the aperture. These types of cameras were meant to get amateurs in the door and sell lenses.

The 5000i, just like the 3000i was promoted for its compact nature. This ad grabs the reader with the headline “You’ll wonder how we got it all in there” and ends with “it barely leaves room for the film.”

This brief review in the August issue calls the 5000i the “smallest SLR in the world with built in zoom flash” (PePh-8-6). Amy Stone completed a user report in Petersen’s and gave photography enthusiasts more info on this card expansion system.

“The Maxxum 5000i can accommodate several of the optional Creative Expansion cards introduced with the Maxxum 7000i. These cards program the camera to make certain exposure selections based on the kind of photography you’re doing.”

Stone concludes that the “beeper cannot be turned off, and it does have a beep for every function” but “this one frustration never stood in my way of enjoying the camera’s capabilities and inherent simplicity.”

Ron Jegerings of Photo Life Magazine, explained the limitations of the card system. in their November issue

“Cards for the 5000i can be used in the 7000i should a photographer wish to upgrade in the future. However, many 7000i cards, such as the one for exposure bracketing, are clearly for advanced and professional use and cannot be used in the 5000i.”

Rounding off the trio was the 7000i and ads for it told you to “accept no limitations” and promoted it as the only camera that can predict the future, referring to its predictive focusing which guessed where an object was going based on its motion. It was apparently the only camera that can be loaded with creative potential, which of course, references the card system. Those Expansion Cards were at the forefront including ones for bracketing, sports action, auto depth control and customized function.

In Petersen’s Photographic guide on how to buy a camera the 7000i is suggested among the Nikon F4, Canon EOS 750 and Ricoh Mirai. The 7000i is described as:

“an advanced, new-generation AF SLR with superior autofocusing speed and accuracy, integrated multi-pattern metering, TTL automatic flash exposure control, shutter speeds from 30 seconds to 1/4000, all the AE modes plus metered manual exposure, a built-in 3 fps motor drive, interchangeable AF lenses from 16mm fisheye to 600mm, and a simple point-and-shoot mode for the novice as well.”

It was listed in the 1989 Buyer’s Guide to the Best of Photography by Darkroom and Creative Camera Techniques Magazine and in Petersen’s Photographic August shootout against the Nikon N8008 and Canon EOS 630 finding it just as capable as its peers.

Both the 5000i and 7000i appeared on the November 1989 cover of Petersen’s Photographic as one of the 10 hottest cameras to own for 1990.

Indeed this was photography, the Minolta way and while they were the first kids on the block with fancy autofocusing, the others were beginning to catch up. Canon with their EOS system, which was a total overhaul, and Nikon with their F4, which attempted to retain longtime users by keeping their lens mount. Minolta figured their edge was in the card expansion system.

MINOLTA LENSES & FLASHES

Of course, with a relatively new autofocus system comes a new line of autofocus lenses. Minolta encouraged you to “expand your horizons” introducing five compact lenses in this ad appearing in February’s Modern Photography. Also showcased later in the year was a 24-50mm f4 and telephoto prime APO lenses. A 200mm f2.8, 300mm f2.8 and 600mm f4.

Because only the 5000i had a built in flash, buying a speedlite was probably a good idea. The 3200i was the answer. A compact flash that would adjust automatically for lenses between 28 and 85mm.

POINT AND SHOOTS

A couple of compact cameras to note for 1989 were the Freedom Zoom 90 and the Weathermatic Dual 35. The Freedom Zoom 90 had a max focal length of 90mm. They also had an optional zoom extender which would take it to 120mm. One of the selling points was its special “five beam autofocus”.

The Weathermatic Dual 35 was an economical choice for photographers who wanted to shoot underwater. Underwater housings for cameras often cost more than the camera itself. Not only did it have a depth of 16 feet, but if you let go, it would float. Outdoor Photographer Magazine, in their segment gadget bag, called it a yellow submarine and reported it as:

“the first all weather/waterproof 35mm lens-shutter camera with dual lens capability” that included 35mm at f3.5 and a 50mm at f5.6.”

An ad in the same issue informs the reader that “Only one weatherproof camera moves in for the catch.”

NON-CAMERAS

Not just about cameras, Minolta had their hands in a few other ventures. Some you might be familiar with. Camcorders were a big deal at the time. Minolta had just released their Master Series-C 50, a VHC-C type video recorder. It used the same auto focusing system as their “i series” cameras. In fact a full line of their Master series of camcorders were available in multiple formats. This included super, standard and compact VHS, as well as 8mm and if you were unsure of which one to buy it was as easy as ordering a brochure.

Heavily advertised in ’89 was the Minolta Flash Meter IV. An exposure meter that claimed would take the competition years to catch up and ran on a single AA battery. Petersen’s Photographic did a full write up in their May issue calling it “simple,” “sophisticated” and “amazingly versatile”.

Minolta offered a full lineup of binoculars in “eye catching new styles, sizes and colours” with a 25 year warranty. So if you bought one in ’89, it should have taken you to 2014 with that warranty…. Assuming warranties were still honored after “Minolta” became “Konica Minolta” in 2003.

Beseler/Minolta 45A ensured that just because you didn’t use their cameras, didn’t mean you can’t complete the job with them. The 45A was one of the head choices for the Beseler 45V-XL. It allowed you to print colour photos, or use it for black and white with variable contrast paper.

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