Canon – AE-1 Program – User Manual 2

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English Edition Nomenclature
Shutter Speed Selector UI“`~. ~~ Co.ffi~~o.
will begin to beep at a ~aster
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…. ~~ …… ~~=-~~–::: ….. $ ….. ..?~ _~-..:~-A`-~
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If you have started the self­
timer and wish to cancel it
before shutter release, press
the battery check button or
push the main switch back to
Oh no! I started the self-timer but
now I want to stop it. What shall I
do ?
Try pressing the battery
check button or pushing
the main switch back to
” L. ” * Dedicated Flash Photography with the Speedlite 188A
Make sure the main switch on
the flash is OFF. Then slide the
flash into the AE-1 PRO­
GRAM`s accessory shoe.
Tighten the lock nut.
~ `,” `:`j.jI”l”
~ 1-619 9 IS tt m t
Slide the Speedlite`s ISO/ASA
film speed switch to the
ISOI ASA speed of your film.
Then push the Aperturel
MANU selection switch to
select an aperture. The green
and red positions each indi­
cate the distance range which
corresponds to the aperture
you have set on the flash.
·5 .6
Turn the Speedlite`s main
switch ON. When the flash is
charged, its pilot lamp will
glow. When the shutter
button is depressed halfway,
the auto working aperture and
a green 11 will appear in the
viewfinder, indicating that the
flash is charged. Immediately
following shutter release, con­
tinue to press the shutter
button halfway; the green 11
will flash on and off for two
seconds if your shooting dis­ tance provided correct expo­
sure. Notes
1. Canon offers eight other
Speed lites for the AE- l
PROGRAM. W ith slight dif­ ferences, all nine are used
in almost the sa me way. See
page 63 and the Speedlite`s
instructions for more details.
Make sure the AE- l PRO­ GRAM`s shutter speed selec­
tor dial is not on ” 8.” Any
other setti n.g is okay.
Q5 1 2.8 4 .5
i6 ~ I I
.6 19 9

1 1 30
0.,1 1 11111111 liON
2. If the () does not flash on and
off for two seconds after
shutter release, change your
shooting distance so it is
within the distance range
specified on the flash.
For correct exposure, the sub-
ject must be within a certain
range of distances from the
camera. The required distance
range is indicated on the Speed-
lite 188A by the red or green
line. * Carrying the Camera
Thread the ends of the strap
through the rings on the
camera as shown.
For carrying the camera, in
particular, insert it into its
semi-hard case (optional
accessory) as shown.
Do not forget to turn the main
switch to “L” to prevent acci­
dental shutter release while
carrying the camera.
To remove the top cover, turn
it down, then push it straight
up and out. Turn the lens`
focusing ring to infinity (00)
before closing the top cover. Pre-shooting Checklist
Shutter speed :==~~~=========———=====~~~ ….. .
to “PROGRA~I.ector dial set
grammed AE) (for pro-
speed (for or to a shutter
ority AE)? shutter-speed pri-
Lens ape t . r ure ring set to “A” )

ISO/ASA setting?
Film Advance?
30 Care
Your AE-1 PROGRAM is a pre­
cision instrument. Regular use
with proper care will ensure
maximum performance. Reli­
able under normal use, it can
be damaged by moisture, heat,
shock, water, sand or the use
of force. We recommend peri­
odic external cleaning with a
blower brush and lens cleaning
with lens cleaning tissue
which has been moistened
with a few drops of lens clean­
ing fluid. During prolonged
storage, remove the camera
from its case and wrap it in a
clean, soft cloth. Remove the
battery. See pp. 72- 73 for
additional tips on camera and
lens care.
Making the Most of
Your AE-1 PROGRAM 12. Battery
1. Correct Batteries Examples
Eveready (UCAR)
manganese 6V
No. A544
Eveready (UCAR)
Silver Oxide 6V
No. 544,
Duracell PX 28
Lithium 6V Duracell PX 28 L
2. The AE- 1 PROGRAM`s battery check circuit
not only tells you whether the battery is good
but also how good it is. First make sure the
main switch is on “A.” Then press the bat­
tery check button for two to three seconds. If
the battery`s power is sufficient. the camera
will emit about six or more “beeps” per
second. If the battery is weak and needs re­
placing, the camera will beep at the slower
rate of about three ” beeps” or fewer per
3. The battery is exhausted if, after pressing the
battery check button for about three
seconds, no sound is emitted. Replace the
battery with a new one. 4. Pressing the battery check button, the shut­
ter button, the exposure preview switch, or
the AE lock switch uses battery power. Take
care that nothing presses on any of these
when the camera is not in use.
5. Remove the battery if you do not expect to
use the camera for about three weeks or
longer. With normal use, the battery should
last about one year.
6. Do not try to take the battery apart and never
dispose of it in fire.
7. Try to make a habit of checking the battery at
the following times :
• After loading a new battery.
• If the shutter won`t function when the
main switch is on “A.”
• Before and after making many long
• After storing the camera for a long time.
• When you are using the camera in low
temperatures (see p.68)`
• Before going on a trip.
• When the camera is used very frequently.
• Before shooting important events. 13. Viewfinder
Viewfinder Information
1. Laser-matte screen
r——-i-j~ ~ ~.
1 1 4 6.
Microprism rangefinder
New Split rangefinder
Manual aperture control LED
Programmed AE control LED/
Camera shake LED warning
Aperture display
7. Stopped-down metering index
8. Flash charge-completion LED display
and , when using Speedlite 188A or 166A,
auto-exposure flash confirmation
34 The AE-l PROGRAM`s viewfinder is especially
bright to facilitate viewing and focusing. It dis­
plays only the necessary information, using a
Light-Emitting Diode (LED) system of illumina­ tion. The degree of LED illumination changes in
four stages depending on the brightness of the
subject. When the subject is brighter, the LED
brightness is slightly higher; it is slightly lower
with a darker subject. Thus the LED maintains an
almost consistent degree of brightness to the
human eye.
Correct exposure is provided by the Central
Emphasis Averaging System, which reads the
entire viewing area with emphasis on the central
portion where the subject is most likely to be
placed. Since a new type of split-image range­
finder is used in the center of the viewfinder, the
brightness of the split-image rarely changes
even when using a lens whose maximum aper­
ture is f/ 5.6 or smaller. Focusing
Out of Focus
1 – 3 are aids to help you focus. They can be
used alone or in combination. The New Split
rangefinder 3 divides the subject in half hori­
zontally and is especially useful for a subject
which has vertical lines. The subject is in focus
when the two halves merge to become one
unbroken image. When it is difficult to focus the
subject, use the laser-matte screen.
In Focus
When the subject is out of focus, the micro­
prism ring 2 breaks the subject into tiny frag­
ments, causing a shimmering effect. It is clear
and steady when your subject is in focus.
The laser-matte screen 1 appears fuzzy until
the subject is in focus. It is particularly effective
when you are using accessories for copying or
close-ups. See p. 60.
Canon offers eight different types of inter­
changeable focusing screens. See p. 70 for
further details.
`When using a lens with a maximum aperture of
f/ 5.6 or smaller, half of the split-image range­
finder may take on a slight color. IS,S
When the lens` aperture ring is set to “A”
and the shutter speed selector dial to
” PROGRAM,” a green “P” LED 5 is displayed,
indicating programmed AE photography.
If the shutter speed selected automatically by
the camera is 1/30 sec. or slower, the ” P” will
blink. This is to warn you that your picture may
be blurred due to camera movement if you are
hand-holding the camera.
The aperture 6 selected automatically by
the AE- 1 PROGRAM is displayed in the view­
The meter index 7 is f or setting exposure
with a non- FD lens and in close-up photography
(see pp. 57- 58) ,
When using a Canon Speed lite 011 A, 1 33A,
155A. 166A. 177 A. 188A, 199A, 533G or
577G, a green flash charge-completion signal 8
lights up when the flash is charged.
When using the Speedlite 188A or 166A,
this signal 8 flashes on and off for two
seconds after the shutter is released if the
flash-to-subject distance was within the auto
coupling range.
Meter coupling range
When using an FD 50mm f/ l.4 lens and ISOI
ASA 100 film, the built-in exposure meter cou­
ples within a range of EVl (f/ l.4 at 1 sec.) to
EV18 (f116 at 1/1000 sec.). At given film
speeds, the built-in exposure meter couples
with the aperture and shutter speed, as indicat­
ed in the chart on the next page. If the shutter
speed and aperture combination are outside the
coupling range, the camera warns you by flash­
ing the appropriate display inside the viewfinder. In the programmed AE mode, continuous
frame photography with a Motor Drive
MA or Power Winder A or A2 is recom­ mended only if the light is bright enough
to give an aperture display of f /4 or larger.
In this case, the shutter speed will be at
least 1/60 sec.
The dotted line indicates the meter cou­
piing · range in programmed AE when the
FD50mm f / l .4 lens is used.

8 15 30 60 125 250 500 1000
– —-Shutter Speed( sec .)- – – –
38 Exposure Warnings
When taking pictures in excessively bright or
low light, the aperture display blinks in the view­
finder. Depending on the warning displayed,
make the appropriate adjustment as follows.
Besides pressing the shutter button halfway,
you can also turn the meter on to check
exposure in the viewfinder by pressing the
exposure preview switch. Pressing it uses bat­
tery power. Be careful not to press it uninten­
Overexposure Warning
Shutter-speed priority AE mode: “32” blinks
regardless of the minimum aperture of the lens
in use. Choose a faster shutter speed until the
display stops blinking. When using a lens whose
minimum aperture is f /22 or f / 16, even when
“32” does not blink, turn the shutter speed
selector dial until a number equal to or smaller
than the lens` minimum aperture is displayed. Shutter-Speed
Priority AE mode
Use ND Filter or
film with a lower
~ ISO/ASA rating.
Programmed AE mode
S.hutter-speed priority AE mode: When “32”
blinks and the shutter speed selector dial is set
to 1000; or
Programmed AE mode : When ” 16″ blinks,
you can a) Attach an NO filter; or
b) Use a film with a lower ISOI
ASA rating .
• An NO (neutral density) filter reduces the light
intensity while having no effect on colors.
Underexposure Warning
– …. –
Shutter-speed priority AE mode: A number
equal to or smaller than the lens` maximum
aperture blinks. Choose a slower shutter speed
so that the aperture stops blinking. El-(eXam Ple)
Programmed AE
either of
the two blinks
Use fl ash or
higher ISO/
ASA rating
Shutter-speed priority AE mode : When 2 sec,
is set on the shutter speed selector dial and a
number equal to or smaller th an the lens` maxi­ mum aperture blinks; or
Programmed AE mode: When the lens` max­
imum aperture blinks,
you can a) Use flash or other additional light;
b) Use a film with a higher ISO/ ASA
rating ,
With the shutter button pressed halfway, a red ” M”
LED 4 appears whenever you remove the aperture
ring of the lens from ” A” or when you mount a non­
FD lens, See pp, 57 -58, It warns you that exposure
will not be automatic,
14. Exposure
Taking a picture is a matter of letting light fall on
the film under controlled conditions, This is
called exposure, When you press the shutter
button, some blades (called a diaphragm) inside
the lens shift to form an opening called the aper­
ture, Almost simultaneously, the first shutter
curtain starts to move inside the camera, A
second shutter curtain follows it after a fixed
interval which you control with the shutter
speed selector dial. The amount of light that
exposes a frame depends on the shutter speed
and the size of the aperture,
For the same exposure, a change in the shutter
speed requires an equal and opposite change in
the aperture, The AE-l PROGRAM makes this change in aperture automatically by means of
the shutter-speed priority AE mode. In program­
med AE, the camera automatically chooses a
combination of shutter speed and aperture for
correct exposure.
There are usually several combinations of shut­
ter speed and aperture which will give the same
exposure. This fact is the key to one of the most
creative tools in photography. Find out more
about it in the next three sections.
1 5.6
1 .8
~ ..,
42 15. How to Choose a Shutter Speed
The shutter controls exposure by the length of
time it remains open.
The basic function of shutter speed is to get
correct exposure, but you can also use it to con­ trol the expression of your subject`s motion and
to control the effect of camera movement.
Blurring part of the picture can heighten the
sense of action. In most cases, however, image
blur is undesirable. To avoid blurred pictures
from camera movement. use a shutter speed of
at least 1/60 second for handheld shooting with
a standard (50 mm) lens. Even higher speeds are
necessary with a telephoto lens. See pp.45-46.
I wonder what 150/ ASA film
speed is.
Oh, I forgot to tell you. I asked our
film dealer about that. He told me
that the higher the film`s 150/
ASA speed, the less the light it
needs for exposure.
with a higher film
speed we can shoot in
lower light or use
faster shutter speeds.
Good work! 1. Freezing Motion
Usually a certain shutter speed is chosen to
freeze the motion of a subject. The faster the
subject is moving, the higher the shutter speed
required to stop the action. While it is possible
to freeze the motion of a pedestrian at 1/60
second, you need 1/ 1000 second for a moving
train. The motion of the bird in this photo was
frozen at 1/ 1000 second.
2. Blurring the Subject`s Motion
Blurring part of the picture intentionally can give
a convincing sense of action. To blur the sub­
ject. simply set a shutter speed which is too
slow to freeze its action. In this photo it was
blurred at 1/ 125 second.
You can also blur the background by “panning.”
Choose a shutter speed suitable for the subject`s
motion and release the shutter as you follow the
movement, turning the upper part of your body. See
p. 87 for a colorful example. 16. Shooting at Shutter Speeds Slower Than 1/60 Sec.
With a standard 50 mm lens on your AE-1 PRO­
GRAM, a shutter speed of 1/ 30 second or
slower is liable to result in blurred pictures
because of camera movement when you are
hand holding the camera. Instead of using such
slow shutter speeds, it is better to raise the
shutter speed, if possible, add light or use a
flash .
If you cannot do any of these things, mount the
camera on a sturdy tripod and use a cable
release. Attach the camera to the tripod via the
tripod socket. A cable release is an accessory
which screws into a socket in the shutter button
and allows you to release the shutter without
touching the camera.
With a wide-angle (less than 50 mm) lens, it
may be possible to use shutter speeds slightly
slower than 1/60 second for handheld shooting.
With a telephoto (more than 55 mm) lens, even
faster shutter speeds are necessary to prevent
Canon offers an optional accessory called Tripod
Adapter A. If the tripod head is quite large, it may be
helpful to place this accessory between the camera
and the head. Otherwise, it may be difficult to turn
the focusing and aperture rings. This accessory also
prevents damage to the camera when the tripod
screw is too long for the camera`s tripod socket. Rule of Thumb:
Generally, do not use a number on the shutter
speed scale which is any smaller than the focal
length of the lens for handheld shooting. For
handheld shooting with a 100 mm lens, for in­ stance, set a shutter speed of 1/ 125 second or
faster; with a 200 mm lens, at least 11250
second. If this is not possible, use a tripod and a
cable release.
I wonder what we`re
supposed to do if we
don`t have a flash or a
tripod and a cable re­
Let`s try steadying the camera on
this table and then releasing the
shutter with the AE-1 PRO­
GRAM`s self-timer. I`m sure it will
reduce the possibility of camera
In the programmed AE mode, the
” P ” blinks when the shutter speed
is 1/30 or slower to warn you of the
possibility of camera movement if
you are handholding the camera. 17. Aperture, Exposure`s Other Half
Maximum Aperture
(large f/stop)
Note: The smaller the the
Minimum Aperture
(small f/stop)
[Example Shown: FD 50mm f/1.4. Maximum and minimum apertures differ depending on lens]
The lens has diaphragm blades. They open and
close to form certain-sized holes, or apertures,
which control the amount of light allowed to
expose the f~m. The aperture scale can be found
on the lens` aperture ring. The numbers on the
scale are called f-numbers or f/ stops.
When taking pictures using shutter-speed
priority AE or programmed AE, the lens` aper­
ture ring must be set to the “A” mark. With the
lens on this setting, the AE-1 PROGRAM auto­
matically selects the correct aperture, based on
lighting, the film speed, and the shutter speed.
When you press the shutter button halfway, the
f/stop the AE-1 PROGRAM has set auto-
mati cally appears in the viewfinder. Because the
meter reads light continuously, as the lighting
conditions change, the different apertures
which compensate for the change appear in the
viewfinder. The AE-1 PROGRAM does not fix
the aperture until you press the shutter button to
take the picture.
In addition to controlling the quantity of light.
the aperture influences depth of field which, in
turn, affects the way a picture will look. When
your subject is in focus, there is a certain area in
front of it and behind it which will also be in
focus. This range of sharpness is called depth of
field. In portraits and still-life shots, a particular aper­
ture may be more important to your picture than
a particular shutter speed. To get the aperture
you want in shutter-speed priority AE, simply
turn the shutter speed selector dial, while press­
ing the exposure preview switch, until the de­
sired f-number appears in the viewfinder. Keep
in mind that the shutter speed should not be
slower than 1/ 60 second for handheld shooting
with a standard lens.
48 How the Aperture Affects the Picture
1. The smaller the aperture, the wider the range
of sharpness. This is illustrated by this pic­
ture above which was taken at f/16. Com­
pare it with the photo to its right. This
extended depth of field is especially good for
such subjects as landscapes.
2. The larger the aperture, the narrower the
range of sharpness. An aperture of f/1.4, for
instance, can isolate your subject from its
surroundings. This is often used to blur a dis­
turbing background in portraiture. Notes
Depth of field is also greater the shorter the focal
length of the lens. For example, a 24 mm lens will
show greater depth of field than a 50 mm lens, pro­
vided the aperture and shooting distance are the
same. Depth of field is also greater the longer the
shooting distance, and is generally greater in the
background than in the foreground by a ratio of two
to one.
With a Canon FD lens, viewing and metering are
done at maximum aperture where the viewfinder is
brightest. The lens diaphragm does not close to the
shooting aperture until the shutter is released.
Afterwards, it reopens automatically to the max­
imum aperture. Because the maximum aperture pro­
vides the narrowest range of sharpness, the subject
is viewed with the shallowest depth of field.
50 18. Checking the Depth of Field
There are two ways to check the depth of field.
The usual one is by using the depth-of-field
scale on the lens. This is a scale of f/stops re­
peated on each side of the distance index.
1. First focus. Then press the shutter button
halfway and note which number appears in
the viewfinder. Find the two fl stops on the
depth-of-field scale which correspond to
that number.
2. Draw imaginary lines from those two num­
bers to the distance scale. The effective
depth of field lies between those two dis­
You can roughly check the depth of field visually
with an FD lens as follows :
1. Make sure the film has been completely
2. Press the shutter button halfway to find out
which number is displayed in the viewfinder.
3. Then press in the AE lock pin and turn the
aperture ring to that number.
As a reminder that the lens is off “A,” the “M” will
light up in the viewfinder when you press the shut­
ter button halfway. 4. Push in the stop-down lever until it locks.
Now, just by looking at your subject through
the viewfinder, you can see the range of
sharp focus.
It is impossible to push in the stop-down lever when
an FD lens is set at ” A.”
5. After checking the depth of field, unlock the
stop-down lever. Now turn the aperture ring
to the smallest number. Then turn it to the
largest number, press the AE lock pin and
return the aperture ring to “A.”
Do not push in the stop-down lever before you
advance the film or the diaphragm will close
down only as far as the aperture used for the
previous exposure.
When an FD lens is mounted DIRECTLY on the
camera (with no accessories between),
NEVER take a shot before releasing the stop­ down lever or exposure may be incorrect. And
unless you want to make an exposure correc­ tion (p. 55) return the aperture ring to “A”
before shooting. 6. Now you can take your shot.
Hey! There must be
something wrong. The
viewfinder is getting darker
and it`s difficult to focus.
Try turning the aperture ring to the
smallest number for viewing. Then, while
looking at objects in the foreground and
aperture you`ll be using.
background, turn the aperture ring to the ,
Oh, I see, you`re previewing the depth of
field. As you turn the aperture ring to a
higher number, the diaphragm closes
down and lets less light in.
Oh, I see now. There`s more in focus! 19. Shooting with Light Behind Your Subject (and Other Unusual light-
Exposure Correction
When there is light, such as the sun or a bright
window, behind your subject, the AE-1
PROGRAM`s meter may be overinfluenced by
that light and your subject will come out too
dark. You can correct the exposure by (1) press­
ing the AE lock switch; (2) adjusting the ISOI`
ASA; or (3) manually setting both the shutter
speed and aperture (canceling AE photography) .
I. AE Lock Switch
For example, when shooting a backlit subject:
1) Approach your subject and, looking in the
viewfinder, center your subject so that it
takes up about one-third of the viewing area.
2) While pressing the shutter button halfway,
press the AE lock switch.
3) Keeping the shutter button pressed halfway,
step back, compose the picture as you like,
and shoot. Your subject will be correctly
You do not have to continue pressing the AE lock
switch; the exposure value is retained as long as
you press the shutter button halfway. ing Situations)
2. Adjusting the ISO/ASA
Sometimes, in a theater or concert hall, for
instance, where it is quite dark, the AE-l
PROGRAM`s meter may be overinfluenced by
the darkness and your subject will come out too
light. To expose your subject correctly, tum the
ISO/ASA film speed lever to a higher number.
Each full step on the ISOI ASA film speed scale
equals one f/stop. If ISO/ASA 200 film is
loaded, for instance, and you turn the lever to
ISOI ASA 400, your subject will receive one
fl stop less exposure. Exactly how much higher
you should set the ISOI ASA film speed depends
on the situation. To be on the safe side, you
may wish to bracket the exposure (see “Note
#2,” next page) .
3. Manual Override
Instead of using the AE lock switch or changing
the ISOI ASA, you can also make an exposure
correction by canceling AE photography. When
you do this, you will be setting both shutter
speed and aperture by yourself. This is called
manual override and is useful whenever you
want to set a different aperture than the one the
AE-l PROGRAM would select automatically in
Just as doubling the ISO/ASA will underexpose the
picture one fl stop, halving it (setting the lever to
ISOI ASA 100 for ISOI ASA 200 film) will over­
expose the picture one f/stop.
Following exposure, do not forget to reset the film
speed lever to the correct ISOI ASA film speed, or
all following frames will be incorrectly exposed! 1. Set a shutter speed by turning the shutter
speed selector dial.
2. Remove the lens from” A” and set an aper­
ture by turning the aperture ring.
When you press the shutter button halfway, the
aperture that the AE- 1 PROGRAM would select
automatically will light up. You may wish to use this
aperture reading as a basis for setting an aperture
on the aperture ring. A red “M” will light up in the
viewfinder to remind you that the lens is removed
from “A.”
2. You may find it worthwhile to bracket the exposure.
This means taking several shots at different
exposures so that at least one of them turns out
correctly exposed. Take the first shot at the
exposure you think is right. Then take two more,
one with the aperture ring set one step higher and
the other with it set one step lower. It is possible to
do the same thing by changing the ISO/ASA setting
or the shutter speed. 20. Shooting with a Non-FD Lens
`5 .6
With a Canon FD lens, metering is done with the
lens diaphragm at its widest opening. This is
called “full-aperture metering.”
Stopped-down Metering
With a Canon FL lens, the TS 35mm lens or any
other non-FD lens, full-aperture metering is not
possible. The lens must actually be closed (stop­
ped down) to the shooting aperture for metering.
This is called “stopped-down metering.” In stop­
ped-down metering, the lens diaphragm will
open or close as you turn the aperture ring.
1. Push the stop-down lever towards the lens
until it locks.
2. Make sure the shutter speed selector dial is
3. While pressing the shutter button, turn the
aperture ring until the stopped-down metering
index and 5.6 appear. Correct exposure can­
not be obtained with any other display.
4. Press the shutter button all the way down for
1. Stopped-down metering is not possible when
the shutter speed selector dial is set to
2. You can also press the exposure preview
switch and turn the shutter speeed selector
dial until the stopped-down metering index
and 5.6 appear.
3. Once the lens is stopped down, you can check
depth of field visually simply by inspecting the
subject through the viewfinder. Lenses which cannot be mounted on the AE-l
FL 19mm f /3.5
FL 58mm f / l .2
R 58mm f/ l.2
R 100mm f /3.5
FLP 38mm f12.8
Lenses which cannot be used with the AE-l
PROGRAM`s meter for mechanical reasons:
FL 50mm f/ l .8
FL 35mm f/2.5
R 50mm f / l.8
R 35mm f /2.5
R 100mm f/2
NEVER try to do stopped-down metering with an
FD lens unless there are close-up accessories be­
tween it and the camera. If you do stopped-down
metering when an FD lens is mounted directly on
the camera, exposure may not be correct.
58 21. Shooting with Close-up Accessories
59 With few exceptions (noted in the instructions
for the accessory) , stopped-down metering is
necessary whenever you insert an accessory be­
tween the camera and lens for close-up photo-
graphy. .
1. If you insert an accessory designed for
AUTOMATIC diaphragm control. such as the
Auto Bellows or Bellows FL, between the
camera and ANY lens, follow the steps (p. 57)
for stopped-down metering.
2. If you insert an accessory designed for
MANUAL diaphragm control, such as M
Extension Tubes or Bellows M, between the
camera and a NON-FD lens, follow the steps
(p. 57) for stopped-down metering. Turn the
A-M ring of an FL lens to “M” for taking the
shot (not necessary if Canon Macro Auto Ring
and Double Cable Release are used).
3. If you insert an accessory designed for
MANUAL diaphragm control between the
camera and an FD lens, unless you use the
Canon Macro Auto Ring and Double Cable
Release, first set the lens for manual dia­
phragm control before mounting it on the
accessory. Then follow the steps (p. 57) for
stopped-down metering.
The instructions w ith the accessory w ill tell you
whether or not manual diaphragm control is neces ­ sary. The procedure differs according to the type of
lens. See page 62. Film Plane Indicator
This mark, engraved on top of the camera body,
indicates the exact position of the film plane. It is
useful for measuring the exact shooting distance
from film to subject in close-up photography.
Distances on the lens` distance scale are cali­
brated from this mark. It is not used in general
The aperture ring of an FD lens must be removed
from ” A” before you mount the lens on any of
these close-up accessories except for FD-U
Extension Tubes and Extenders FD 2x and FD
1.4x, which are designed for normal full-aperture
61 Manual Diaphragm Control
FD Lens without Chrome Mount Ring except for FD Macro
1. Insert the slot of the accessory manual dia­
phragm adapter over the tip of the automatic
aperture lever at the rear of the lens. Push the
lever counterclockwise and lower the adapter
into the groove. The diaphragm blades will
open or close as you turn the aperture ring.
2. Mount the lens on the accessory.
When the manual diaphragm adapter is
attached, NEVER mount the lens DIRECTLY
on the camera or on an accessory designed
for automatic diaphragm control, such as the
Auto Bellows or Bellows FL.
FD Lens with Chrome Mount Ring and FD Macro Lenses
lexcept for FD 200mm f/4 Macro Lens)
1. Push the automatic aperture lever at the rear
of the lens counterclockwise until it auto­
matically locks.
2. Mount the lens on the accessory.
Some of these lenses have an additional lock
lever. With these lenses, push the automatic
aperture lever fully counterclockwise, then push
the lock lever to “L.”
Be sure to reset the automatic aperture lever to
its normal position before mounting the lens
DIRECTLY on the CAMERA. In the case of a lens
with a lock lever, switch it back to the position of
the white dot. 22. Flash Photography
Display Information in AE Flash Photography
Flash Charge-completion Display (with Speed­
lites 011 A, 155A, 166A, 177 A, 188A, 199A,
533G, and 577G)
When the Speed lite is charged and the shutter
button is pressed halfway, a green 11 and the
auto working aperture light up in the viewfinder
display. After the shutter is released, the AE-l
PROGRAM switches automatically to normal AE
photography until the pilot lamp and green 11
glow again.
1. Except when the shutter speed selector dial is
set to “B,” the AE-1 PROGRAM automatically
switches to 1/60 sec. as soon as the Speed­
lite`s pilot lamp and the green (J glow.
2. Since the AE-1 PROGRAM displays only full
apertures in the viewfinder, the aperture dis­
played may be one-half fl stop larger or
smaller than the auto working aperture set on
the flash ; the auto working aperture is the
effective aperture. Auto-exposure Flash Confirmation Signal
(with the Speedlite 188A and 166A only)
After the shutter is released, continue to press
the shutter button halfway; the green 0 will flash
on and off for two seconds if the shooting
distance provided correct exposure.
The auto-expo!lure confirmation signal displayed
in the viewfinder is for use with the Speed lite
l88A and l66A. When using other flash units,
the 0 may flash on and off after the shutter is
released. In such cases, however, it does not
confirm auto-exposure and should be disregarded.
The AE-1 PROGRAM has two flash terminals.
1. Insert a direct-contact hot-shoe type flash
directly in the accessory shoe. For this
type of flash, no other connection is neces­
2. If you use a flash which requires a syn­
. chronization cord, .branch the cord between
the flash and the camera`s PC socket. Notes
1. Before mounting a flash unit, make sure its
power switch is OFF.
2. Two flash units can be fired simultaneously
by placing one in the accessory shoe and con­
necting the other to the PC socket.
3. It is recommended to use a Canon flash unit
on this camera. Using a flash or flash
accessory of another make may cause the
camera to work improperly or even possibly
damage the camera itself.
Automatic Flash (with Ordinary Electronic
Computer Flash Units)
1. Turn the AE-1 PROGRAM`s shutter speed
selector dial to 1/ 60 second.
2. Remove the aperture ring of an FD lens from
“A” and turn it to the automatic aperture
which you have set on the flash.
For more details, see the instructions for the
flash. Manual Flash
1. Set the shutter speed selector dial according
to the information in the table below:
shutter speed
Xcm Y500 Y
250 Y`25
FP class
(f) :::l
M and MF class
Electronic Flash
2. Calculate the aperture with a guide-number
formula or with the flash unit`s calculator dial
if it has one. Turn the lens` aperture ring to
that aperture.
`{,o `60
0 0
` 1,5
4 1/
2 1 2 B
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 = okay
t:, = possible unevenness in picture
depending on bulb 23. Shooting with Infrared Film
When you load the AE-1 PROGRAM with black­
and-white infrared film, it is necessary to make a
slight adjustment in focus. A red infrared index is
engraved on most Canon lenses for this purpose.
First focus as usual through the viewfinder. Then
read the distance opposite the distance index on
the lens and turn the focusing ring to align that
distance with the infrared index. It will also be
necessary to use a deep red filter, as specified by
the film manufacturer, over the lens.
For further details, follow the instructions of the
film manufacturer.
67 24. Shooting in Very Low Temperatures
When you use the AE-l PROGRAM in tem­
peratures below O°C (32° Fl, there are two things
you should keep in mind. First, battery power
may decrease or fail altogether. Second, extreme
temperature changes may damage the camera
unless certain precautions are taken.
Try to remember the following:
1. Load a new battery, and keep the camera
warm until you are ready to shoot. Try to
finish the shooting session as quickly as
possible. If you must shoot for a long time,
carry a spare battery. Alternate the two bat­ teries, keeping the one that is not in use warm.
Do not throw the original battery away. That it
does not perform well in the cold does not
necessarily mean that it will not work normally
again in warmer temperatures. An optional
accessory, the Canon External Battery Pack A,
is the most reliable power source for uninter­
rupted shooting in cold weather. .
2. Condensation forming on a camera and lens
taken from cold outside temperatures into a
warm room may cause corrosion. To avoid
this, while still outdoors place the camera in a
plastic bag. Then seal the bag and take it
indoors. Leave the camera in the bag until it
gradually reaches room temperature. Gener­
ally, this takes about one-half hour. 25. Shooting at Night
In very dim lighting, such as at night, it may be
necessary to make an exposure longer than the
slowest shutter speed of two seconds. This is
what the “8” setting of the shutter speed selec­
tor dial is for. When you use this setting, the
shutter will remain open as long as you press the
shutter button. AE photography is not possible;
switch to manual override (page 55). With the
lens off the” A” setting, an “M” will light up in
the viewfinder when you take a meter reading.
The “8” setting is useful whenever it is too dark
for metering. It is also the best way to record
several bursts of fireworks on a single frame.
1. The AE-1 PROGRAM`s meter will not give a
reading at the “8” setting. You will have to
experiment to find the best combination of
aperture and exposure duration.
2. Always use a tripod and cable release,
preferably lockable, for time exposures, and
remember that the camera uses more battery
power on the ” 8″ setting. We suggest carry­
ing a spare battery as a safeguard. 26. Interchangeable Focusing Screens
You can change the focusing screen in your
AE- 1 PROGRAM according to your specific
focusing needs. Canon offers eight different
types of focusing screens for the AE-1 PRO­
• Never change the screen with your fingers. A
special tool is provided with each accessory
focusing screen to facilitate screen replace­
New Split/Microprism
Standard with the AE-1 PROGRAM.
A. Microprism
Matte/ Fresnel field with microprism range­
finder spot in the center of the screen.
Especially suited for general photography
when using an aperture of f/5 .6 or larger.
B. New Split
Matte/ Fresnel field with split-image range­
finder spot in the center of screen. The lens is
in focus when the bottom half is even with the
upper half. Suited for general photography
since, unlike former focusing screens, rarely
does one-half of the rangefinder darken, even
when using small maximum aperture lenses. o
C. All Matte
Matte/ Fresnel field with clear matte center
spot. Especially recommended for macro and
telephoto photography, this screen enables
the entire field of view to be seen without dis­
traction. The lens is in focus when the subject
can be clearly seen.
D. Matte/Section
Similar to C screen but with horizontal and
vertical reference lines. Recommended for ar­
chitectural photography and copy work in
which accurate image placement is essential.
H. Matte/Scale
Matte/ Fresnel field with fine matte center plus
horizontal and vertical scales in millimeters.
Recommended for close-ups, photomacro­
graphy, copy work and architectural photo­
graphy where it is useful to know the size of the
subject or the magnification involved.
Double Cross-hair Reticle
Matte/ Fresnel field with 5mm clear center
spot containing double cross-hair reticle.
While focusing, move your eye left to right. If
cross-hairs stay in the same position on the
subject. then the subject is in focus. Recom­
mended for photomicrography, astrophoto­
graphy, or other applications requiring high
magnifications. L. Cross Split-image
Matte/ Fresnel field with cross split-image in
the center of the screen which divides the
subject in half both horizontally and vertically.
The subject is in focus when the four quarters
merge to become one unbroken image. Suit­
able for general photography when using fast
lenses at full aperture.
27. Caring for your Camera
As with any precision instrument, proper care
and maintenance involve a few simple rules in
addition to common sense. Observing these few
rules will keep your AE- 1 PROGRAM in top con­
dition at all times.
1. The best thing you can do for your AE- 1 PRO­
GRAM is to use it regularly. In the event that
you must store it for quite a while, first
remove it from its case or camera bag.
Removt;l the battery .. Wrap the camera in a
clean, soft cloth and place it in a cool, dry,
dust-free place. If you store the body and lens
separately, attach both the body and rear lens
2. Keep the camera and lens out of direct sun­
light and away from “hot spots,” such as the
trunk, rear window shelf or glove compart­
ment of a car. Do not store the camera in a
laboratory or other such area where chemicals
may cause corrosion .
3. To keep the camera in top condition during
prolonged storage, occasionally insert the
battery and take several blank shots to ” exer-cise” the mechanisms. Check the operation of
each part before you use the camera follow­
ing long storage.
4. Water, spray, excessive humidity, dust and
sand are your camera`s worst enemies. Clean
it especially well immediately after you use it
at the beach.
5. To clean the exterior of the camera body, first
blow off dust with a blower brush. Wipe off
smudges with a silicone cloth or chamois
leather. If smudges remain on the eyepiece
after using a blower brush, wipe it lightly with
lens cleaning tissue which has been
moistened with a couple of drops of lens
6. If the lens surfaces are clean, yet the view­
finder appears dusty, the picture will not be
affected by the dust in the viewfinder. If the
mirror gets dirty, it will not affect pictures but
it may make viewing difficult. Dust it VERY
gently with a blower brush. If further cleaning
is necessary, NEVER do it yourself but take
the camera to the nearest authorized Canon
service facility.
7. The film chamber needs cleaning from time to
time to remove film dust which may scratch
the film. Gently dust it out with a blower
brush. Be careful NEVER to press on the film
rails, shutter curtain and pressure plate.
8. To clean the lens surfaces, use only a blower
brush, cleaning fluid and tissue made specially
for cleaning camera lenses. Carefully follow
the lens` instructions. Chamois leather or a
silicone cloth may be used for wiping
smudges off the lens barrel- NEVER use such
cloths on the glass surfaces! 28. Optional Accessories
Your AE-l PROGRAM`s advanced electronics
has enabled Canon to design a number of unique
accessories for it. Controlled by the AE-l
PROGRAM`s microcomputer, they give unpara­
lleled shooting versatility and handling ease.
Canon Power Winder A2

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