tom_montemarano

Remember when Minolta released the Maxxum 7 film camera and Canon released the Elan 7, at just about the same time. The comment always came up that the Minolta 7 was so much more expensive than the Canon 7. It made no difference that they were diffent class cameras, So it would be interesting if they did release a 5D to read the comments that the KM 5D is such a great bargain compared to the Canon 5D. Sure its got a few more features, but it is the same model :^)

Tom

There have been a number of long responses on this and other sites as to why old flashes don't work. Not going to repeat them. The simple answer is that the older AF flashes used off-the-film TTL metering during the exposure. (The light would reflect off the matt surface of the film emulsion and hit a photo meter in the camera.) Digital sensors don't have matt surfaces and don't reflect in the same way. The reflection from the sensor isn't suitable for metering.

So all of the DSLR manufacturers had to come up with different methods for flash metering. Most settled on distance and/or preflash metering. Most (if not all) required that newer flashes with the needed capability be used with their DSLRs. Minolta did the same.

There are two metering modes that work with Minolta digital. Either ADI with its limitations or preflash.

Tom

Flash compensation is set on the camera body. It works on my 7 with my 5600. There is a custom function that can change the linkage between the regular "exposure comp" and flash comp dials.

In one setting the regular exp comp dial increases (or decreases) the compensation applied to the entire exposure (flash and ambient). This would be like changing the film speed setting (an old time way of making exposure comp settings). In this mode the flash comp dial will add its setting to the value of the regular exp comp dial. For example if you wanted to increase the exposure on the back ground by one stop, and wanted -0.5 flash exposure, you would have to set EXP COMP at +1.0 and the flash comp at -1.5

The other setting separates the exposure and flash comps. Exp comp will only affect the ambient exposure setting, and Flash comp will only affect the flash burst. If you wanted the same settings in this mode you would set EXP COMP = +1.0 and Flash comp = -0.5.

There are 3 settings on the 5600 test flash button. One is a full power flash and the other two are different modeling flashes. I believe the normal one can have varied power by using the power settings on the flash.

Tom

I also use ratio flash and wish that KM had it on their DSLRs. The film cameras that have raio flash measure the flash reflection from the subject during the exposure and when it is sufficient the camera signals the flash to stop firing. The 700si Hove book says that the wireless remote controller actually turns on the flashes sequentially. When the light from the first set (the flashes that make up the 1:2 or 2:1 -- I don't recall which) has reached the correct value, it is turned off and the second set (the ones set for the other ratio) turn on until the complete exposure is made. This is a slow process and is why the shutter speed is limited to to 1/30 or 1/45 (depending on the camera/controller) for ratio.

Since the 7D can't measure the flash during the exposure, it uses a preflash to preset the remote flash intensity (duration). To do ratio would require separate preflashes from the flashes (for each ratio). That would add to the already long delay between the preflash and the shutter release. I suppose that they can overcome those problems but it would take a major effort and might require new model flashes. If you have two remote flashes, you can get ratio by placing each flash at a different distance.

Tom

Simon asked:

"Does the in-body AS do as good a job stabilizing a 600mm lens as it does a 50mm ? I got the impression from dpreview that the answer was "no", which is a pitty since the 600mm lens needs it more."

On dpreview there have been a number of links to photos made with long lenses (400, 500, and a few 600mm), handheld, with and without AS. The users were typically getting 2 to 3 stops improvement over the 1/(effective FL). The original review on dpreview speculated that since AS was in the body and not the lens that it only made sense that it would not work as well with long lenses. And tests on against a Nikon VR lens (the 120 zoom) showed that the user was able to get to a lower shutter speed with the VR lens with less shake. However, since the companies only call for 2-3 stops, I don't think it is significant, unless the user is a canon or nikon shooter who counts on getting 3-4 stops advantage.

One of the big problems with tests of AS is that the ability of the tester, (and possibly the prejudices of the tester) come into play. There is no calibrated ISO or ASTM camera shake test equipment, so comparisons also include how well the user can hold the test camera, etc.

In posts on dpreview it has been reported that some combinations of lens and third party TCs don't stabilize as well as lenses with Minolta TCs or TCs that have the electronics to provide effective focal length to the camera. It was speculated that AS needs to know focal length. That appeared to be confirmed by a badly translated Minolta press release. So it was further speculated that AS wouldn't work with manual focus lenses (Minolta MD or M42 or T2 lenses with converters). A couple of people did try them and found that the AS did work, but that it didn't seem to work as well as it did with electronic lenses. From photos they posted I estimated 1.5 to 2 stops (more towards 1.5). The results for electronic lenses with simple TCS (ones that don't tell the camera the effective FL) were about the same.

There are also comments that AS doesn't work for macro shots. It depends on what magnification you are working at. There have been a large number of "bug and flower" shots on dpreview where AS seems to work very well. The posters indicate that not everything is a keeper, and they are not looking for stabilization at very slow shutter speeds. The KM 1x-3x macro lens doesn't work with AS, but that is a lens with a working distance of about 25mm and is supposed to be used with its unique tripod. Handholding such a lens would result in greater blur from changing focus distance (or bumping the lens into the subject) than from camera shake

While I had hoped that AS would work with my long lenses, (and from what I have seen it will), the big surprise to me was the implications to low light photography. That was something I essentially gave up 20 years ago in frustration. The handheld evening and night shots made with normal and wide angle lenses at shutter speeds of 1/5 to 1 second (and some longer) will probably be the main reason why I'll buy a 5D.

Tom

I would expect that the 5D will be based on the Maxxum 70/ Dynax 60. If Minolta sticks with Sony CCDs that would mean it would have the 6.1MP sensor (I think the next larger one is 12MP -- maybe for the "7D plus" or 9D). Since the 60/70 body was very less expensive than the 7 film camera (particularly when the 7 was early in its sales life), I think that we can expect the same differences. It would still have 14 seg + spot metering, less enjoyable viewfinder (penta mirror & lower mag but still better than most competing brands), more plastic, DMF only with D lenses, less 7-like user interface (set control knob to feature, press button and turn operating dial to select), one operating dial, no flash comp (this might be needed), no AF/MF button on back (or limited to use on D-lenses), maybe no optional battery holder (or at least no operating controls on it). In any case it should have AS (not only because of the photos above, but because KM is including AS on lower lever prosumer cameras, and it is a key differentiating feature).

Tom

The electronic focusing aid on the 7 does not work when you are using a manual (non-electronic) lens.

I have a few AF cameras (7, 700si, XTsi, 5000) and a few MF cameras (SRT 101, X-570 with split image, X-570 with grid screen, Bronica S-2). I find the 7 the easiest AF camera to manually focus, and find it easier to use than the SRT. The reason is that the 7's VF is bright, has reasonably good magnification (excellent for an AF camera) and that the spherical acumat (sp) screen gives enough definition to accurately set the focus. Also, because of the way the 7 sets manual focus, it keeps enough drag on the focusing ring to give reasonable feel. My other AF cameras completely disengage the AF drive and some lenses have no drag at all in MF.

I never really liked the viewfinder of the SRT101. It was dark (even though all my lenses at the time were f/2.8 or faster) and the microprism was more of an annoyance than an aid. Particularly when I was taking tripod mounted macro shots. The SRT was the camera that taught me to "lock focus and recompose" because the central focusing aid just disrupped my composition and focusing ability. I bought my second X-570 just because it came with the grid screen (plain grid with only a finer grind in the center.) I find it much faster and easier to focus that camera (brighter than the SRT, less disruption than a split image aid), just looking for sharp focus on the finely ground part of the screen.

The only time I find focusing aids useful (split image on my first X-570) is in dim lighting with a wide angle lens. Even then I'm almost as fast with a plain screen.

Tom

From the 700si Hove book, it appears that the depth card is simple to use. There doesn't appear to be anything the user does except turn on-or off the card function. The 7000i manual should tell you how to turn them on or off (can get the camera manual on line from the KM usa website).

The Hove book does say this about the Depth Card:

The function of the card is to maximize DOF. It does this by using smaller apertures (of course depending on the light) and by readjusting the focus point to get subject and background in acceptable focus. The camera calculates available DOF using subject distance, focal length and aperture. IF it can get enough DOF to cover subject to background, it will adjust the focus point at the time the shutter is released. If not, it won't change the focus point to keep the subject in focus.

For example, if available DOF is 10m to 40m and the subject is 20m away, the camera will refocus to about 30m to keep the subject in focus while extending the far focus towards infinity.

The book also states that if the DOF is sufficent so the camera will refocus, it will refocus so that the subject is the closest thing that will be in acceptable focus.

Hope this helps.

Tom

"Is a DSLR's flash circuit THAT MUCH more complicated, or they want to earn their profit on flash units, or what?"

It's definitely different. In the film cameras, normal TTL flash is measured during the exposure by a flash meter that reads the reflected light off of the film. When there is enough light, the flash is quenched. Early Minolta AF cameras used CW metering, the 7 and 9 have the option of using a 4 segment meter. The main issue with the CW metering was if the subject was small in relation to the CW meter pattern (could lead to overexposure). With the 4-seg meter the the main problem was when the subject wasn't located in the primary metering segment (usually due to focus and recompose).

For some reason digital cameras can't use "off-the-sensor" metering analogous to the off-the film metering -- possibly because of the more specular nature of the reflections?? So they have to use a different method.

In the 7, Minolta introduced ADI which uses the focus distance. This should be very accurate. On my 7 it seems to work very well and avoids the focus & recompose problems. However, it has significant limitations. The lens and flash both must be "D" types, the flash must be mounted on the camera (there is a way to defeat this, but the flash still must be at the film plane distance from the subject, the flash must be direct with no diffusers or filters that absorb light. So ADI has limited utility.

The other method used is preflash metering. In this case the camera triggers the flash for a short burst before raising the camera mirror. The reflected light is read through the normal 14-segment metering, which then tells the flash the power to set. This is similar to the way the HSS flash worked on the HSS capable cameras ^ 5400HSS flash. Since that worked so well on the film cameras, I wondered why there seems to be a problem on the 7D (and why you can't use a 5400HSS). The only difference that I can think of is that preflash for HSS metering was only used as a low guide number fill flash. If it wasn't too accurate, it probably wouldn't be noticed, particularly if the photog was using negative film.

The 9 and 7 could also use preflash metering at normal speeds, but in that case preflash was used along with off-the-film metering only as an adjustment.

From what I have read, the 7D seems to use ADI pretty well. Some (all??) camera/flashes needed to be re-calibrated. I wonder if some of the problems have to do with the use of 3rd party "D" lenses. There were reports of some Sigma D-lenses giving very strange DOF readings on the film 7 which would indicate something wasn't working right with how they implemented "D". There did seem to be a problem when the 7D was set to ADI and a non D lens was used. It seemed as though the camera wasn't automatically switching to a non-ADI mode (the 7 film camera switches automatically).

Other companies have had problems also with flash metering on their DSLRs. Personnaly I wish that KM would make an "auto-flash adapter/sensor" that could be used between the camera and the flash to turn a 5600 or a 5400 into an auto flash (like the old vivitar 283 for example). I also agree that they need to figure out how to make flash work as well as it did on the film cameras.

Tom

For Bill Tuthill --

Do you use Vuescan? When I try to scan 400UC with my Minolta Dimage Scan Dual III (back on topic) and Vuscan, I cannot find a film profile that gives me good color. I usually get a green tint or very pale color scan. In fact the last few times I scanned it as a color transparency and converted from negative to positive in PaintShop Pro in order to get reasonable color (but still not as saturated as your photo).

The scanner and Vuscan work beautifully with color slide film and with a number of color negative films (usually Supra 100 and 400 -- old, old stock).

Any suggestions for a profile to use for 400UC.

Thanks

Tom

I have the Q'ray 135-400 in Minolta mount. Back in 2000 when I bought my Maxxum 7, the lens would lock up the camera. I called SigmaUSA and they confirmed that the lens was made by Sigma and that it needed to be rechipped. However, since Sigma USA does not import the lenses marked with the Quantary brand (Ritz imports them directly) Sigma does not service or rechip them for free.

I then contacted Ritz. Afer a number of emails I finally found someone who put me in contact with the Ritz national service manager. I spoke with her and she confirmed that the lens needed to be rechipped. She also told me that the service would be for free even though I had bought the lens used and didn't have any of the original paperwork. She told me to bring it to any local ritz store and gave me the necessary return authorization number. She also told me the exact words to have the sales clerk put on the service form, since she didn't expect that many of them would even know what I was talking about. I did it, they did their part (and cleaned and adjusted the lens in the process), and the lens works fine with my camera.

When I had called a Ritz store directly (before I made contact with the service mgr), they had no idea of the problem and told me that I would have to pay to get it fixed since I wasn't the original owner.

I'd suggest contacting a store first (and ask for the store mgr). They might be aware of the issue and be able to take care of it directly. Other wise, try going through the contacts on ritz.com website and ask how to get in touch with the national service manager.

It's been about 5 years since I did this and I don't have the contact info handy. I also don't know if they have the same policy. But since the lens is still a current product, I would think that it can be fixed.

Tom

Unfortunately, the only ones I have seen are German language.

I suggest that you just ask questions about the custom functions. The people on this list are a good source of knowledge.

Tom

Regarding the comments about the "style" of the "K-M representative's" reply. Based on the tone, if it is accurately transcribed, I am pretty sure which K-M rep wrote it. From my past dealings with that person (if it is that person), I would say that the characterizations about the rep, given above, are very inaccurate. This person has been a great technical help and uses and knows Minolta SLRs better than most outside of the Japan engineering labs do. The writing style has always been helpful, direct and a bit irreverent (not a salesman). I would also say that maybe the rep is informed about the film business (I didn't see anything in his comments that is factually untrue), and maybe is a little too pessimistic, but after all the restructuring that K-M has gone through, I wouldn't be surprised.

I hope the predictions are too pessimistic and that film will be around for a long time.

Tom

Nate wrote:

" I'm well aware of how the crop factor works, I was just wondering since they're designed specifically for an APS sensor, why do they give the focal measurements based on a 35mm frame? You don't see 4x5 lenses spec'd at 135mm with a 60mm uncrop factor (or whatever it works out to). It doesn't make any sense to me, but I suppose it does provide a familiar reference to some."

The measurement shown on the lens (for example 11-18mm) is the real focal length. It doesn't depend on crop factors or format. But when they also say 'equivalent to 17 - 27 mm' then they are just providing a familiar reference since most users are trying to duplicate the field of view they had with their 35mm cameras. For wide angle lenses, the details may be more significant than for long lenses, since you can't uncrop if you don't have a wide enough lens.

Tom

According to what I have read, flashes earlier than the "D" flashes (that is all flashes except 3600HSD, 5600HSD, and 2500HSD, and the new macro controller flashes) will only fire at full power.

Tom

The 7D doesn't used 'standard' TTL metering which is why it only uses the three "D" flashes mentioned by Michael. If you don't use a "D" lens the camera will use "preflash-TTL" metering instead of ADI.

Tom

Martin stated:

"I am a bit annoyed by the fact that the old 5400/3500i flash units are quite useless on the 7D body. I don't have lenses with the D-function. The whole concept of improved flash mode is unacceptible for me. Why isn't it possible to build-in the possibility (in the renewed 7D) to accept the old flash units when using non-D lenses?"

The problem is that TTL "off-the-film (sensor) flash exposure metering can not be used with digital sensors. It seems that the specular reflections from the sensors do not provide a calibratable light source for the flash meter. That is why either ADI or preflash metering is required, not only the KM camera, but on most-if not all- other brand DSLRs.

Before the camera was released, I thought that it might be able to use the 5400 HSS flash, because that flash can use preflash with the film cameras. However, I have heard that the 7D preflash is noticibly longer than the film camera preflash. So that might be one of the reasons why it can't be used.

However, I don't understand why the 5400 can't be used in manual mode with the user adjusting the power settings on the flash and using the flash distance scale. When used in manual mode, it only fires at full power.

I would also like to see KM make an "auto flash" module that mounts on the camera hot shoe between the camera and either the flash or the OC-1100. The purpose of the module would be to read the reflected flash light and based on the camera aperture send the "off" signal to the flash. This would at least allow the older flashes to be used like a typical auto-flash such as the classic Vivitar 283. I'm not sure if electronics of the camera or flash would allow such an adapter.

Tom

I believe that there are technical reasons why the AF focus light is not used. The light is near IR + visible red. The dimages have a strong IR filter built in, so might filter out most of the focus aid.

Also a few years ago I read a patent from Minolta where they discussed an AF system that would be used on a small sensor digital camera. They stressed that a higher resolution than they could get with phase contrast AF was needed. The dimages use video AF which adjusts focus until the contrast of the image is greatest. Even though the word "contrast" is used in both methods, video AF is different from phase contrast AF which is what is used in the Minolta SLRs. There is an short explanation of the different types of AF at www.minoltaphotoworld.com.

When I've looked at the red pattern that is projected by the AF lamp, it does not seem to ever really get 'high contrast' as the camera goes into focus. So it probably wouldn't help the dimage focus. Also when it is used on the SLRs it turns on and off quite quickly. I'm not sure that would work well with video focusing.

Tom

I checked in the user manual, and the 1200 is not one of the flashes listed as being compatible. I suggest that you go to the konica-minolta usa website and call their contact phone number.

Tom

Clinton wrote:

"I would anticipate that a Maxxum 9D Pro, with a 14MP sensor,at this point in time would have a MSRP of around $4000, and a street price of about $3200. "

I agree with you.

and "I say "at this point in time" as prices could drop. I remember reading a trade publication that came out about a week before Canon released the Digital Rebel. The President of Nikon said in an interview that he didn't see a DSLR being available for less than $2000. "

Agree again.

and - "You seem to think that KM should fix the 7D before they come out with another camera, isn't that like telling Microsoft that they shouldn't have come out with XP before they fixed 2000?"

Each time I wait for another update download, I think many of us would appreciate it if Microsoft would release a complete product :^). But the reported problems with the 7D appear to be more significant to the actual use of the product, and they appear to be problems that would cross DSLR product lines. If Windows 2000 didn't save correct copies of text documents or if excel added wrong, that affects the basic function of the product. Likewise BF and poor flash exposure. I would expect Microsoft to fix the basic utility of the software before that came out with an "improved" version. Assuming that KM has a limited support system (and in the US I know of only one person at KM who makes sure that things are done correctly), I personally want them to demonstrate that they have the issue under control. Other people may not care, but I know of at least one person who changed systems from Minolta specifically because of a BF problem with the 7D and because he did not care to be part of the research into how to fix it. He actually wanted to photograph with it. I think that if there were a group of people who wanted/needed a $3000 - $4000 camera and it didn't work as they expected, KM would lose them as well. Because if they need it they can't fool afford to around with a problem.

and "And maybe you should tell Chevy that they should stop selling the Corvette because you'll never use 400HP, and you can't afford one anyway. You may not have a use for a $4000 14MP DSLR, but the world doesn't revolve around you."

Never said that the world revolves around me. And there are enough people who let me know who it revolves around, that I never even thought it. Regarding the Chevy. I know of very few people who NEED a 400 HP Corvette, or a HUMMER, or a Lamborghini. (It is a bit humorous to see such cars speeding along at 20mph in Washington DC traffic). However, very few people buy such cars because they NEED them. They buy them because they want them. I'd like a Shelby Cobra. I'm just not willing to pay the price at this time.

Cameras are also considered to be tools. People buy them (as with many tools) for a couple of reasons. One is because they NEED them, but they are also purchased because people WANT them for some special reason (maybe they just feel nice). A person's reasons for buying something are valid, because they are buying what they want. I never had a desire for a yellow Hassy, but someone did. So I'd never say that a company shouldn't make something they feel will sell.

As I said I don't have either a need for a 14mp, $4000 camera or any influence on KM- plans. They are the ones who know (or think they know) what the market is for a K-M brand $4000 camera or a $800 camera. In the case of a $4000 camera I don't believe that KM would sell enough. Maybe I'm wrong about that, but that's ultimately a question for the company and their stockholders (if they care), not me

Tom

Clinton wrote:

"It's posters like Tom, Craig, and Andrew that hold back KM."

If I was a K-M stock holder, you might be correct, but since I'm not and they haven't asked me, I doubt it.

and: "I'll bet all of you are strictly amateur photographers that have no need for a ruggedly built SLR of shooting 14MP."

True, but that's not the point - K-M can't sell something that doesn't exist (14Mp sensor that they can buy and sufficient people would be willing to buy). Additionally, the 7D is more ruggedly built than the 7 film camera. Maybe its not as well built as the 9 (don't know), but what specifically would you want in a 9D?

and: "You guys probably only shoot pictures of your kids with a 28-200 zoom lens."

Hah, Don't even own one.

and "As for no sensor more than 6MP, heck a lot of new point & shoots are 7.1."

This one statement makes me seriously doubt your credibility. Do you really want a 4x or greater crop factor sensor in a pro camera?

and "And I'm sure KM is capable of designing a 14MP sensor, they do have engineers on the payroll."

More credibility problems, design of a sensor doesn't equal economic production of a sensor. Does K-M even own a CCD production facility? You didn't answer my question above about how much you were willing to pay for a "9D" and what capability you wanted in it.

Tom

What do you want in a 9D? A bigger, rugged, more expensive camera with a 6mp, 1.5x sensor? I'm not aware of a higher mp, larger sensor that KM could buy. I know about the 8mp 4/3's, but is there some other?

A 9D would have to cost more than the 7D. People have complained about the cost of the 7D since it is only a 6mp camera. Unless a 9D had more mp and a larger sensor (1.3x crop or full frame), people would really complain. How much would you be willing to pay? $3000? Remember that the 9 film camera was 2x's the price of the 7 film camera when the 7 was released. The only advantage of the 9 film camera compared with the 7 was its better build, 100%VF, and higher frame rate. They both had the same sensor.

There are three things I'd like to see KM do:

1. Solve the problems with the 7D. The new firmware solved the slow write times, but they still need to get the backfocus (QC?) and external flash exposure problems fixed. I can't see them releasing another camera until those things are fixed.

2. Wide angle lenses for the 1.5x crop.

3. The 9D that I'd like to see would be a modular camera with interchangable sensor modules. In that case I think they could release a 6 or 8 mp 1.5x 9D if they also anounced that they intended to support upgraded backs with higher performance sensors (actually sensor and all the necessary 'guts' needed for processing). K-M would have to actually announce longer term plans, something they haven't done in the past.

That way someone buying the 9D would know that they would not be starting down the 'need a new camera' trail that N and C users have every time there is an upgrade in technology.

Digressing to talking about Canon, the 1D body, based on the 1V is really a body that shouldn't have needed upgrading. That camera should have been upgradable to a 1Ds or the Mark II's, just by adding new sensor modules/backs. While it might not be a big deal for companies or full time pros to sell (or wear out) and replace their cameras, it would seem to be a burden for semi pros/advanced amateurs.

If KM announced an upgradable 9D, you could spend the money for the pro quality camera (AF, shutter, AE, flash, VF, and operator interface) and know that in a year or two you could also have the latest technology sensor. KM showed that they can introduce unique features such as AS which moved them from no stabilized lenses to all lenses stabilized. A modular 9D would be another unique approach to a DSLR. Icing on the cake: a film module for a 9D. However, I don't think that they would announce such a system until they were ready to release the camera, since a long delay would allow someone like Canon to scoop them. And I don't think that they should be ready to release a 9D until they have fixed the 7D.

Tom

The Hove 700si book by Damien Dinning gives a good discription of how the 14-seg meter works. Although the manuals seem to show that the cameras give priority only to the 7 segments around the focusing point, that (according to Dinning) is an over simplification.

The camera evaluates the type of scene, lens FL, the relative distance of the subject and background, the orientation of the camera, and the lighting. It then "builds" a metering pattern (segment weighting) appropriate to the situation. I used "" around the word "builds" because that is the same word that Phil Bradon of Minolta USA used in a number of phone and email discussions I have had with him re the 14-seg meter.

Dining gives some examples of the types of patterns the camera builds when in 14 seg metering. These range from almost CW all the way to spot. He also gives the example of where in a landscape scene with one segment covering a very bright object (sun), the camera will completely disregard the bright segment.

Tom

Regarding the use of a Vivitar 285: If the flash has a conventional PC cord, the D7D has a PC socket which can be used with non-dedicated flashes or studio flashes (manual exposure mode, no-TTL flash control).

IIRC the 285 is an 'auto flash' where you can set an aperture on the flash and use the corresponding aperture on the camera, and the flash will shut off when it reads sufficient light. If so it should work.

The D7D manual mentions what flash voltage can be applied to the pc socket.

You would need a flash bracket to hold the flash; possibly using the Minolta adapter on the camera flash shoe might work, but I would think that isolating the flash contacts from the adapter contacts would be necessary.

Tom

Bill,

KM has acknowledged that there is a problem with some older 5600 flashes. If you are in the US, go to the KM US website support page:

http://kmpi.konicaminolta.us/eprise/main/kmpi/content/support

Go to interactive Q&A and send them an email describing the problem. You should get a response with instructions to send them the flash (not sure about the camera) for recalibration. What I have read from those who have done this is that it has solved their problem.

Tom