And yet the Minolta P’s’s interesting aspect ratio, punchy lens, and overall ethos make it a camera that I highly recommend to any photographer looking for a unique and rewarding challenge.

The Minolta P’s was made in 1991, a time when the automatic-everything point-and-shoot segment was running at full sprint. It was designed to be a consumer point-and-shoot, easy to use, and to shoot exclusively in a panoramic aspect ratio to capture landscapes and group shots. It was offered in a number of vibrant (and collectible) colors. Mine happens to be red.

It’s worth noting that one info-graphic inside the manual suggests that the P’s is the perfect camera to grab a vertical panorama of the Eiffel Tower (2024 Olympics, here I come).

Specifications of the Minolta P’s

• Lens: 24 mm f/4,5 lens, manually operated lens barrier
• Shutter speeds: 1/4 to 1/200 s. when flash is canceled
• Flash: Built-in, range 0.9—2.7 meters (at ISO 100)
• DX code speeds 100 & 400 ISO
• Motor wind and rewind
• Timer with warning light
• Power: CR123 lithium battery
• Weight and Dimensions: 185 grams, 11.6 x 6.2 x 3.4 cm

The Minolta P’s limitations are also the things that make it shine as a user’s camera.

As mentioned before, every frame made with the P’s is in a panoramic aspect ratio. The camera achieves this through a physically smaller film gate that only allows part of the film negative to be exposed. Many other point-and-shoot cameras of its era opt for this as an optional feature (for example, Pentax’s IQ Zoom series contains a number of models which have a Panorama/Normal switch that flips physical blinds at the top and bottom of the film gate). But the P’s leans hard into pano mode. You won’t be making a full frame image with this camera, no matter what, but being limited to this aspect ratio is the fun of it all.

The bright viewfinder is shaped accordingly, with frame lines and horizon guides so you can compose your panoramic scenes.

The flash, too, is limited, in that it can be overridden, but you have to press and hold the cancel it, meaning two hands are needed. This is rather annoying. Even the DX code reading is limited (this is an odd one that I haven’t encountered before). Take a look at how it’s described in the user manual:

“Film-speed setting: Automatically set to ISO 100 for DX-coded films rated slower than ISO 400, or to ISO 400 for DX-coded films rated ISO 400 or faster; ISO 100 set for films without DX-coding”

So, the Minolta P’s seemingly can read the DX code of a range of film, but defaults to exposing them at 100 or 400 only. At first, I was a bit confused and turned off by this. But in a way this can be a solution to another frustration found in most point-and-shoots; the inability to manually set our ISO. Depending on what film we load, this limitation can be somewhat hacked into an advantage – if we choose our film intentionally, it’s possible to overexpose our film of choice.

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User Experience

I’ve spent the last few weeks carrying the Minolta P’s with me everywhere I went, intending to shoot it in all sorts of light. It was this everyday carry approach that really polished my opinion of the P’s, which is that I like this camera. It is so, damn, portable. Weighing almost nothing and being extremely slim, it’s among the most effortless cameras I’ve used.

And then there’s the cinematic aspect ratio.

I have a tendency to think of memories or moments in the form of cinematic scenes from a movie. The Minolta P’s’s aspect ratio quickly became second nature. It’s like plucking memories from my brain and placing them on film. Occasionally trying out a vertical composition worked in some cases, but I likely won’t go out of my way to do it again (unless I go to Paris sometime soon).

The lens is surprisingly good. It’s sharp enough, performed well in most lighting situations. It produced noticeable vignetting, but not obnoxiously so, and at times the vignetting added to the cinematic appeal of my shots. The wide lens does also produce some distortion toward the edges of the frame, though like the vignetting mentioned, it’s not too noticeable or offensive (unless we’re doing one of those vertical orientation shots with a person in frame).

I noticed that I reverted back to the days of my childhood, using a disposable camera. What am I talking about? Well, in more than a couple frames my finger made an appearance. Not a huge problem, and with the first roll out of the way I’m confident I’ll get used to proper hand placement, but readers with larger hands beware.

There are, of course, things that I don’t like about the camera. It’s not perfect, but that’s good. Perfect is boring.

My loudest complaint is that the flash is easily my least favorite part of the camera. It’s automatically ON by default, and though we can cancel it by holding down the flash cancel button, it’s not as fast or easy as it should be. To cancel the flash requires a workflow-freezing hold that lasts just a bit too long. A single press would have been better. But I’m really just upset that I ever have to use two hands with a camera this size.

Due to this first-world inconvenience, I opted to let the flash fly free for the majority of my first roll. Auto flash is something I’m used to with one of my favorite point and shoots the Kodak VR35 K12, which I’ve reviewed previously. But I quickly learned that the Minolta P’s has a deeply unflattering flash. It often seemed much too harsh for my taste.

Final thoughts

My favorite thing about The Minolta P’s is the creative challenge it brings. When I’m shooting a camera with every feature and setting under the sun, ironically that plethora of options can bring about an overwhelming abundance of choice and hamstring the process of simply existing and taking pictures. But the Minolta P’s is not a feature-packed fully-loaded beast of a camera. It’s just the opposite; an ultra-portable box that (literally) captures just a sliver of light. And it doesn’t hurt that it comes in a sleek, plastic, early-90s shell.

Limitations tend to enhance creativity. The boundaries of what we can and cannot control become a catalyst to finding ways to create something we may otherwise might not. The Minolta P’s foundational feature, the 35mm film panorama crop, usually gets the cold shoulder, or a snide comment that “You could just crop in post.” And that’s technically true. But picking up the Minolta P’s is a choice to accept the challenge of less. The challenge of limitations. It’s a choice to expose less of the film negative and not think it’s a waste. A choice to change your perspective figuratively and literally. Picking up the Minolta P’s is a choice to flex your creative muscle.

And More on the Minolta P’s:

• I have a video review, which you can watch here.
• The Instagram of Jeff Greenstein, a Minolta P’s fan who makes beautiful images.
• Here’s the I Dream Of Cameras episode that talks about the Minolta P’s.

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F Stop Cameras

A classic camera shop specializing in cameras and lenses, film, collectible cameras, medium format, 35mm, and some digital. The retail side of Casual Photophile.

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The post The Cinematic Point and Shoot – Minolta P’s (Freedom Vista) Review appeared first on Casual Photophile.

You see the point. Death makes you a hero. Now, back to my buried treasure moment. You’ve been waiting patiently.

The moment in question came from an inheritance from my late grandfather, as unexpected as it was sizable. In one fell swoop, I became the owner of a Minolta SRT-101 camera body, carrying case, flash, and five lenses (including the MC W Rokkor HG 35mm f/2.8 with which this article is concerned). The gear came heavy with the weight of legacy.

The year was 2016. I had grown up with a deep respect for my grandparents, and it was very important to do right by them. At that time, it was my solemn duty to decorate my grandmother’s house for Christmas. That year, poring over a forgotten corner of her attic, I came to a soft-sided nylon case inscribed with “GWM” and tore open the zipper. The chrome contraption within was obviously an old camera, but the name Minolta meant nothing to me. I hunted on, until I reached a more recognizable machine. It turned out to be a Canon EX Auto. Putting it gently, brand recognition was probably that camera’s only virtue. My grandmother, excited simply to see them after more than a decade in storage, offered me the whole lot as a Christmas gift.

Some of you may now be shouting at the screen about life’s unfairness. Let it all out.

Though the Canon’s aperture blades were stuck and its light seals quickly disintegrating, it managed to whet my appetite. After a brief love affair, it perished during Winter Storm Stella, and I was forced to move on. As the proverb says, “a single reprimand does more for a discerning person than a hundred lashes for a fool.” Though I’ll make no claims about my own foolishness, this single reprimand was definitely enough to teach me a thing or two. First, that brand recognition will only get you so far. Second, that research will always pay off. And research I did.

Forum after forum and page after page began to impress upon me that a veritable treasure trove had been bequeathed to me. The way people used that name, Minolta, began to intrigue me. These had been my grandfather’s companions through graduations, family trips, and even on assignment for the United States Air Force. Combing through negatives and prints, I found pictures which range from the sentimental to the spectacular. Then came that nagging tug of legacy.

I have to use this stuff.

So I did, and in the years since, I’ve formed some opinions. Here they are.

History and Technical Specifications

The Minolta MC W. Rokkor HG 35mm f/2.8 is a moderate wide-angle lens. Just what is all that gobbledegook on the lens bezel? MC stands for “Meter Coupled,” W stands for “Wide,” Rokkor was Minolta’s name for their best lenses at the time, and HG refers to the optical formula. Hexa means six in Greek and G is the seventh letter of the English alphabet, so HG gives us seven elements in six groups. The reasons for this system are, I think, because Ancient Greece is cool, and America has a lot of money. A better explanation might be found elsewhere on the internet, but I’m an artist, not a historian.

This lens has a pretty old design. Not quite Ancient Greece old, but it predates Watergate, the Lunar Landing, and Yellow Submarine. Seems Minolta introduced it in 1958, gradually revising the ergonomics, coatings, and aesthetics through my version and beyond. Seven elements in six groups is actually a lot of glass to cram into a lens of this size, but Minolta hung onto this formula in one version or another until 1975. My copy cannot be older than 1966. It therefore comes pretty much in the middle of this lens’ production run, and “middle option” is perhaps an apt description.

As James and others on this site have opined, the general perception of “standard lens” may be shifting wider than 50mm. As far as standard lenses are concerned, I own two fifties, a 35-70 zoom, a 35-105 zoom, and even the mighty 55mm f/1.2 Nikkor. All fine lenses, yet seldom is any of them my go-to for film travel photos. More often, I pack the humble 35. Thus we can say that it’s my de facto standard. Some folks will tell you the standard has crept all the way out to 28mm. Maybe it has, maybe it hasn’t. My standard apparently is a little wider than 50mm, so the point must be conceded. Very long justification simply to admit that I agree with something somebody else said.

Contrarian much?

What to Expect from the Minolta MC W Rokkor HG 35mm F/2.8

So, my Rokkor is a middle option between the old standard of fifty and the new standard, if you will, of twenty-eight. The maximum aperture of f/2.8 is also a middle option between the slow f/4 and hotshot f/1.8 thirty-fives which Minolta offered contemporaneously. Fast enough for walk-around photography, particularly if you’re loaded up with a 400 speed film. After the sun goes down, however, reach for your tripod, your flash, or a faster lens.

The minimum aperture also presents its own limitation, albeit not an obvious one. The Minolta MC W. Rokkor HG 35mm f/2.8 stops down only as far as f/16, and the shutters of the Minolta cameras with which it was designed to work generally top out at 1/1000s. That takes you all the way out to EV 18 at 100 ISO, but it simply cannot yield a proper exposure in such conditions if shooting, say, Portra 800 or the trusty Tri-X at 1600. It may behoove us here to recall that in the 1960s, 200 was considered high-speed for color film. Thirdly, it’s a middle option in terms of recommended shooting conditions, being poorly-suited to extremes of both dim and bright light.

Aside from usage limitations, which are simply the consequences of design and construction, the Rokkor’s age affords a fair share of weaknesses. How severe and how numerous are more than I can say. Lens sharpness is tricky to define. If by saying “sharp,” we mean to say “resolves fine detail,” then it is sharp at every f-stop. At f/2.8 and f/4, it exhibits spherical aberration, which reduces contrast, but makes for flattering people-photos and dreamy landscapes. Similarly to the spherical aberration issue, at wider apertures, the corners and edges of the frame darken from vignetting. I don’t know by how many stops they darken, but I’d estimate one-and-one-third stops at max aperture and a half-stop at f/4. Having never made a darkroom print from a negative, the inevitable dodging and burning headaches are not a cross I’ve had to bear. Consequently, these defects have never stopped me from shooting at the larger f-stops.

One bona fide weakness of this lens is its tendency to ghost. Upon the Sun’s least intrusion into frame, ghosts are conjured with alarming ease. Given the emotional significance I’ve imparted to all of my grandfather’s gear, perhaps the frequency of ghosts should come as no surprise. Hamlet comes to mind, as he steps onto the parapets of Elsinore. Like him, I dialog with these spectral visitors, rather than balk at them.

Color rendition is an entirely different case. The Rokkor’s consistency in this area, regardless of lighting conditions, was a welcome surprise. Its blue-tinted optical coatings produce images with a uniformly (but not excessively) cool cast. Contrast tests yielded another welcome surprise. Stopped-down, the lens showed an almost-Nikonian reluctance to surrender contrast, even when I deliberately sought out flares and ghosts.

The last word on this lens’ optical performance takes us back to the very basics of photography. If the light is favorable, expect good performance. In adverse conditions, the Rokkor begins to misbehave. Of what classic lens is that statement untrue, though? I even have a zoom made in 2017 that flares in high sun. This one is simply less adept at compensating for poor light than  those which have come since. This is actually a good thing for those who wish to learn photography, because they won’t be pampered when mistakes are made.

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Ergonomically, the Minolta MC W. Rokkor HG 35mm f/2.8 is a joy, as anybody who’s used an old Minolta lens could tell you.

The aluminum aperture ring turns smoothly and clicks in half-stops from f/4 to f/16. The all-metal focus ring is likewise very smooth, and the engraved depth-of-field scale is usable. Here, a nitpicker could point out that the Rokkor falls short of Nikon lenses from the same era. The latter possess focusing scales which extend all the way up the lens barrel, while this one does not. If that meaningfully impacts your shooting style, beware.

At 6.3×4.5cm, it’s roughly the same dimensions as an espresso cup in the trendy cafes we film shooters seem drawn to. Weight is a miniscule 210 grams, exactly half that of its big brother, the MC Rokkor 35mm f/1.8. For those of us committed to Minolta, weight savings are a worthy goal wherever they may be had. My own SRT-101 (hardly the grossest offender among Minolta’s stable) weighs in at a hefty 675g. On that camera, this little lens looks quite at home. Its tiny size comes with a drawback that Minolta shooters need to know ahead of time. The MC W. Rokkor HG 35mm f/2.8 sports a 52mm filter thread, not Minolta’s standard 55mm.

I primarily shot this lens on my Minolta SRT-101, where its meter coupling (the “MC” in MC Rokkor) gave me good exposures with the convenience of open-aperture viewing. I also mounted it to my Nikon Z5 via the Urth MD-Z adapter. With that setup, I was still able to use the camera’s “Non-CPU lens data” function for purposes of vibration reduction and exposure, which surprised me. I had expected that feature to be locked if the camera couldn’t detect Nikon’s FTZ adapter. For those who like to review their EXIF data, however, there is a drawback. The adapter I used has no CPU contacts whatsoever, so the camera does not record any information about which focal length or aperture were used. Since not even the proprietary FTZ adapter records set aperture, I can scarcely call this a major flaw. Again, if this meaningfully impacts you, beware.

Final Thoughts

It would be easy to write disparagingly about this lens, and imply that its limitations or weaknesses would lead to bad photos. While I could write such a thing, I could never believe it, because it smacks of a certain shortsighted materialism, and is therefore nonsense. Still, the Rokkor has got shortcomings, and quite clear ones at that. What’s to be made of them?

For starters, it means that this lens does not merit a universal recommendation. Shooters with exacting standards would probably be happier elsewhere. Beginners and travel shooters are the best fit. It is quite small and unassuming, focuses smoothly, and works well for both color and B/W. The images it produces are consistent enough and sharp enough. Beginners will like its low price-point, while travel shooters will enjoy its small footprint.

We Minolta aficionados tend to have quite the chip on our shoulders, and I’d like to speak to that. Put aside any notions of competing with the Wetzlar folks just this once, and you’ll have a wonderful time. Thankfully, the Rokkor 35 is still entirely worth using, but even if it weren’t, I’d be in for the long haul. Utility, it would seem, is outweighed by legacy.

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F Stop Cameras

A classic camera shop specializing in cameras and lenses, film, collectible cameras, medium format, 35mm, and some digital. The retail side of Casual Photophile.

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But for new and would-be medium format photographers, the ever-shifting landscape of the hobby can be a bit daunting. Of the hundreds of available medium format cameras, how can we possible know which is the one to buy?

We answered this very question in a pair of articles, the first published way back in 2016 and another in 2019. Five years on, they could do for an update. So, here’s the update.

I’ve meticulously selected five of the best medium format cameras that one can buy today, each with its own unique reason for being. Since we’re just starting out, the cameras are arranged by type, which will help would-be users who may not know what they want. I’ve also tried to keep the cameras on this list limited to those with reasonable prices. (I break this rule only once.)

Enjoy!

For old school sophistication, buy a Minolta TLR

Twin Lens Reflex (TLR) cameras; one glance and we know we’re holding an old world piece of machinery. They’re as much jewelry as they are highly functional photographic tools, and I mean that in the best way possible — TLRs are gorgeous, and can make gorgeous photos.

TLRs have two major features which differentiate them from most other cameras. First, they shoot square images. Second, they have two lenses, one which acts as a focusing screen viewfinder through which the photographer looks to frame the shot, and a second lens which is used to actually expose the film.

The viewfinder of a TLR is typically located on the top of the camera. The photographer peers down into it while holding the camera at waist-level. Since there’s no penta-prism as we find in most SLR cameras, the image in the viewfinder can be a bit disorienting for new shooters. But stick with it and we’re able to enjoy a unique and engaging perspective.

The most popular TLRs in the world are the famed Rolleiflex and Rolleicord TLRs. However, these camera are quite expensive today, loved for their extremely high build quality and classic characterful lenses. For new shooters looking to try a TLR, I have two recommendations.

If you’re looking for a classic TLR with a capable lens, high build quality, bright and accurate focusing screen, and easy-to-learn all-manual controls, buy the Minolta Autocord. Throughout the 1950s and 1960s, Minolta made about a dozen different Autocord models, some with light meters and some without.

Avoid buying the Autocord L and the Autocord LMX, since these models used a selenium light meter (which in modern times will almost certainly be dead). If you require a camera with a built-in light meter, seek out the Autocord CDS II or CDS III, the only Autocords with built-in battery-powered CdS meters (these meters don’t die from age, like the selenium ones do).

An all-manual meter-less Autocord can be purchased today for under $250, and if we’re patient and careful, it’s possible to find one for under $100. I can’t overstate the value proposition of a camera this good at a price this low.

Read my full review of the Autocord here, and then shop for one on eBay.

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HONORABLE MENTION : Much of what I wrote about Minolta’s TLRs can be equally applied to Yashica’s TLRs. Yashica made a number of incredibly reliable, capable TLR cameras, some of which are all-manual and some of which come with light meters. Indeed, an article on this very site has gone into great detail to spotlight the Yashica TLR as a perfect first medium format film camera.

The most popular Yashica TLR is the Yashicamat 124 G, a truly gorgeous and capable camera. By the specs and the results, the Yashica and Minolta TLRs are essentially equal. I picked the Minolta because they’re less popular, and therefore less expensive today.

For those who love SLRs, Buy the Pentax 645

The Pentax 645 is quintessential Pentax. It’s affordable, easy to use and delivers quality images. It was marketed toward amateur photographers shooting their first weddings and those just breaking into the professional world. Which means it’ll be more than good enough for the brand new medium format photographer.

It offers center-weighted metering with full auto Program mode, plus semi-auto Aperture and Shutter Priority modes, as well as full manual mode. ISO ranges in 1/3 stops from 6 – 6,400 with shutter speeds of 15 seconds to 1/1,000th of a second, plus bulb mode for long exposures. Its motor drive is capable of 1.5 frames per second, which allows us to blow through a whole roll in just twenty seconds (kind of absurd).

The viewfinder has a lovely LED display. In manual mode it shows how many stops we are from a perfect exposure, which it indicates with an encouraging “Ok!” If we use the exposure compensation, a very tiny plus sign will light up when compensation is engaged. Nice touches.

It’s a relatively small and light camera, for medium format, and benefits from a truly astonishing line-up of interchangeable lenses.

All of these features combine to create a camera which, essentially, can do anything any new medium format film shooter could ever ask of a camera.

The Pentax 645 has undergone two facelifts over time: the 645N in 1996 and the 645NII in 2001. The 645N was a complete overhaul which added a more sophisticated interface, auto-focus, and matrix metering. The later 645NII added mirror-lock up. Both the N and NII are much more professional-oriented cameras, but that comes at a price. They cost double or triple the cost of an original 645.

For budget-conscious film photographers looking for a solid medium format SLR camera, the original Pentax 645 is it. Importantly, it also leaves enough money left over to buy the most important ingredient for growth – lots and lots of film.

Read all about the Pentax 645 in our article here, and then buy one on eBay here.

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HONORABLE MENTION : The Mamiya 645 series of cameras can be very similar to the Pentax 645. The oldest version of the Mamiya is a full-manual camera, but later models offer various degrees of semi-auto and full-auto shooting modes. Prices on these start at the same level as the Pentax, but climb significantly with the spec sheet. The Mamiya was not my first choice because the Pentax is typically cheaper.

For effortless photography, buy the Fujifilm GA645

The Fujifilm GA645 is a very special, and very modern camera. Made in 1995, it is essentially a point-and-shoot medium format film camera that makes shooting medium format as easy as… well, pointing and shooting.

Focus is automatic. Film advance and rewind are automatic. Exposure is automatic, semi-automatic, or full manual. It’s compact and portable, making it a great choice for travelers or street photographers. It even has a built-in flash. Shooting this thing is like shooting the most capable point-and-shoot film camera ever made. It’s the Canon Sure Shot of medium format!

The 60mm f/4 Fujinon Super EBC lens creates stunning images. A variant called the GA645W is fitted with a wider 45mm f/5.6 lens, though this camera tends to be more expensive than the original GA645.

The only major issue with the Fuji is that it’s relatively expensive. Indeed, it’s the most expensive camera on this list. However, there really are no other alternatives for people seeking a fully-automated point-and-shoot medium format film camera, and this one is a true wonder of modern photographic engineering. As Aldo Gucci once said, quality is remembered long after price is forgotten.

Buy your own Fuji GA645 on eBay.

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For medium format on a budget, buy an old folder

Contrary to oft-repeated opinion, it is in fact possible to buy a compact, high quality medium format film camera with a stunning lens for under $150. And I don’t mean a Holga (don’t buy a Holga). We just need to know what to look for.

Medium format folding cameras are the best kept open secret in the medium format world. Collectors and “the olds” have known about them for decades, and we can often find these photographic saints spreading the good word of folding cameras as far as their Facebook groups’ organic reach will allow.

Medium format folding cameras are essentially simple, light tight machines with shutter and lens assemblies mounted to the front of a collapsible bellows. The lens, shutter, and bellows are typically protected by a folding door, which can fold open to extend the whole business into the position needed to make a photo.

When closed, they are incredibly compact (I once used one during a vacation in Disney World). When opened for use, they can make incredible images in a variety of image formats (6 x 6, 6 x 7, and 6 x 9 are most popular).

The downside to these cameras is that they’re all manual and often lacking in any sort of focusing aids. This means that we’ll need to understand light or carry a light meter, set our aperture and shutter speed manually, and even focus by eye using the scale focus method (estimate distance to subject, set that number on the lens, and hope for the best). For this reason alone, medium format folders are not necessarily a great choice for beginner photographers. But for those who know what they’re doing in the 35mm space, the price is low enough to justify the risk.

Medium format folding cameras were made by plenty of companies – Zeiss, Agfa, Kodak, and more. Which means that their are plenty to choose from. The big peril in buying a folding camera is that we need to make sure we’re buying one that’s fully functional.

As a result of their age and their rather delicate design, folding medium format camera can be a bit fragile. When looking to buy one, make sure that the bellows are free of leaks and pinholes, ensure that the lens elements are free of haze and fungus, and confirm that the shutter and aperture function as they should.

The models that I would seek out are the Agfa Isolette, Super Fujica 6, or the Zeiss Ikonta.

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For the biggest possible negative, buy a Fuji Panorama G617

I admit, this final addition to my list is a bit tongue-in-cheek. Nobody should buy this camera as their first medium format camera, and it shouldn’t be on this list. But it’s been so long since I was able to write about the G617, and I really want to do so.

Because there’s simply no other camera like the Fuji Panorama G617.

The biggest selling point for the G617 is hinted at in the name; the enormous image area. Measuring a truly massive 6 x 17 centimeters (2.25 x 6.5 inches) in a 3:1 aspect ratio, the G617 is capable of exposing unbelievably large swathes of film. First produced in 1983, it was intended to be a specialty tool for landscape and architectural photographers who were looking to expose gigantic negatives in a relatively portable camera.

It features a fixed Fujinon 105mm F/8 lens providing a diagonal angle of view of 80.3º (the approximate equivalent angle of view of a 25.8mm lens in the 35mm format). The lens’ aperture spans from a maximum aperture of F/8 to a minimum of F/45, and this sits behind a Made-in-Japan Seiko No. 0 inter-lens leaf shutter capable of speeds from 1 second to as fast as 1/500th of a second, with additional Bulb mode for long exposures and flash sync at all speeds.

Focusing is handled via the scale focus system, film advance is achieved via a thumb-powered advance lever on the top plate, and aperture and shutter speed are all adjusted via rings or levers on the lens. Multiple exposures are possible by resetting the shutter with the lens-mounted lever and firing it again via the release on the lens without advancing the film between shots.

Essentially, that’s all there is to the Fuji G617. It’s just a gorgeous specialty camera made for creating super-wide, extremely massive images on medium format film. And if you want to see what it can do, check out my review here.

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A classic camera shop specializing in cameras and lenses, film, collectible cameras, medium format, 35mm, and some digital. The retail side of Casual Photophile.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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Earlier this year, a year which I’ve described as my Year of Large Format, I decided to take a break to shoot some 35mm. It was during this brief interlude that I discovered a camera that seems overlooked by most film shooters today, the Minolta XE7.

The Minolta XE7 is a machine that was quite a bit ahead of its contemporaries when it was released. It even offered features that weren’t found on the pro SLRs of the day, the mighty Nikon F2 included.

Allow me to set the stage.

It’s the early 1970s. Nikon rests firmly atop the pro photography landscape. Olympus has just released the OM-1, a miniature full frame SLR that forever changes the design pursuits of all Japanese camera makers; smaller is better! And the race to create ever-more electronic cameras is on.

Minolta forms a partnership with Leitz and the two begin developing cameras with their shared knowledge and design ethos, eventually resulting in some well- known and highly regarded cameras, such as the CL, the Leica R3 through R7, and more.

But the very first camera born from this partnership is the Minolta XE7. And it’s among the first in the world to offer aperture-priority semi-auto exposure.

Design

The Minolta XE7’s design is pure. The camera is made with only one thing in mind – making great photographs.

There’s no style for style’s sake here. It’s minimalism, top to bottom, and this is not only visually satisfying but satisfying from an operating perspective as well. Everything on the camera is placed very strategically. This creates an intuitive feeling while out in the field exposing frames.

The top plate has a shutter release button and a shutter speed dial, both placed where they’re supposed to be placed. The film rewind lever actuates with a smoothness that’s unbeaten in 35mm SLRs. The aperture is controlled by the aperture ring on the lens, the depth of field may be previewed with a simple lever on the front, and there’s a self-timer and, notably, multiple exposure lever as well.

If this sounds simple, it’s because it is. But it’s also perfect for just getting down to the business of taking pictures.

Now for everyone’s favorite topic – the internal workings of a 35mm SLR.

Minolta certainly benefited from having Leica’s partnership – the XE7 is proof of that. Leica, known for their flagship M line of rangefinders, are known for their precise moving parts, smooth operation, and for having possibly the faintest shutter sound of any system. In the case of the XE7, the hint of Leica’s satisfying click that is synonymous with their mechanical quality can be experienced.

The metering system implemented in the camera is similarly brilliant. Two overlapping CdS photocells occupy the prism, which means that the camera can accurately meter even in high contrast situations.

The viewfinder is a wonderful place to view your composition. The meter reading is displayed through a match needle system that we use to either manually set exposure or down shift the camera into aperture priority.

Two small windows are available in the viewfinder that display aperture and shutter speed, although you will only see a red “A” in aperture priority.

In Comparison to the Nikon EL2

I mentioned earlier that I’m a Nikon fan. Naturally, my time with and opinion of the XE7 is colored by my experience. For this reason, I’d like to compare the XE7 with Nikon’s EL2 specifically, since the EL2 was the direct competitor to the XE7.

With the XE7, Minolta was aiming for the prosumer market a little earlier in the decade than Nikon. Where the XE7 was released in 1974, Nikon released the EL2 in 1977 (coincidentally 1977 was the final year of production for the XE7).

Both machines are neck and neck, and the differences between the two end up being minor.

The Minolta has the more simplistic on and off switch, but the Nikon has two on and off switches, letting the user choose which one will save from unwanted exposures. Both cameras use match needle systems in the viewfinders as well as having a 1/90th second shutter speed when battery power depletes.

Aperture priority, self-timer, and superb build quality are all things the Minolta and the Nikon share.

They’re both well-built, robust, heavy, and classically styled.

Both cameras offer an incredible lineup of lenses (Nikon’s Nikkors and Minolta’s Rokkors), the only real difference being that Minolta lenses may be a bit less expensive on the used market.

Both cameras slotted into their respective lineups just below the professional offerings. Nikon’s EL2 sat below the F2, while Minolta XE7 sat below their big, honkin’ XK.

Heck, even both cameras are named similarly – two letters and a number!

Is the Minolta XE7 Worth It?

The short answer to this question is unequivocally, yes. The Minolta XE7 without a doubt is worth every penny.

The Nikon EL2 was my first Nikon film camera, after which I was completely sold on Nikon’s build quality as well as Nikkor glass. When the XE7 clicked into my life, it failed to knock me over with the shooting experience, solely because the Nikon EL2 had already done that.

The camera that inspired me to document more everyday with amazing features such as aperture-priority AE, a match needle in the viewfinder, a bright focusing prism, and a shutter sound that brings a smile to all those within an earshot is the camera that Nikon only made for a single year. It was the EL2. But it just as easily could have been the XE7, if only I’d experienced the Minolta first.

Final Thoughts

James raved about the Minolta XE7 when Casual Photophile was in its infancy – and for good reason. The build quality, the robustness of the camera, the almost too-easy-to-operate metering system were all highly praised in James’ review. While he makes some great points, and while I agree with some of them whole-heartedly, the Minolta XE7 arrived in my life just a bit too late. When I feel the need to shoot 35mm, I’ll reach for my Nikon every time.

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Yet, you may have never heard of the 303.

In 1973, Minolta christened the 303 with no less than three different names. The Minolta SR-T 303 was aimed at the European market, the Minolta SR-T 102 was aimed at the USA market, and the Minolta SR-T Super was aimed at the Asian market. All three models are the exact same camera, apart from the name engraved on the front of the body. For the rest of this article, I will refer to the camera as the Minolta SR-T 303.

Specifications of the Minolta SR-T 303

• Camera Type : 35mm film, single lens reflex (SLR) camera
• Shutter : Mechanical cloth focal plane shutter. speeds from 1/1000 second to 1 second, plus bulb mode for long exposures
• Lenses : Interchangeable lenses for Minolta SR mount system (often called MC or MD lenses)
• Exposure Modes : Manual with light meter assistance
• Metering System : through-the-lens CLC (Contrast Light Compensator) meter coupled to shutter and film speed; meter sensitivity EV 3 to EV 17 at ISO 100
• Viewfinder : Mat-Fresnel-field focusing screen with split-image spot surrounded by micro-prism band; exposure control needle, selected shutter speed and aperture visible in viewfinder
• Film Speed Range : ISO 6 to 6400, set manually
• Flash : Hot shoe 1/60 second flash sync with electronic flash
• Additional Features : Automatic reset film counter, self-timer, depth of field preview, mirror lock-up (this feature was removed at some point in its production)

Origin and Special Features of the 303

Confusing naming convention aside, the camera is very straightforward. Aimed at the amateur market, Minolta ignored pro features such as a motor drive, and focused on the core purpose of a camera – producing an image. As a result, the Minolta SR-T range of cameras has very few bells and whistle. They are all fully mechanical, fully manual cameras only requiring a battery to operate the light meter.

The light meter found in every SR-T camera is a CLC (Contract Light Compensator) meter coupled to the shutter speed and film speed. This CLC metering system took two readings from different locations within the mirror box. It was a revolutionary system and an early form of matrix metering. The SR-T series also allowed metering with the lens wide open, an uncommon feature when the series first launched. Minolta first introduced these combined technologies in the camera that I got from my uncle, the Minolta SR-T 101. I did not get to experience the meter, however, until I bought the Minolta SR-T 303 – the electronics having died in my 101.

The CLC metering system still works a treat today if you can find a camera with a functioning meter (and I would argue against buying one that’s broken). As with all metering systems, you need to understand a bit about the science behind them to nail your exposure every time – this is not what I’m here to write about, so I won’t get further into the art and science of metering. Here’s the handy Wikipedia article to get you started. Once you understand what the CLC system does, a Minolta SR-T 303 with a working meter is an absolute joy to use. Simply look through the viewfinder, align the metering needle and circle-tipped needle in the viewfinder by changing your aperture and/or shutter speed, and you have a correctly exposed scene. All that’s left is to press the shutter release.

It’s a very intuitive system that achieves excellent exposure in most situations. For the longest time, I used it without worrying about my settings. I prefer to shoot around f/8, so I would set my lens there and adjust my shutter speed accordingly – instant aperture priority mode – only keeping an eye on the shutter speed numbers to make sure they didn’t drop lower than 1/60. After two years of use, I have very few badly exposed images, and most of them are because of my own poor decision making rather than the meter itself.

Back in the 1970s, Minolta made a lot of noise about their new CLC technology. But today, plenty of film cameras have very competent light meters, and I am sure that many cameras have better ones than the one in my Minolta. Setting the meter aside for a moment, there’s much more that drew me to the Minolta SR-T 303. It starts with the bright, full information viewfinder.

Minolta’s advertisement was centered around the viewfinder, claiming that ‘this is the 35mm reflex camera that lets you concentrate on the picture, because the viewfinder shows all the information needed for correct exposure and focusing. You never have to look away from the finder to adjust a Minolta SR-T , so you’re ready to catch the one photograph that could never be taken again.’  The Minolta SR-T 303 is the epitome of this statement, with its cut-out window in the viewfinder eye piece it offers full view of all settings (shutter speed, meter reading, and selected aperture). The last of these settings is missing from the viewfinder of previous SR-T models and in the SR-T budget line cameras, which only provide a view of the meter reading and the selected shutter speed.

The viewfinder is bright, clear, and easy to focus on a subject. It is worth noting that I do not wear glasses and the experience might be different for someone who does. The focusing screen contains a split-image spot surrounded by a micro-prism band, making the focusing process effortless. Align the lines to form a circle and you have achieved focus. It is simple and efficient. And yet, it is also one of the camera’s weakest points. Close up and at certain odd angles when my eye is not perfectly centered to the viewfinder, focusing can become difficult. Still, I can forgive the Minolta SR-T 303 for this flaw. I do not often find myself in such positions or photographing close-up.

Another flaw of the camera is its weight. At 710 grams, it is not light. Pair it with any substantial lens (as I do) and you have a workout on your hands. I occasionally daydream of relegating the SR-T 303 to the shelf in favor of a lighter weight option. I have gone as far as browsing camera sites, reviews, and second-hand shops in search of a contender, but no camera has yet captured my heart as the Minolta SR-T 303 has. At least not for the price. A fully working and guaranteed SR-T 303 with basic lens (bought from a reputable camera shop) should not cost more than £125 ($150 US). The thrifty among us can take the risk on an eBay camera, where SR-Ts can cost as little as $60 (though these are often not tested or guaranteed).

Final Thoughts on my Minolta SR-T 303

Ultimately, the Minolta SR-T 303 is not a camera for everyone. It has no automatic features to rely on. Instead, the camera is deceptively simple, offering guidance on how to achieve the perfect exposure, but letting the photographer make the final decision on the settings of each image. With this Minolta it’s easy to forget about the technical chores of photography and only concentrate on focus and exposure. Users who want to delve deeper into the intricacy of the ISO/Shutter Speed/Aperture dance have a camera that’s ready for them to learn and grow. It can take us from novice to amateur without the need to change or upgrade.

The Minolta SR-T 303 has transformed my experience of photography. I do not need to carry any gadgets to supplement it. I do not need to worry about the electronics and automatic modes failing. I keep a spare battery on me (these weigh nothing and almost as little). Sure, the meter can die, but it is still going strong. I can simply raise the camera to my eye, select my settings, frame, and release the shutter all in one smooth series of small movements.

Most important, the Minolta SR-T 303 is a creative tool that that gets out of the way. I can focus on creating the photograph I envision without complications and buttons and dials breaking the creative moment. And this is why the Minolta SR-T 303 has become my workhorse camera, the one that I keep coming back to. It is reliable, solid, and provides an unrivaled photographic experience, one that I’ve not yet never in any other camera.

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This is not necessarily the route that I took when I came back to film after a 15 year hiatus. I went more primitive with it. My old-fashioned, auto-nothing Pentax Spotmatic with its manual focus Helios 44m-4 58mm f/2 gave me the basic tools I needed to learn the art of photography. I mentioned this choice in my last article, and it elicited some comments from our readers who thought that my way was not the best way. In the spirit of putting one’s money where one’s mouth is, I went shopping for one of the other cameras that I had mentioned in the article. An auto-exposure capable, auto-focus capable, modern film camera. A camera much different from the one with which I re-learned photography.

I have never owned, held, nor even seen out in the wild a Minolta SLR. Sounds crazy, but it’s true. I have seen them in photos and videos, of course, but never in real life. In the article, I mentioned a decent Minolta Maxxum/Dynax 5 could be had for less than $75, and that’s true. But when looking for a modern, auto-capable SLR as I recommended to new photographers in my article, I didn’t want to limit myself to a single model. There are a lot of cameras that bear the Minolta Maxxum and Dynax names, so I decided to see what was out there and buy one.

I also mentioned in the article the need to buy from a reputable retailer, especially if you are buying online. I have a list of reputable retailers who sell on eBay, and I went hunting through their listings to see what was available. It wasn’t long before I found a Minolta Dynax 500si Super with a 35-70mm f/3.5-4.5 auto focus zoom lens, lens hood, remote release, UV filter, lens cap and user’s manual for less than $50. I have bought several quality items from this particular retailer in the past, and I hit the buy it now button without hesitation.

A few days later the camera arrived and looked even better than in the photos. Maybe that’s just the excitement of having a new toy – I’m still a big kid at heart. It is in excellent condition for a camera that was launched in 1995. It’s also very lightweight at a minuscule 14 ounces. This is a camera that I could carry around all day long. All I needed was to fit a new battery and a roll of film. As it turned out it was also my last purchase from that retailer as he decided to retire and enjoy the gardening. Thank you for selling me great quality items, Cliff. You were an excellent chap to do business with.

I purchased a new Lithium 2CR5 battery for the camera and got down to reading the manual to familiarize myself with the basic functions. This was easier than I thought it would be, as most of the functions I am familiar with already. It has Aperture Priority, Shutter Priority and Manual modes. There are also several preset program modes to choose from depending on what you are photographing, namely Macro, Sports, Night, Landscape and Portrait. The camera chooses the best shutter and aperture for whatever conditions it sense through its lens and whatever mode has been chosen. I just had to get used to the layout of the camera, so I loaded a roll of Kentmere 100, set the camera to manual to give me control over the exposures and toddled off out for a walk around my neighborhood.

As it transpired, Kentmere 100 was not the right choice of film to use that day, as the bright sunshine and defined shadows soon gave way to overcast skies and flat light. We have all picked a film only to have the conditions change and make it the wrong choice at some point in our personal photography journeys. But I pressed on, as I wanted to see how the camera performed and felt it would be a good test. My walk around the local farm tracks and nature trails soon came to an end with one roll of film in the can. When I arrived home later that day I developed the film in Kodak HC-110 dilution B and scanned them later that evening with my Ion Slides2PC 35mm scanner. I was pleasantly surprised to see that the camera handled the conditions very well indeed.

A few days later the weather was much brighter with plenty of sunshine, I loaded my second roll of Kentmere 100 and retraced my route to get a good contrast between the two films. I also decided to use some of the preset modes and alternated between landscape and macro mode. I revisited some compositions, but also found some different ones as the shadows were a lot more defined this time around. Time soon flew by and I was on my way back home to develop and scan my film using the same methods as my previous roll.

Comparing the two rolls of Kentmere 100 was all I needed to know that the Minolta Dynax 500si Super that I paid less than $50 for is a little beauty. The roll shot in overcast conditions was nicely exposed, nothing too spectacular of course, but also nothing I couldn’t improve upon in Affinity Photo. A few adjustments here and there soon had several presentable photographs.

The roll I shot in brighter conditions were again very nicely exposed thanks to the camera’s preset modes doing the thinking for me. All I had to do was point the camera at a composition and press the shutter. Shadows were indeed well defined, contrast was great and not even a few blown highlights could detract from an overall excellent performance from an unfamiliar camera that I had used only twice.

If I was only just beginning my film photography journey, I would definitely be encouraged by the results I got from my Minolta Dynax 500si Super. The few years’ experience I do have helped me decide to keep the camera and put it into my regular rotation for those days when I just want to travel light and be able to produce photographs that could grace the walls of my home.

I can also see why Sony paid good money to buy Minolta just after the turn of the last century. They made great stuff. The Dynax 500Si Super is 20 years old yet still looks modern, has all the features that my Nikon DSLR has, and can mount a range of impressive Minolta/Sony A mount lenses that give great results time after time. There’s only one problem, I now have Minolta G.A.S. My wife says I have too many cameras as it is, but I think I’m going to need another shelf.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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