12 Great Buys in Vintage Film Cameras:These superb user-collectibles offer real value for users and collectors.

12 Great Buys in Vintage Film Cameras:
These superb user-collectibles offer real value for users and collectors.

By Jason Schneider

One of my great pasions is shooting pictures on black-and-white film with vintage cameras. Based on my 50+years of doing just that I’ve checked out the prices and formulated value per dollar estimates of some of the best vintage shooters currently posted by camera dealers and on the major online selling sites, and have come up with the list below. It don’t pretend that my list is exhaustive (I’m sure many of you could come up with alternative lists), but it has the advantages of being hearfelt and based on extensive hands-on experience. I hope you enjoy it and find it useful—please let me know.

Origina earlyNikon F with plain prism and later c.1970 50mm f:1.4 Auto Nikkor-S lens.jpg .png
Original early Nikon F shown with plain prism and later c.1970 50mm f/1.4 Auto Nikkor-S lens. It's a timeless classic and a great shooter.

Nikon F 1959. The legendary Nikon F was the first truly professional caliber SLR, and was conceived as the basis for a high quality professional SLR system. The Nikon F remained in production, with relatively minor changes, for nearly 14 years, and during that time it established Nikon as the leading professional 35mm camera. A handsome, rugged, reliable machine of modular design, its removable pentaprism and external meter-coupling system allowed the Nikon F to be retrofitted with the latest advances in metering technology by upgrading the meter prism, and its F mount has endured, with some operational changes, up to the present digital era—a remarkable example of non-obsolescence. While the Nikon F is not really a technological landmark it marked the coming of age of the 35mm SLR. Its features include: Titanium foil focal-plane shutter (early models had cloth shutters) with speeds from 1-1/1000 sec plus B and T, interchangeable finders and screens, and a removable back. An extensive range of lenses and specialized accessories is available. The Nikon F is a superb user-collectible, and these days you can snag a clean functional example in chrome with FT or FTn meter prism and 50mm f/1.4 Nikkor-S lens for only $150 to $250. A pristine early (1959 to 1962) Nikon F with non-TTL “flag type” meter prism and original 5.8cm f/1.4 Nikkor lens typically runs about $800-1000; and very early models with cloth shutter, and not modified to take the later meter prisms are rarer and even pricier.

Nikon F2 Photomic with DP-1 prism and 55mm f:3.5 Micro-Nikkor. lens.jpg
Nikon F2 Photomic with DP-1 prism and 55mm f/3.5 Micro-Nikkor. lens. Many experts say it was the finest all mechanical manual focus Nikon.

Nikon F2 (1971 to 1980). Widely regarded as the best all metal, fully. mechanically controlled manual focus 35mm SLR Nikon ever made, the Nikon F2 has a horizontal travel, titanium foil focal plane shutter with speeds of 1-1/2000 sec plus B and T, stepless intermediate speed settings possible from 1/80 to 1/2000 sec, and slow speeds of 2 to 10 sec available via the B setting by using the self-timer. It also has a more convenient hinged, detachable back, and a more secure prism mounting system. The F2 Photomic with DP-1 prism finder privides TTL center-weighted, center-the-needle readings at full aperture plus stopdown metering and uses CdS cells powered by two 1.5v silver-oxide batteries. The Nikon F2S with DP-2 prism finder employs improved CdS cells, reads out the exposure using 2 signal lights in place of a needle, has a top-mounted flash ready light, and a contact for an EE aperture control unit. The Nikon F2SB uses two memory-lag-free SBC meter cells, reads out via a 3-LED display with 5 exposure gradations, is cross coupled to both aoerture and shutter speed controls, and displays cirrect exposure in a top panel when the eyepiece blnd is closed. The Nikon F2A and F2AS have Nikon DP-11 and DP-12 meter prisms respectovely, both of which work with later Nikkor lenses that privde auto maximum aperture indexing. The Nikon F2AS is the last and best of the line, with SBC cells, LED readouts, and the ability to read diwn to -4EV at ISO 100 with the f/1.4 lens. Current price ranges for very clean fully functional Nikon F2s in chrome or black: with plain prism, $250-300, Nikon F2A with DP-11 prism, $300-$350, F2AS with 50mm f/1.4, $350-$450, Nikonn F2T (Titanium), $1,200-$1,500, body only or with 50mm f/2 Nikkor.

Nikon F2 ASm  the last and best of the line, with SBC cell lmeter prism, segmented LED readouts.jpg

Nikon F2 AS, acclaimed as the last and best of the line. It had a very sensitive SBC cell meter prism and brilliant segmented LED readouts.

Topcon RE Super (1963) Sold in the U.S. as the Beseler Topcon Super D it was the first 35mm SLR with through-the-lens match-needle metering, manufactured by Tokyo Optical Company, Ltd. and initiated the basic trend that all other SLR makers were destined to follow. The RE Super was unique in having its CdS meter cell built into the mirror, permitting the use of simple interchangeable optical finders, but this system, designed in a joint project with Toshiba Electric Co., proved complex and expensive to produce. The RE was eclipsed one year later by the Pentax Spotmatic, which took TTL readings off the viewing screen, a simpler system adopted by virtually every other maker. Large, robust, and nicely finished, the Topcon RE Super features include; Interchangeable eye-level pentaprism and finder screens, single-stroke wind lever, full-aperture metering, cloth focal-plane shutter with speeds from 1-1/1000 sec plus B, winder/motor compatibility, and Exakta-compatible bayonet mount. Standard lens is the magnificecent 58mm f/1.4 R.E. Auto Topcor. The RE Super was produced in four versions and provided the basis for the Topcon D-1 and Super DM that remained in production until the ‘80s. A clean original Topcon or Beseler Topcon RE Super or Super D in chrome with 58mm f/1.4 lens sells for around $350-$500, but is more commonly paired with the outstsanding 58mm f/1.8 Topcor, a combo that typically fetches $200-$275.00. Note: these cameras were deigned to use out of production 1.35v mercuric oxide batteries and must be converted to meter properly with current 1.5v akaline or silver oxide cells.

Beseler Topcon Suoer D with outstanding 5.8cm f:1.8 R.E Auto-Topcor lens.jpg
Beseler Topcon Suoer D with outstanding 5.8cm f/1.8 R.E. Auto-Topcor lens. The 5.8cm f/1.4 R.E. Auto-Topcor is legendary, but this combo typically costs a lot less.

Beseler Topcon Super D with superlative 5.8cm  f:1.4 R.E.Auto-Topcor lens.jpg
Beseler Topcon Super D with superlative 5.8cm f/1.4 R.E. Auto-Topcor lens noted for its amazing combination of sharpness, gorgeous rendition, add lovely natural bokeh.

Mamiyaflex C (1956) The first of the Mamiyaflex C-series, the only interchangeable-lens, 6x6cm (2-1/4 square) twin-lens reflex cameras that were a real commercial success, it established the basic design. All feature removable lens sets, consisting of taking and viewing lenses attached to an abbreviated lensboard.. Like all C-series Mamiyaflexes, the original C is a rugged, durable, professional caliber camera with rack-and-pinion knob focusing and a bellows behind the lensboard. It also features knob wind (changed to a crank on later models) waist-level viewing (eye-level mirror prisms were later offered) and an outstanding 5-element, 3-group 80mm f/2.8 Mamiya-Sekor normal lens in a Seikosha-MX 1-1/400 sec shutter. Alternative focal-length lens sets included 65mm 105mm 135mm and 180mm—later, a 55mm and 250mm. The last of the breed, the Mamiya C330S, was discontinued in 1993. The Mamiyaflex C and the nearly identical C2 lack double exposure prevemtion, and only have parallax indication, not correction like postwar Rolleiflex TLRs, but they’re fine-performing user cameras. Note: those with lenses incorporporating the Seikosha-MX 1-1/400 sec shutter have 11-bladed diaphragms resulting in smoother bokeh; later lenses, like all postwar Rolleiflex TLRs, have 5-bladed diaphragms. Clean fully working examples of the Mamiyaflex C and C2 with 80mm or 105mm lens set currently go for an enticing $125 to $225.

Mamiyaflex C orginal 1956  model with pointy %22feet%22 on base, amd 10.5cm f:3.5 lens set.jpg
Mamiyaflex C orginal 1956 model with distinctive pointy "feet" on base, amd 10.5cm f/3.5 lens set. Early lenses in Sekosha MX shutters have 11-bladed diaphragms.
Mamiyaflex C2 with flat bottom, dual focusing knobs , and later 80mm f:2.8 Mamiya-Sekor lens w...jpg
Mamiyaflex C2 with flat bottom, dual focusing knobs , and later 80mm f/2.8 Mamiya-Sekor lens with 1/500 sec Seiko shutter.

Ricoh Diacord G: Introduced in 1958 to compete with the immensely popular Yashica-Mat, this unsung classic performs just as well, albeit with a film wind knob intead of a film wind crank. Its signature feature is a “see-saw” double-ended focusing lever that provides efficient “two finger” manual focusing down to a marked 3.5 feet (it actually gets diwn to about 3 feet) and its reflex finder is bright and crisp. The viewing lens is a 3-element, 3-group 80mm f/3.5 Ricoh Viewer and the taking lens is an excellent 80mm f/3.5 Rikenon, a 4-element, 3-group Tessar design that stops down to f/22 (even though the manual says f/16.) Both lenses are fitted with bayonet flanges and accept Series 1 Rolleinar close-up sets. The shutter is a Citizen MV or MXV both prividing speeds of 1-1/400 sec plus B. Note: This camera was available with a few different nameplates, not all of which say Diacord (a contraction denoting Diamond top-level series and Cord taken from Rolleicord). Some are fitted with 3-element Riconar taking lenses, so make sure the one you acquire has the superior 80mm f/3.5 Rikenon. Long neglected, these cameras have lately attracted a small but devoted following, resulting in higher prices. Current price range for a pristine example wigth cap and case: $135-$200. Note: The later Rcoh Diacord L is basically the same camera with a built-in uncoupled meter with a side-munted readout index and a selenium cell with cover above the viewing lens. It’s a very good camera, but not as elegant as the meterless Diacird G and it sells for up to $250 or so.

Ricoh Diacord G with 80mm f:3.5 Rikenon taking lens in Citizen MV 1:1:400 sec plus B shutter.jpg
Ricoh Diacord G with 80mm f/3.5 Rikenon taking lens in Citizen MV 1/1/400 sec plus B shutter. Note "see-saw" two finger focusing levers.

Ricph Diacord L with built-in selenium meter, Seikosha MXL 1-1:500 sec plus B shutter.jpg
Ricoh Diacord L with built-in selenium meter, Seikosha MXL 1-1/500 sec plus B shutter. It's not as elegant as the Ricoh Diacord G, and pricier.

Konica IIIA (1958) Perhaps the finest, most advanced example of the meterless, leaf shutter Japanese rangefinder 35 that flourished in the ‘50s, the beautifully made, elegantly proportioned Konica IIIA featured an unusual, vertically-mounted, left-handed, rapid-wind lever (an acquired taste), and a gorgeous 1:1 range/viewfinder with true projected, parallax-compensating finder framelines that also adjust for field frame size (that is, reduced angular coverage as you focus closer). Other features include: An excellent 50mm f/1.8 or f/2 Hexanon lens, Seikosha 1-1/500 sec MX shutter, rewind crank and self timer. Both lenses are superb, but the smaller 50mm f/2 looks nicer on the camera, and the larger diameter 50mm f/1.8 is allegedly a tad sharper. Konica IIIAs in pristine condition are fine user-collectibles that currently fetch prices in the $150-250 range.

Konica IIIA with 50mm f:1.8 Hexanon lens.jpg
Konica IIIA with 50mm f/1.8 Hexanon lens. Its magnificent 1:1 range/viewfinder has parallax compensating frame lines that also correct for field frame size by narrowing as you focus closer, a feature lacking on Leica Ms and rangefinder Nikons and Canons.

Olympus 35-S-ll (1957) Evolved from the Olmpus 35-S of 1955, the first Japanese 35mm camera with a film wind lever, the Olympus 35-S-ll of 1957 added a 0.6x range/viewfinder with a true projected parallax-comensating bright frameline. It was available with a superb 7-element, 5-group 42mm f/1.8 G. Zuiko normal lens (close to the true diagonal of the 24 x36mm format, which measures just over 43mm) in a Seikosha-SLV 1-1/500 sec plus B shutter and it focuses down to a fairly close 2.8 feet. Its compact form factor is exquisite. If you decide to take the plunge, make sure yours is fitted with the 42mm f/1.8 G. Zuiko or the 42mm f/2 G. Zuiko, a slighty slower variant based on the same formula, and that the shutter is working—they tend to gunk up. Note: this camera was also marketed by Sears under the Tower brand. Used price range: $50-75, slightly higher with “Gold S” logo.

Olympus 35-S II with  superb 4.2cm f:1.8 G.Zuiko lens..jpg
Olympus 35-S II with superb 4.2cm f/1.8 G.Zuiko lens. Its exquisitely proportioned form and superb lens make it a classic, and it's cheap!

Canon P of 1958-1961 was Canon’s last and best attempt to create a broad-spectrum, interchangeable lens, precision rangefinder 35. It was wildly successful—Canon sold twice as many Canon P (for “Populaire”) cameras as any previous model, turning out a total of 87,875 over 2-1/2 years of production. With roots going back to earlier “basic” models like the Canon L2, L3, and IID, it’s essentially a simplified Canon VI-L that uses the same metal-bladed shutter, but in place of Canon’s classic 3-position viewfinder it has a big 1:1 viewfinder that simultaneously displays reflected, etched, parallax compensating frame lines for 35mm, 50mm, and 100mm focal lengths. The parallax compensating pin in the accessory shoe was also eliminated. Everybody loves the Canon P for its simple straightforward design, light weight, and bright 1:1 viewfinder. It’s a great user camera, but it’s not as robustly constructed or finely crafted as a V- or VI-series Canon, its viewfinder tends to flare in backlight, and its simplified viewfinder frame line system cannot compare to the individually selected, true projected frame lines built into 7-series Canons. Current price range for a clean working example with 50mm f/1.8 Canon lens, $250 to $300.

Canon P with 50mm f:1.8 Canon lens. Broad-spectrum model was the best selling screw-mount  Can...jpg
Canon P with 50mm f/1.8 Canon lens. Broad-spectrum model was the best selling screw-mount Canon rangefinder camera of all time

Contax IIa and IIIa: Complete redesigns of the Contax II and III of 1936, the Contax IIa of 1950-61 and IIIa of 1951 to 1961, had a simplified, much more reliable vertical roller blind shutter with nylon straps connecting the curtains and slats made of duraluminum. It’s also smaller, considerably lighter, and has more refined proportions than its illustrious prewar predecessor, albeit resulting in a somewhat shorter rangefinder base length. Along with its less attractive sister the Contax IIIa (which added a klutzy uncoupled selenium meter housing on top) the Contax IIa is functionally the best Contax Zeiss-Ikon ever made, and it’s complemented by a full line of superlative Zeiss bayonet mount lenses. Two variations of the Contax IIa/IIIa were produced: the “black dial” and “color dial” based on the color of the shutter speed numerals. The black dial uses special flash cords for bulb or electronic flash; the “color dial” has a PC outlet and provides X sync at 1/50 sec. Sadly both the Contax IIa and IIIa ceased production in 1960 and were gone by 1961. The Contax IIa is a gorgeous, beautifully proportioned machine with distinctive “cut corner” ends in the Contax rangefinder tradition dating back to the Contax 1 of 1932, It exudes an understated elegance and has an aura of precision that accurately reflects its impressive performance potential in the field. The Contax IIa is a superb user collectible that currently goes for $300-700 in clean to flawless condition with 50mm f/2 or f/1.5 Sonnar lens.

Contax IIa black dial with 50mm f:1.5 Sonnar, a superb and elegant user-collectible.jpeg
Contax IIa black dial with 50mm f/1.5 Sonnar, a superb and elegant user-collectible with great lens--it's not cheap, but still affrdable

Contax IIIa with 50mm f:1.5 Sonnar--a great camera surmounted with an ugly uncoupled selenium ...jpg
Contax IIIa with 50mm f/1.5 Sonnar--a great camera surmounted with a klutzy uncoupled selenium meter. It's still a superb shooter.

Olympus OM-1 (1973 to 1979) This is the classic ultra-compact 35mm SLR that initiated the compact SLR revolution of the ‘70s and ‘80s. The jewel-like OM-1, first released as the M-1, is a handsome and beautifully made, through-lens-metering, CdS cell, match-needle camera generally said to be the first full-featured, full-frame (24x36mm) modern compact SLR. Designed by a team headed by the esteemed Y. Maitani, its features include a cloth focal-plane shutter with speeds from 1-1/1000 sec plus B, two-CdS cell metering system, fixed pentaprism with interchangeable viewing screens, single-stroke wind lever, mirror lock-up and motor/winder compatibility. Standard lens in OM bayonet mount is a 50mm f/1.4 or f/1.8 Zuiko, and an extensive system of lenses (8mm to 1000mm) and accessories was available. In 1974, Olympus launched the OM-1MD (for Motor Drive), which allowed a motor drive to be attached without modificatiosn. In 1979, the next iteration was the OM-1n, similar to the OM-1MD, but with a redesigned film advance lever, a flash ready/flash OK LED in the viewfinder, and automatic flash sync on X irrespective of the position of the FP/X switch when used with a T-series flash unit on a Flash Shoe 4. All Olympus OM-1 series SLRs are excellent user-collectibles that hold their value well. A pristune original chrome OM-1 (all models) with 50mm f/1.8 or f/1.4 Zuiko lens runs about $125-$225, slightly higher in black. An early one marked M-1 is a collector’s pruze worth $1000 on up. Note: the OM-1’s meter was designed to take discontinued 1.35v mercury batteries and will reqire an uograde ($50-$60) to give accurate readings with current 1.5v alkaline or silver oxide cells.

Olympus OM-1 MD had covered motor drive couoling on bottom, MD insignia on front.jpeg
Olympus OM-1 MD had covered motor drive couoling on bottom, MD insignia on front. This ultra-compact beauty needs battery conversion.

Olympus OM-2 (1975-1988i) This aperture-priority-metering automatic-exposure SLR (with full manual operation selected via switch), is based on the earlier, very successful OM-1 form factor with the addition of an ingenious new automatic exposure system—it was the first camera to offer a TTL direct metering system that was dubbed ADM (Auto Dynamic Metering) by Olympus, but is generally known as “off-the-film metering.” The OM-2 also calculated and set the duration and intensity of the flash during the exposure by measuring the amount of light reflected off the film, a system that ensured excellent results under difficult conditions. For non-flash shutter speeds of 1/60s and faster. the twin "silicon blue cell" sensors measured light reflected off a graduated patterned surface on the first shutter curtain shutter. For shutter speeds below 1/60s, the exposure was calculated by the amount of light reflected off the film surface during the exposure. The shutter is a horizontal cloth type providing speeds of 60-1/1000 sec in auto-exposure mode (120s-1/1000sec with the OM-2N), and 1-1/1000 sec, plus B in metered manual mode. The Olympus OM-2 series continued with the OM-2 MD, OM-2N MD and thereafter the heavily revised OM-2S/OM-2 Spot Program, which incorporated entirely new internals mechanism within a similar body. The main difference between the OM-2 and OM-2 MD models was the provision of a removable cap on the base plate to permit attachment of the OM system Motor Drive 1 (or the later Motor Drive 2) for film advance at 5 frames per second and the placement of an "MD" badge on the front left face of the camera. Note: the Olympus OM-2 takes 1.5v silver oxide batteries, which are readily available.

Olympos OM-2n looks giregeous in black, This one sports a 50mm f:1.8 F.Zuiko lens jpg.jpeg
Olympos OM-2n looks spectacular in black, This one sports a 50mm f/1.8 F.Zuiko lens, an excellent classic 6-element, 4-group design.

Canon T90(1986): Developed as the top-of-the-line T-series camera, the T90 is the ultmate manual focus multi-mode SLR with a built-in motor drive and a classic breech-lock FD mount. The form of the pentaprism hump is a distinctive; instead of being sharp-edged as on previous SLRs, it’s rounded with smooth curves. The camera was designed provide an amazing array of seamless automation options and to that end it incorporates a wealth if what was then (and in some ways still is) state-of-the-art technology. The T90 has three metering systems to suit diverse shooting conditions, plus 8 auto-exposure modes and two manual exposure modes that make the camera highly versatile. Drive operations are divided among three small coreless motors to conserve power, and its 7-segnent digital LED viewfinder info display is still unsurpassed, With four size-AA batteries, the built-in motor drive can shoot at a maximum of 4.5 fps. It was truly a top-of-the-line camera, and it is robust and reliable. In Japan, among pros, the camera’s nickname was “The Tank.” You can snag a prstine fully functional Canon T90 with 5omm f/1.8 Canon FD lens for the bargain price of around $150, and about $225 with 50mm f/1.4 lens.

Canon T90 with 50mm f:1.4 Canon  FD lens. Note spiel below logo highlighting its high-tech spe...jpg

Canon T90 with 50mm f/1.4 Canon FD lens. Note spiel below logo highlighting its high-tech specs. It's a multi-mode masterpiece.










 

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Brand recognition. Nikon, Canon, Leica have it, other brands are considered to be for amateurs. Doesn't make them worse -- Minolta, Pentax, Konica, all great.
 
I tend to agree @DennisM .
What makes a mechanical Nikon, like an FM say, any better than a nice SR-T 101 or 102?
Dear AlwaysOnAuto,

I'm going to say this and run for cover. I have a pair of working Minolta SRT 101's. I know Minolta lenses are held in high regard. The camera is pleasant to use and it provides good results for me.

Here is where I need to duck and run. Had I never shot with a Nikkormat, or Spotmatic F I might feel differently about the Minolta. When I compare it to a Nikkormat FT2, or Pentax Spotmatic F, both cameras are of the same mid-1970's vintage, the Minolta's seems rather cheap and chintzy to me, whereas the Nikkormat and Pentax seem much more sturdily and precisely built. The Minolta body is lighter which some may feel is an advantage, but it literally feels like the difference between night and day to me. I have a friend who uses a Minolta X700 and his camera seems more solidly built compared to the SRT 101.

I'm not trying to start a war here, just expressing my opinion on the popularity of certain brands over others.

Regards,

Tim Murphy

Harrisburg PA :)
 
Dear Tim Murphy,
I have two working SR-T's also.
I also have a bought new by me Nikon FE.
I used to have an FM2 (I bought it for the 1.2 lens) but I traded it for a grip to put on my M3.

Yes, the Nikon's feel weightier than the Minolta's, but at my age I'm not interested in lugging more weight around just because of the name attached to it.
I'm also pretty sure the Minolta's will last as long as the Nikon's and I'd even be willing to bet that mine have had more film thru them than my Nikon's have had run thru them.

Not trying to cause/start a fight here. I just don't equate weight with quality.

Regards,
AOA ;>{)
 
I tend to agree @DennisM .
What makes a mechanical Nikon, like an FM say, any better than a nice SR-T 101 or 102?
Hard to speak to anyone else but for me but the Nikons I've used - the F, F2, F4, F90 & more just fall to hand better, have a better ergonomic fit (it's slight and subtle but for me, real) and the finders are significantly better. So when I looked at the Minolta products I could see they were well enough made but not sufficiently different or better than either the Canon FD I used before or the Nikon I use now to go to the expense of changing.

Had I chosen them in the first place? I undoubtedly would be happily still using them along with having followed along the way to Sony digital today. But the PX in Illesheim FRG had a Canon AE-1 instead and that, as they say, is history.
 
I put Nikons such as the professional F, F2, F3, F4, F5, and F6 in one class and the others - Nikkormat, FM/2, FE/2, FM3a - in the amateur class, even though "amateur" cameras are often used by professionals, too.

I have to wear glasses when using a camera. That isn't a problem with the F, F2, etc, but I can't see the whole finder in the FM/FE class of cameras. My Nikkormat allows me to see most of the finder. I can't see the whole finder in the old Pentaxes.

I love the old Pentax M42 Super Takumar and Super Multi-Coated Takumar lenses, but I don't like the corresponding Pentax cameras. I can't see a large part of the finder with glasses on, and the Pentax finders are darker and have largely useless focusing aids, making them harder to focus. (I have an H1a, a Spotmatic II, and a Spotmatic F. I finally came to the realization that I just don't like them.)

I can see the whole finder in my Minolta SR-Ts and they are easier to focus than the Pentaxes referenced above. I can still just see the whole finder in my Minolta X-570s, though there is more magnification (but not too much). The X-700/570/370 also have the very bright and contrasty Acute Matte focusing screens, a technology that Minolta licensed to Hasselblad. I prefer how my Minoltas feel in my hands to my old Pentaxes. I might also note that there have been professional photographers who used Minoltas (and Olympuses and Pentaxes).

I had a Nikon F for awhile, and I really liked it. But when it came to taking pictures, I always grabbed a Minolta instead. I finally sold the Nikon, with some regrets.

I need to thin out my film cameras, as I have way more than I will ever use. For 35mm, I will be keeping several Minoltas (SR-Ts and X-570 with winder, along with my MC and MD lenses). I might also keep the Nikkormat and a Canonet QL 17 GIII.

(Next, I will need to thin out my ten TLRs to a more reasonable number. )

- Murray
 
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More brain... whatever.

I had a Minolta SRT101 in the '70s, fora. few years. Well constructed, but a clunker. Tripping the shutter usually scared away all the birds in the vicinity.

I took it to North America with me in 1979 and 1982 and the Rokkor 50/1.7 (the only lens I had for it at the time) gave me a fair few magnificent images.

IEventually moved on to Nikons (Nikkormats, actually) and gave away the 101. To someone who took to it, and went on using it for a very long time. So yeh, they were built to last. Like Nikkormats.

Up to about 15 years ago one could find old Rockors at giveaway prices. Unsure about now. In the '90s I passed on a 21 Rokkor for $20 in a Sydney (Australia) camera shop. Kicked myself for years afterwards, I've never seen another one.

Next wave. Consider any Nikon F (aka N) model from the early '00s. Above F60. Mine are F65s. Plasticky, and if it's handled too roughly the lock on the back breaks with amazing ease. Otherwise, great little shooters, limited in some ways (auto-ISO reading off the film canister, otherwise you are stuck with shooting at ISO 100, which can be inconvenient), in most other ways reasonably adjustable.

Most can be set up with a battery grip often available cheaply on Ebay. Takes standard supermarket batteries, allso rechargeable. Best deal ever.
 
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