Minolta SRT's -- Gotta Love 'Em.

Nokton48 said:
Don,
I came back to Minolta SRT's for nostalgic reasons, and decide to change back over to them. I sold all of my exotic expensive Leicas and RF Canons and I have not regretted it. Then I could easily afford to put together the dream Minolta system I wanted when I was younger. Now I am a happy Guy.


Minolta glass is simply the finest. No wonder they teamed up with Leitz.

-Dan
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Totally agree. Even by today's standards its tops. A friend gave me a box of cameras he'd had and there was a seriously beat up SRT101. It was in such sad shape I gave it away. I don't think it was working unfortunately.

I'm keeping my eye on one on the bay right now. Like I need another camera.
 
Black Minolta SRT 303

Black Minolta SRT 303

This is my second SRT in black. Picked it up a couple of months ago on the bay for dirt cheap -- it came with the 50mm 1.7 lens which I sold (already have one) and it paid for the cost of bidding for the whole camera. Igor's Camera had a 24mm 2.8 lens with hood and caps for $100, so I picked that up, as the focal length is my favorite for street photography. My other Minolta is a SRT 101, also black, with a 24-35 MD zoom lens.
 

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Stefan Wood said:
This is my second SRT in black. Picked it up a couple of months ago on the bay for dirt cheap -- it came with the 50mm 1.7 lens which I sold (already have one) and it paid for the cost of bidding for the whole camera. Igor's Camera had a 24mm 2.8 lens with hood and caps for $100, so I picked that up, as the focal length is my favorite for street photography. My other Minolta is a SRT 101, also black, with a 24-35 MD zoom lens.
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Stefan,
Lovely SRT there. The 303 is the European model.
Sounds like you are also happy with your Minoltas.
$100 is a steal for a 24mm F2.8 MD. Well done.
I paid $250 for my 24mm F2.8 MC.
 
My dad had a SRT 101. He was an architect, and shot with a 28mm lens and was happy with it. When I went back to shooting film, I went to the Bessa L with 24 mm lens, then a Leica m2 with 35mm. Neither really worked for me - either mechanical or design issues that I found got in my way of visualizing and shooting. I got a Minolta and never looked back, as far as 35mm shooting goes. I have that Plaubel loaded and ready to go, when I can get a chance (I have a 2 year old). Also a pair of Linhofs where one will see some film and the other will see some instant film and 70mm film run through it.
 
Nokton48 said:
Don,
I came back to Minolta SRT's for nostalgic reasons, and then decided to change back over to them. I sold all of my exotic expensive Leicas and RF Canons and I have not regretted it. Then I could easily afford to put together the dream Minolta system I wanted when I was younger. Now I am a happy Guy.


Minolta glass is simply the finest. No wonder they teamed up with Leitz.

-Dan
Click to expand...
I did that 10+ years ago; sold a complete Contax G system and assembled my MF Minolta system, though mine is built around the half dozen XD-11 bodies I accumulated with the lenses. Now I'm looking for a nice SRT-102...
 
The 1.7/55mm Rokkor PF is a great piece of glass for the SRT. It's one of my favorite 50's and ranks right up there with a V.1 50 Summilux and 1.4/50 C Sonnar ZM in my opinion. And yes, I use principly b&w film.
 
CorkVDH said:
I did that 10+ years ago; sold a complete Contax G system and assembled my MF Minolta system, though mine is built around the half dozen XD-11 bodies I accumulated with the lenses. Now I'm looking for a nice SRT-102...
Click to expand...

Welcome to RFF!

The SR-T 102 is my favorite, too.

For an electronic model, I like the X-570, as my approach to aperture-priority automation requires AEL (auto-exposure lock).

- Murray
 
Just put a roll of Kodak Gold in my 303.
I assume turning off the meter will become second nature after a while.

This is a great thread!
 
CMur12 said:
Welcome to RFF!

The SR-T 102 is my favorite, too.

For an electronic model, I like the X-570, as my approach to aperture-priority automation requires AEL (auto-exposure lock).

- Murray
Click to expand...

Murray,

Thanks for the welcome. I've lurked for some time, and when I saw the reference to David Kilpatrick's brilliant article I felt it was time to post. The sr-T's introduced many people to the brilliance of the Minolta Rokkor lenses.

The X-570 is a fabulous camera, in some ways the ultimate MF Minolta combining excellent info in the viewfinder with TTL-OTF flash automation. Add the AEL and you have a camera that I should love.

But I can't get away from the sensual experience that handling an XD-11 provides. Compared to any other camera body that I've used, the XD-11 is, for me, the most natural instrument. All the controls are exactly where I want them; I never need take the camera away from my eye. The shutter is a whisper compared to other cameras' "ka-chunk", and the size, weight, and form are all spot-on. In my highly biased view, the XD-11 is the pinnacle of Minolta camera design.

However, none of that would matter were it not for the magnificent MC/MD lenses Minolta made. As superior as the Minolta bodies were compared to their contemporaries, it was and is the consistency and the quality of the Rokkor and early MD lenses that create the distinctive Minolta look. I constantly remind myself that the camera body is there to hold and accurately expose the film. The real key, aside from the photographer's skill, is the lens.

Best,
Cork
 
SRT101b kit

This was my Grandpa's kit and only recently came into my possession. It needs a bit of work and sadly isn't getting used at the moment (hard to find room for a third 35mm system...)

 
CorkVDH said:
Murray,

Thanks for the welcome. I've lurked for some time, and when I saw the reference to David Kilpatrick's brilliant article I felt it was time to post. The sr-T's introduced many people to the brilliance of the Minolta Rokkor lenses.

The X-570 is a fabulous camera, in some ways the ultimate MF Minolta combining excellent info in the viewfinder with TTL-OTF flash automation. Add the AEL and you have a camera that I should love.

But I can't get away from the sensual experience that handling an XD-11 provides. Compared to any other camera body that I've used, the XD-11 is, for me, the most natural instrument. All the controls are exactly where I want them; I never need take the camera away from my eye. The shutter is a whisper compared to other cameras' "ka-chunk", and the size, weight, and form are all spot-on. In my highly biased view, the XD-11 is the pinnacle of Minolta camera design.

However, none of that would matter were it not for the magnificent MC/MD lenses Minolta made. As superior as the Minolta bodies were compared to their contemporaries, it was and is the consistency and the quality of the Rokkor and early MD lenses that create the distinctive Minolta look. I constantly remind myself that the camera body is there to hold and accurately expose the film. The real key, aside from the photographer's skill, is the lens.

Best,
Cork
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Nice comments. The XD is surely a great camera...except no autoexposure lock? And exposure compensation in full stops only!? As nice a camera as it is, and even owning and shooting one for about 6 months, these two shortcomings are deal breakers for me. I got a X-500 :)
 
CorkVDH said:
Murray,

Thanks for the welcome. I've lurked for some time, and when I saw the reference to David Kilpatrick's brilliant article I felt it was time to post. The sr-T's introduced many people to the brilliance of the Minolta Rokkor lenses.

The X-570 is a fabulous camera, in some ways the ultimate MF Minolta combining excellent info in the viewfinder with TTL-OTF flash automation. Add the AEL and you have a camera that I should love.

But I can't get away from the sensual experience that handling an XD-11 provides. Compared to any other camera body that I've used, the XD-11 is, for me, the most natural instrument. All the controls are exactly where I want them; I never need take the camera away from my eye. The shutter is a whisper compared to other cameras' "ka-chunk", and the size, weight, and form are all spot-on. In my highly biased view, the XD-11 is the pinnacle of Minolta camera design.

However, none of that would matter were it not for the magnificent MC/MD lenses Minolta made. As superior as the Minolta bodies were compared to their contemporaries, it was and is the consistency and the quality of the Rokkor and early MD lenses that create the distinctive Minolta look. I constantly remind myself that the camera body is there to hold and accurately expose the film. The real key, aside from the photographer's skill, is the lens.

Best,
Cork
Click to expand...

Hi Cork -

I've never actually handled an XD-11 myself, but I have heard that it feels more solid and refined than its successors. I'm glad you've found a camera that suits you so well. For me, it's got to have AEL, so the X-570 it is for an SLR with an electronic shutter.

Then, as you note, there are those wonderful Minolta Rokkor lenses.

- Murray
 
WOW this thread has been dormant for quite a while. Time to revive it.

What's going on with Minolta out there, you Guys? I know you are out there! :D

I've got a lens coming that has got me totally stoked. I will provide more details when I receive it. I'm truly excited about getting this item.
 
Just ran a roll of Tri-X through my SRT 102 yesterday with my MC Rokkor 58 f1.4 lens I just got overhauled. Also, I picked up two lenses from my local camera store (pusher) a MC Rokkor X 28 f2.8 and 80-200 F4.5 zoom lenses.
 
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