Minolta SRT's -- Gotta Love 'Em.

Scan-150212-0003 by Nokton48, on Flickr
Vanilla Creme Puffs at Schmidt's Sausage Haus in German Village.

Minolta SRT-101, 58mm F1.2 MC Rokkor wide-open, Eastman 5222 Double-X movie film. Processed in straight Microdol-X developer. Scanned on an Minolta DiImage II scanner.

Some German beer, a Bavarian Bratwurst, and one of these, and I am good to go.
 
I've moved my Minoltas into my basement studio and I am taking test photos as I slowly build a semi-permanent portrait set in my fairly small space. BY using the Broncolor Balloon on a 375ws Pulso Monolight, it does light a big set. Almost window-light like from a short distance. This light is F16 full power with ERA-100 B&W. Exposures bracketed from F16 to F8 at half stops. Checking the power consistency and eveness of lighting as well as exposure. This fill light will be stationary and floods the entire set with about as soft light as you can get. Shot with SRM's with 16mm and 85mm Rokkors, and SRTs with 58mm F1.4 and 100mm F2.8

Fun to fire up these cameras and burn some aging film. Developed in D:23 1:1 these negs will tell me a lot and provide a basic lighting to build upon.

Broncolor C171 Monolight Full Power F16 ISO 100 F16 to F8 SRMT's 1 by Nokton48, on Flickr

The fill light by itself is kind of dramatic in a way. But I will be adding main light big box and grid spot (aimed at right top background) to embellish this portrait lighting. I may add a strip box from the back to light the hair we will see
 
Studio cameras Minolta SRM XK SRT by Nokton48, on Flickr

I've moved these into being studio cameras, they are all presently loaded with ERA100 B&W I'll process in D23 1:1. I've been shooting with all of these

My two SRM's, four SRT's, and my XK. All very SRT-like. Everything is working flawlessly and this great for testing and trying out a few ideas regarding lighting
 
100 feet PanF+ to feed the Minoltas by Nokton48, on Flickr

I'm starting to use the Minoltas in the studio. In addition to Eastman 5222 XX, and Eastman 5231 Plus-X, I wanted a third, more modern film long roll film. I fondly remember the old Pan F in the seventies, so I bought a hundred feet fresh from B&H. Now if I can only find another Lloyds bulk loader around here, I KNOW I have three or four empty ones around here somewhere!

A decade ago I bought an expired CASE of 120 PanF+ 120 and it's been deep frozen ever since. Starting to shoot that too. :) I fondly remember I paid a buck a roll. :) Way back in the basement of Midwest Photo.
 
PanF+ been a tough film for me to shoot. I'm using D23 1:1 which is a soft developer, for my first rolls. If that is no go, I will switch to PMK+ as I know that helps with the highlight values. Recently I have seen some excellent ones developed in Diafine at EI80 in very flat light. So we will see. In the 70s I used Perceptol which is also a soft developer.
Also the latent images start to disappear after about a month, so develop it right after shooting.has
 
Nokton48 said:
PanF+ been a tough film for me to shoot. I'm using D23 1:1 which is a soft developer, for my first rolls. If that is no go, I will switch to PMK+ as I know that helps with the highlight values. Recently I have seen some excellent ones developed in Diafine at EI80 in very flat light. So we will see. In the 70s I used Perceptol which is also a soft developer.
Also the latent images start to disappear after about a month, so develop it right after shooting.has
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Hi Nokton48, You might get better contrast control with PanF+ if you diluted the D23 1+2 or 1+3 and used the
times for Perceptol as a starting point, since Perceptol is considered to be a D23 type developer, although D23
may be more active since it contains one third more metol and does not contain sodium chloride.
 
Zathros said:
Hi Nokton48, You might get better contrast control with PanF+ if you diluted the D23 1+2 or 1+3 and used the
times for Perceptol as a starting point, since Perceptol is considered to be a D23 type developer, although D23
may be more active since it contains one third more metol and does not contain sodium chloride.
Click to expand...

Thanks Zathros! I think I'll try PanF+ 15-18 minutes at 1:3 D23, on a Unicolor Uniroller, when I get going with this.

The bulk loaders seem to be well hidden around here. Diluted D23 is easy to make and does the job. Testing my new Broncolor Strip Light I just got from B&H

Today I shot some tests on 5231 cinema film with one of my SRM's with the 85mm F1.8 MC, and my kangaroo covered SRT-100 with 100mm F2.5 MC. Hmm fun time!
 
Easton Stilt Girl 21mm Rokkor QH XX 2 by Nokton48, on Flickr

Second Exposure. I yelled out " ONE TWO THREE" and got it just right this time Difficult to catch at the "decisive moment". SRT with mirror lockup engaged, 21mm Rokkor QH Eastman XX 5222 Minolta Yellow filter D23 1:1 This lens has replaced my 19mm Canon RF lens. I think I like it just as well.

Easton Stilt Girl 21mm Rokkor QH XX by Nokton48, on Flickr

First Exposure. Difficult to catch at the "decisive moment". SRT with mirror lockup engaged, 21mm Rokkor QH Eastman XX 5222 Minolta Yellow filter D23 1:1 This lens has replaced my 19mm Canon RF lens. I think I like it just as well.
 
Minolta SRT-303 with Rokkor Macro 50 f/3.5
Ilford Delta 400 in HC110

Scan12040.JPG
 
80cm Rokkor SRT Vintage by Nokton48, on Flickr

One of the rarest Minolta SRT vintage lenses and I have one coming to me right now. Have wanted this since my teenage years. This one is close to mint condition with all the filters and lenscap. Quite a rare bird; I may take it along when birding with my wife. With an F8 aperture that's pretty good for this focal length.
 
Nokton48 said:
…
One of the rarest Minolta SRT vintage lenses and I have one coming to me right now...
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I assume it has a tripod collar. I have the 500/8 Nikkor mirror lens which I’ve used for distant cityscapes and photos of the Moon. The problem I encountered was vibration. This was even with the lens securely on a tripod and my F2 having its mirror locked up and using a cable release. It wasn’t a lot of vibration, but at that focal length it was noticeable. Maybe my Nikkormat FT2 with its Copal Squate shutter might’ve been a better choice. Anyway, eventually I gave up using the tripod altogether and rested the lens plus camera on a stack of folded towels. That worked.
 
Thanks for the compliments Pal_K Happy Holidays

It has a fairly large block on the bottom with tripod threading. I can use my mirror lock-up and it should work with older SRT's. Made for them really. And maybe the XK maybe.

I have owned the 500mm Nikkor and used it with tripod and MLU F2's. Worked well Frankly the SRT is a cooler camera to me :)
 
Nokton48 said:
Thanks for the compliments Pal_K Happy Holidays

…

I have owned the 500mm and used it with tripod and MLU F2's. Worked well Frankly the SRT is a cooler camera to me :)
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You are quite welcome and best wishes to you as well for the holidays and new year.

Indeed - the SRT-101 is the camera I lusted after in 1971 and finally found a nice one not many years ago. It is just so elegant.
 
Nokton48 said:
I like this one!
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Thank you. I have a couple of SRTs (303 and 100) but unfortunately I do not use them as much as I should, I find them quite heavy.

IMG_20210618_202902.jpg


They have seen only a couple of films each but I do like them a lot. Here is another one with the SR-T 303

Scan12039.JPG
 
Nokton48 said:
001 by Nokton48, on Flickr

This one is great as a wide angle grab and go. I sold my 21mm Leitz Super Angulon and my 19mm RF Canon, and replaced it with this red ringneck lizarded SRT101

That's a Voigtlander RF cloth strap, I have many of them

TomA Black softie and black hair tye keep me from accidentally losing frames.

Great shooter. Have pasted TomA XX exposure sheet on the back, use only XX cinema film for quite a while.
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Can you help me with the Tom Abrahamsson exposure sheet reference? Not finding a good link. Thanks much!
 
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