My Minolta SR-T 101 is from the first year or so of its 1966-75 manufacturing run, making it about as old as I am. It was a mighty advanced kit five decades ago and remains a competent machine today. I hope the same can be said about me.
Before its turn in Operation Thin the Herd I’d shot this SR-T but once, and I was impressed with the sharpness, bokeh, and color its 50mm f/1.7 lens gave me on workaday Fujicolor 200 film. Really impressed. Wowed, even. Yet on that first outing I didn’t enjoy how heavy and clunky it felt.
This was the first old-school all-mechanical SLR I’d ever shot. My prior SLR experience was a Minolta X-700, an Olympus OM-1, and Pentaxes K1000 and ME. All of them were far more agile in my hand, even the K1000, which was closest in size and spirit to the SR-T.
Since then, however, I’ve experienced two dozen more SLRs, including early ones like the Pentax H3 and beasts like the Nikon F2. These experiences put the SR-T in proper perspective and let me use it with greater confidence and competence. On this outing, with Ferrania P30 Alpha loaded, it felt satisfying in my hands.
When I put a battery in (an alkaline 625 cell), the meter needle jumped up and down, never settling in any light. My heart sank. I was so looking forward to trying this camera but I wasn’t willing to invest in sending it out for repair first. I know, I know, I can shoot Sunny 16 or use an external meter. But daggone it, onboard metering just makes an SLR so much more pleasant to use!
I asked about it on a forum I follow. One fellow suggested I remove the bottom plate (easy, just a couple screws) and make sure the wire was well connected to the battery compartment. I did, it was, and I figured I was out of luck. But when I screwed everything back together the meter gave consistent readings! Happy day! It read about a stop under, however. I set camera ISO to compensate for the meter’s underexposure and got to shooting.
I brought the SR-T along on a day trip to South Bend, my hometown. I haven’t spent much time there since my parents moved away four years ago, and I miss the place. Or at least I thought I missed the place. As I wandered downtown’s streets I encountered entirely too many men just hanging out on corners with nothing to do. Several of them approached me. I’m sure they would have eventually hit me up for money, but really, they mostly seemed bored and looking for human connection. I’d never experienced anything like it before in South Bend and it made me sad for the city’s current state.
I’m disappointed in how the P30 Alpha performed on this full-sun day. Images were so high contrast that subjects stood in full silhouette. Fortunately, in Photoshop I was able to coax out some shadow detail and tone down the highlights. Only a few photos couldn’t be made usable.
I didn’t think it through when I chose P30 Alpha. Testing old cameras is best done with forgiving films, which is one reason I shoot a lot of Fujicolor 200. That stuff can take a lot of abuse in exposure, processing, and scanning, and still return usable images. The P30 Alpha needs more careful handling in exposure and, especially, processing. My lab admitted that they did a lot of P30 when it was first released, but my roll was the first one they’d seen in a while. Perhaps they’ve lost the touch.
But just check out the detail in texture in the St. Joe River above as it makes its way past the Jefferson St. bridge and the di Suvero sculpture. That lens’s excellent characteristics came through! And it did solid documentary work as I photographed this building that’s part of South Bend’s outstanding farmer’s market. Memo to other towns: study South Bend’s market and replicate it.
To see more from this camera, check out my Minolta SR-T 101 gallery.
This camera operates well within the typical mechanical-manual SLR idiom. I’m fluent in the idiom, and so in operation everything fell right to my hand. With a CLA that includes a calibration of the meter, this camera would be stellar.
Yet I’m not keeping it. I’ve already decided that I’m going to focus my SLR collection on Pentaxes and Nikons. If I get rid of none of those bodies I will still own a ridiculous number of SLRs, more than I can use. For an SLR from another manufacturer to stay in the collection, it has to have strong sentimental value or be head and shoulders better in some way than my best Nikons or Pentaxes. This SR-T 101 is very good. But it doesn’t clear that bar.
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