Camera makers tried for decades to create systems that made loading film foolproof. Kodak’s 126 and 110 cartridge formats won the race in the 1960s and 1970s. But 35mm SLR photography took off with pros and advanced amateurs in the 1970s, giving 35mm the cachet of quality. As the 1970s came to an end, camera makers figured there was a big market for 35mm cameras that operated as simply as an Instamatic. They were right. The 1981 Minolta Hi-Matic AF2 is one of the early point-and-shoot 35mm cameras and is a big step toward foolproof operation.

Minolta Hi-Matic AF2

The Hi-Matic AF2 lacks three key features that came to define the genre: motor wind, automatic film loading, and automatic ISO setting. Lacking these things doesn’t make the Hi-Matic AF2 a bad choice today, however. It comes with a good Minolta lens, 38mm f/2.8, of four elements in three groups. It offers a limited range of film speeds, from ISO 25 to 400. You set ISO by turning the knurled wheel around the lens.

Minolta Hi-Matic AF2

Its active infrared autofocus bounces infrared light off a subject and gauges distance by how long it takes the light to return. It appears to offer two focus zones, one for closer subjects and one for farther subjects. It focuses no closer than 3.3 feet, and the camera bee-bee-beeps when your subject is closer than that. This is a nice feature most point-and-shoots lack. The viewfinder includes close-focus marks for when your subject is between 3.3 and 4 feet. The focus point is in the center of the viewfinder, marked with an oval. To focus, place the subject in the oval and press the shutter button halfway down. Then compose and press the shutter button the rest of the way to take the photo. 2 AA batteries power the camera’s automatic functions and flash.

Minolta Hi-Matic AF2

If you have earlier Hi-Matic cameras in mind when you pick up the Hi-Matic AF2, you’re in for a disappointment. This camera is nowhere near as well built. It feels light and plasticky in the hand, and it creaks as you handle it. The controls feel flimsy. When you press the shutter button, the camera coughs a sickly wheeze as it stops the aperture blades down and then activates the shutter. The winder, though it has a delightful short throw, feels like it could break right off. When you turn on the flash, thwack! — the strobe pops up.

Film loading may not be automatic but it is foolproof: stick the leader in the slot on the takeup spool and wind. The film takes right up, no fuss. And winding and rewinding follows the 35mm SLR idiom, with all the controls where you’d expect. Press the button underneath the camera, pop the rewind lever out, and crank, crank, crank.

I haven’t figured out how its autoexposure system works. My theory is that it chooses the narrowest aperture it can for best depth of field. When light is low and it can’t do a shutter speed faster than 1/40 second, it beeps continuously to tell you to turn on the flash.

The camera is also large, at 5x3x2 inches. Within a few years, the 35mm point-and-shoot would start to shrink, eventually to pocketable sizes.

If you like point-and-shoot cameras, also see my reviews of the Kodak VR35 K40 (here), the Yashica T2 (here), the Canon AF35ML (here), the Pentax IQZoom 170SL (here), the Olympus Stylus (here), the Olympus mju Zoom 140 (here), and the Nikon Zoom Touch 400 (here). Or check out all of my camera reviews here.

We were still locked down thanks to COVID-19 when I shot this camera. So I loaded it with Fujicolor 200 and took it on walks to places I could get to and back during my lunch hours while I worked from home.


The nearby shopping centers are full of in-your-face color. They make a surprisingly good place to test a camera with color film.

Old Navy

The parking lots are mostly empty thanks to COVID-19, making it easy to approach the subjects. This also makes it far less likely for me to be accosted by shopping-center security.

Big O is Open

Red, blue yellow, orange — the Hi-Matic AF2’s lens rendered them all bold and true on Fujicolor 200.


Look at the lovely dusky colors I got as the sun went down outside my back door!

Evening over the Toyota dealer

I shot the rest of the roll around my neighborhood, starting on my front stoop. The too-close beep really helped me make this photo: I backed up until the camera quit beeping.

Flower pots on the stoop

One pet peeve I have with point-and-shoot cameras is inaccurate viewfinders. I centered this car in the viewfinder, but it is shifted left in the image

Red Matrix

To make this photo, I placed the backboard in the viewfinder’s center oval and pressed the shutter down halfway so the camera would focus on it. Turns out it was unnecessary, as with this much light it chose a narrow enough aperture that everything was going to be in focus.

Goal shadow

The Hi-Matic AF2 was a pleasant enough camera to carry despite its size. It was light enough to be unobtrusive. And these results are fine: sharp and colorful, with no distortion.


To see more from this camera, check out my Minolta Hi-Matic AF2 gallery.

This Minolta Hi-Matic AF2 once belonged to my father-in-law. I found it in the garage while looking for something else. I shot it with Margaret’s permission. My father-in-law chose a simple camera that delivered reliably good results. But for the collector and user today, many point-and-shoot choices offer equally good lenses in smaller packages with more amenities.

If you like old film cameras, check out all of my reviews here!
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12 responses to “Minolta Hi-Matic AF2”

  1. Marc Beebe Avatar

    126C (as opposed to the much earlier 126 roll film, which was huge) is essentially 35mm film in a plastic cartridge with a format change to 26 x 26 mm. It even had indexing notches, albeit not the sprocket notches of 135. Yes, Kodak was -this- close to the right answer, and blew it. 828 roll film was essentially 35mm film in short, easy-to-load rolls – which also failed despite being the format of some of Kodak’s best cameras.
    Oh well. Film was fun while it lasted. Now it’s entirely a niche market and the great film company Kodak is dead.

    1. Jim Grey Avatar

      Yes, the death of 126 was all of the truly awful, cheap cameras that were made to support it. A few good 126 cameras were made, and they did great work. But so, so, so many were like the one I had — just truly terrible. It’s no wonder people ran away from 126 when decent 35mm P&S cameras came out.

  2. Tom Zillman Avatar
    Tom Zillman

    Thanks for another informative article! It seems that the Hi-Matic AF2 has a lot more in common with its Hi-Matic siblings than with the later family of “Freedom” cameras produced by Minolta. Perhaps calling it a transitional camera rather than an early point and shoot might do the model more justice. It is downright compact in comparison with, say, a Hi-Matic 11 :).

    A couple other pluses for this model is that it runs on two AA batteries and it will accept filters, even though they are the somewhat uncommon 46mm size.

    1. Jim Grey Avatar

      Hm, good point, this is a transition camera. The P&S idiom hadn’t been set yet!

      Ooh, I didn’t notice it had threads for filters!

    2. tbm3fan Avatar

      Takes filters and can meter through them. If one uses older rangefinders from the 50s then one would have the basic 46mm filters like I do.

      1. Jim Grey Avatar

        Oh now isn’t that cool. Nice touch, Minolta.

  3. tbm3fan Avatar

    Just for perspective I pulled out my AF2 and Pentax IQZoom 160 along with my 6″ caliper. The Pentax is only 1/4″ less in height, 1/4″ less in width, about 1/8″ thicker, and a fraction heavier.

    1. Jim Grey Avatar

      Good point. I’m sure I can find plenty of P&S cameras that are larger. There were plenty of pocketable ones too though, and that was a selling point.

  4. Khürt Williams Avatar

    This is the seecond article I have read where Fujicolour film was used. I like the look. Once my Pentax ES II has returned from CLA I think I have to try more Fuji films. So far I’ve shot only Kodak and Ilford.

    1. Jim Grey Avatar

      I started using Fujicolor 200 when I started collecting cameras again in about 2006 because I wanted an inexpensive film I could have processed inexpensively, and this film hit both criteria. Back then I could get it for $2.50 a roll and have it developed and scanned for $5-8. I had always shot Kodak films before that but now I’m 100% used to this look and it’s what I think color negative film should look like. Prices have gone up but it’s still a relative bargain.

  5. Joshua Fast Avatar
    Joshua Fast

    I also inherited one of these. This was my wife’s great uncle daily shooter. I was skeptical until i shot it, I love that its AF but still leaves the film winding and iso to the user. This gives you some control of exposure compensation and being able to push film (i.e. only to 400). Try running black and white film like FP4 with it. It renders contrast and blacks beautifully. I’m not really shooting 35mm anymore but this AF2 and a XD11 have a permanent spot on my shelf.

    1. Jim Grey Avatar

      I never thought about trying b/w in this — it said “color shooter!” to me and so that’s what I shot in it. I wasn’t in love with this camera but for its time it very clearly was capable. What great color and contrast that lens can render on consumer-grade film.

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