Difference between revisions of "Minolta SR-2"

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The '''[[Minolta]] SR-2''' was a purely mechanical [[SLR]] camera body, and it was a large step towards the user-friendly modern [[SLR]] cameras. It had been introduced in 1958. With its new bayonet it had made exchange of its lenses as easy as possible. After advancing the film for the next exposure the aperture of the lens had been opened as far as possible, so the photographer could focus quite exactly with help the bright viewfinder image. With pressing the exposure release button he released the lock on the lens' aperture mechanics. Before the shutter opened for exposure the mirror is raised and the aperture set to the value selected by the photographer. Afterwards the mirror got automatically back to its working position. The photographer could get an impression of [[depth of field]] after the exposure since the aperture didn't open to maximum until the next film advance. In 1959 Minolta made a series of that new type of SLR by introducing the [[Minolta SR-1]], and added the [[Minolta SR-3|SR-3]] to that series in 1960.
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The '''[[Minolta]] SR-2''' came in 1958 as the first 35mm [[SLR]] camera from Chiyoda Kogaku. Having a remarkably advanced design, it paved the way for a whole series of successfull models for several decades to come, the same body being continuously refined right up to and including the Minolta XE-1 of 1975, which by the way, became the basis for Leica R3. In this model all the features to be included in any modern film based [[SLR]] camera came together for the first time: A bright [[Pentaprism|Penta prism ]] finder with rapid return mirror, a wide bayonet lens mount for fast and convenient lens change with an internal automatic lens diaphragm mechanism, a single knob stationary shutter speed dial, a fast right thumb film advance lever with coaxial shutter release, a combined rewind crank and back opening knob, hinged back door with automatic frame counter reset and film type reminder dial, FP and X PC sync terminals, and a convenient selftimer sturdy enough to double as a finger grip. The only important thing missing was the provision for an exposure meter. This was rectified in 1960 with the introduction of the model SR-3 having provision for a clip-on shutter speed dial coupled selenium meter, and in 1962, came the first 35mm SLR camera with a built-in CdS meter with the introduction of the  model SR-7.
  
The evolutive quantum leap done with the SR-2 was the fact that it combined several features of modern SLR cameras:
 
 
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* [[Pentaprism|Penta prism ]]
 
* [[Pentaprism|Penta prism ]]
 
* Instant return mirror
 
* Instant return mirror
* Bayonet lens mount with aperture operating lever
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* Bayonet lens mount with internal diaphragm operating lever
* "Fully" automatic diaphragm (from a todays view, it would rather be considered as a semi automatic diaphragm)
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* Fast film advance / shutter tensioning lever with integrated shutter release knob
* All speeds available on '''one''' shutter dial and were almost evenly spaced
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* Automatic preset lenses, closing aperture to preset value prior to exposure
* Non rotative shutter dial (marketed as a worlds first on [[focal plane shutter]]s)
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* All shutter speeds set on a single stationary dial, 1 to 1/1000 sec. pluss B
* Automatic frame counter (reset by opening film door)
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* Combined rewind crank and back door release by pulling the knob up
* Rewind crank
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* Internal frame counter with automatic reset when opening the back
* One hand operation film door release (simply raise the rewind crank)
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However, just as important for the Chiyoda Kogaku success is the fact that they had to their disposal one of the most experienced and finest optical works, with advanced coating facilities and brilliant lens designers. Right from the introduction of SR-2, a large range of lenses and accessories was available. Several of the early lenses was superior, like the Rokkor PF 1:2 f=100mm and the remarkable Macro Rokkor QF 1:3.5 f=50mm. The latter had Leica thread mount, but was supplied with a Minolta bayonet mount adapter, it focused from infinity to 2:1 without the need for the included 1:1 intermediate ring. A remarkable curiosity is the fact that they subcontracted the manufacture of the macro bellows to Novoflex, the supplier of bellows to manufacturers like Hasselblad and Zeiss Ikon.
  
Although most of those features already had been seen on other SLRs, the SR-2 combined all these, making it a unique and sophisticated camera of its time. The lens mount system which connects camera's and lens' mechanics so easily was revolutionary, and Minolta's new mirror mechanics was giving the photographer best control over his work. It had a quite bright [[pentaprism]] viewfinder, and exposure times up to 1/1000 sec. While on other cameras, the mirror stayed up after release, and had to be brought down by winding the film, the instant return mirror of the SR-2 snapped back directly after exposure. As for the shutter dials, it was pretty common to allocate the speeds on two dials, which not seldomly rotated while the shutter was running. Again the SR-2 shone in this respect with its single non rotative shutter dial.
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The introduction of the Minolta SR-2 marked the beginning of Chiyoda Kogau's remarkable success subsequently placing the company among the few world-leading camera manufacturers for many decades to come. In July 1962, as the result of this international recognition, the company name was changed to Minolta Camera Company Ltd.  
  
 
==Links==
 
==Links==

Revision as of 14:16, 27 February 2009

The Minolta SR-2 came in 1958 as the first 35mm SLR camera from Chiyoda Kogaku. Having a remarkably advanced design, it paved the way for a whole series of successfull models for several decades to come, the same body being continuously refined right up to and including the Minolta XE-1 of 1975, which by the way, became the basis for Leica R3. In this model all the features to be included in any modern film based SLR camera came together for the first time: A bright Penta prism finder with rapid return mirror, a wide bayonet lens mount for fast and convenient lens change with an internal automatic lens diaphragm mechanism, a single knob stationary shutter speed dial, a fast right thumb film advance lever with coaxial shutter release, a combined rewind crank and back opening knob, hinged back door with automatic frame counter reset and film type reminder dial, FP and X PC sync terminals, and a convenient selftimer sturdy enough to double as a finger grip. The only important thing missing was the provision for an exposure meter. This was rectified in 1960 with the introduction of the model SR-3 having provision for a clip-on shutter speed dial coupled selenium meter, and in 1962, came the first 35mm SLR camera with a built-in CdS meter with the introduction of the model SR-7.

  • Penta prism
  • Instant return mirror
  • Bayonet lens mount with internal diaphragm operating lever
  • Fast film advance / shutter tensioning lever with integrated shutter release knob
  • Automatic preset lenses, closing aperture to preset value prior to exposure
  • All shutter speeds set on a single stationary dial, 1 to 1/1000 sec. pluss B
  • Combined rewind crank and back door release by pulling the knob up
  • Internal frame counter with automatic reset when opening the back


However, just as important for the Chiyoda Kogaku success is the fact that they had to their disposal one of the most experienced and finest optical works, with advanced coating facilities and brilliant lens designers. Right from the introduction of SR-2, a large range of lenses and accessories was available. Several of the early lenses was superior, like the Rokkor PF 1:2 f=100mm and the remarkable Macro Rokkor QF 1:3.5 f=50mm. The latter had Leica thread mount, but was supplied with a Minolta bayonet mount adapter, it focused from infinity to 2:1 without the need for the included 1:1 intermediate ring. A remarkable curiosity is the fact that they subcontracted the manufacture of the macro bellows to Novoflex, the supplier of bellows to manufacturers like Hasselblad and Zeiss Ikon.

The introduction of the Minolta SR-2 marked the beginning of Chiyoda Kogau's remarkable success subsequently placing the company among the few world-leading camera manufacturers for many decades to come. In July 1962, as the result of this international recognition, the company name was changed to Minolta Camera Company Ltd.

Links

Minolta Classic Cameras
Vest (or Best) | V2 | SR-2 | SRT 101 | XE | XD | CLE | 7000 | 9000 | 800 si