It was on the dining room table that my Pop first heaved up a camera bag to reveal a selection of lenses and two Minolta 35mm Single-Lens-Reflex (SLR) cameras. First came the Minolta SRT 101. I recall saying, “Another one!?” as he pulled out a Minolta X-700. They weren’t his originally but belonged to someone equally important. What I didn’t know then was that this affixation would lead to me owning tens of Minolta lenses and cameras over the following few years.

1966 saw the birth of Adam Sandler and Mike Tyson, as well as the Minolta SRT 101. The SRT series was a revision of the SR series cameras, and brought with it plenty of advancements, even if the silhouette looked similar. Most notably, through-the-lens metering (TTL) was introduced into the camera body, allowing the user to meter without stopping the lens down, avoiding darkening the viewfinder. This feature was only accessible through the use of the MC lenses that coincided with the release of the SRT 101, a good marketing plan by Minolta.

The SRT 101 was a success, and is almost equal in popularity now as it was when newly released. Much like the VW Beetle, it served people and professionals alike, getting the job done with plenty of character. A standard lens on offer with the camera was the Minolta MC Rokkor-PF 55mm f/1.7 lens, which along with others, provided a brilliant arsenal of optics for the user. ‘CLC’ (Contrast Light Compensator) can be seen beneath the Minolta text, and this light meter system provided accurate readings that could be interpreted through the match-needle system in the viewfinder.

Important overall features and specifications are as follows:

• Shutter speeds: 1 to 1/1000 sec fully mechanical speeds.
• Battery compartment for 1x PX625 battery or equivalent, released by turning the threaded battery cover anti-clockwise. Batteries are required for the use of the CLC meter.
• Mirror lock-up, a switch to the left of the lens mount which turns 180 degrees to raise the mirror.
• Depth of Field preview is activated by depressing a button at the bottom of the lens mount.
• Lens mount: SR bayonet, allowing for the use of all MC/MD lenses. The earlier Auto Minolta Rokkor lenses that require stop down metering can be used.
• Multiple-exposure: No designated lever or button, film rewind button has to be depressed whilst manually advancing the film lever.
• Self timer: Lever actuation for a maximum of 10 seconds.
• Flash synchronisation: X and FP, from 1-1/60 sec
• Shutter type: Focal plane, horizontally travelling cloth curtains.
• ASA speeds: 6-6400, integrated into shutter speed dial.
• Match-needle exposure display.

Many iterations of the SRT series cameras were on offer over the production span (1966-1981) and features came and went. The SRT100, introduced in 1971, had a lesser top shutter speed of 1/500 and even lacked a self timer, what many considered a basic feature. The camera regarded as the highest specification model was the SRT Super (SRT-102 in North America, SRT303 in Europe), released in 1973, providing a viewfinder readout containing both the selected shutter speed and lens aperture.

There was an abundance of Minolta 35mm SLR model cameras that were in production simultaneously, all accepting the Rokkor optics. The Minolta X-1 and Minolta XE-1 for example, which were released in 1974 and 1973 respectively, were based on the rectangular and rugged SRT chassis.

A Rant – My User Experience

As aforementioned, the cameras did not belong to my Pop originally. They belonged to a Professor of Botany and Ecology at the University of New England, John Beaumont Williams. Both he and his wife Beth Williams photographed and named many plant species local to the New England area, and travelled across Australia. I was also gifted tens of empty Kodak slide boxes, with handwritten scrawls detailing where the photos were taken. These findings have partly inspired my next trip, to New Zealand, where I will take the camera once more to the sites it once captured; a reunion of sorts. Although the camera was used professionally, it was looked after and is absent of any dings on the top plate. The film chamber has a ‘H.B Holgate Camera Repairs Wellington plaque’ inside, indicating the past service history, albeit a long time ago.

The camera itself has relatively good ergonomics. Nothing feels out of place, except maybe the ‘On/Off/B.C (battery check)’ dial, but you get used to that. The advance lever is tensioned, smooth, and satisfying to use unlike some of the Nikons and Canons which exhibit a sprocketed feeling. The viewfinder is bright and clear and has an easy-to-use micro-prism focus screen, which blurs subjects that are not in focus.

The essence of the SRT 101 is a tactile experience and I find myself often using a hand-held Gossen selenium light meter, or none at all. However, if you wish to use the built-in meter you will find it to be surprisingly accurate even after all these years. It can often be easier to insert 1x SR44 1.5v battery, rather than PX625 equivalents which are 1.3v and costly. This battery substitution rarely has to be accounted for when using black and white or colour negative film, as there is only a slight voltage difference.

Three cameras accompanied me on my month-long Tasmania road trip in October 2024, one happened to be the Minolta SRT 101, which is a sign of its significance and capability. Never did my hold on the camera feel uncertain, and you are often made aware of its size and weight. What makes this camera especially brilliant is the lenses that can be fitted. The few lenses I referenced in the beginning passage were the Minolta MC Rokkor-PF 58mm f/1.4, Vivitar Series 1 Macro Focusing Zoom 28-90mm f/2.8-3.5 and the Vivitar Macro Focusing Zoom 35-70mm f/2.8-3.8. The 58mm f/1.4 lens is one of my favourite lenses of all time, which performs well even to today’s standards, which I seldom remove unless a tad more width is required.

A nice condition body can fetch up to $100 AUD, and even more for a black- bodied version. If you have access to the 55mm f/1.7 or the 58mm f/1.4 PF lenses, it makes for an excellent starter combination that is definitely worth the asking price. Not much fails on these models, but it is worth confirming that both the self timer and light meter are working, just in case you need them.

Final thoughts

According to my records, I have owned 14 SRT model cameras. I used to sit in my bedroom and fire the shutter at 1 second, and f/16, watching the aperture blades stop down in the magnificent 58/1.4 that I have repeatedly mentioned, and hear the gears whirl until the mirror slapped down.

If it wasn’t a Minolta placed on the dining room table that day, I wouldn’t have known what I was missing out on. If it wasn’t a Minolta SRT 101 that day, well maybe it would have been a Pentax Spotmatic, and that wouldn’t have been half bad either.

I’m just thankful that John knew what he was doing when he bought his Minolta SRT 101 and subsequent models, and that I can continue to use it in my profession as a horticulturist; that’s what generations are for.

If you would like more reviews of other cameras, feel free to leave a comment on any models that you would like reviewed, and chances are I might happen to own one.

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