![]() Abrupt right angles dominate there’s not a bevel to be seen anywhere. The general shape is rectangular with nothing superfluous to admire, such as grips or curvaceous contours. Some will find it sparse and bulky, while others will appreciate it for these same traits. The 202, in particular, is the most robust of the range.Īesthetically the SR-T can be a polarizing camera, since it looks the same way it feels, like a brick. Minolta was founded by a man obsessed with “German” standards of quality and construction, and the SR-T series showcases this better than any other model. Achy wrists aside, the SR-T’s full-metal construction feels as solid as a brick. For those shooters who are accustomed to the heft of a DSLR this won’t demand much of an adjustment, but if you’re coming from a mirror-less or micro 4/3rds system you may be unpleasantly surprised. At 700g (body only) it’s nearly as heavy as a full-frame DSLR ( Nikon’s D610 comes in at 760g). Like many SLR cameras of its era, the SR-T202 is a heavy beast. A few weeks ago I got my hands on the big-boy of the bunch, the SR-T202, and it wasn’t long before I was out on the street seeing what Minolta’s engineers had come up with nearly 40 years earlier. ![]() From the basic SR-T100 to the flagship model 202, Minolta created a series of outstanding machines to fill every price-point. ![]() From 1966 to 1981, this series of cameras would satisfy amateurs and professionals alike. Thanks to their bulletproof designs many of these machines are still shooting today, and one of the standout ranges of the era is the long-lived Minolta SR-T series.Ĭombining the highest standard in build quality with completely capable tech specs for every budget, the cameras of Minolta’s SR-T lineup would comprise their best-selling machines for an impressive 15 years. This explosion of innovation coupled with old-fashioned mechanics would yield a bevy of machines that would make up some of the best photographic tools in the world. As rangefinders and larger format cameras gave way to this new wave of machines, more and more Japanese manufacturers would get in on the single-lens-reflex action. Beginning in 1959 with the Nikon F, Japanese camera makers would spend the next few decades perfecting the SLR camera. ![]()
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