A fixed-lens rangefinder is good, but the gold standard for photography was an SLR. I had used SLRs before, including the beat-up K1000 in my high school darkroom and a fellow student’s parent’s SLR. And now that I had been bitten by the photography bug, I was on the hunt for one. The effort did have a false start; I got a Zenit B at a garage sale and failed miserably with that camera. I ended up trading it for another K1000 because the other guy wanted the Helios-44-2 lens attached. But then I happened across the Minolta SR-T 102. Since I already had a Minolta camera, the SR-T 102 was the perfect addition to my collection.
Like the Hi-Matic, the SR-T 102 was a garage sale find, about two years after I got the Hi-Matic. It wasn’t that the Hi-Matic had failed or was failing;; instead, I was ready for my next step in my photographic journey. Similar to the Hi-Matic, older SLRs are no longer commanding the prices they once carried. Yes, some models held more value than others, but the all-mechanical SR-T line was still available for a low price. I was particularly excited to find an SLR with several lenses, a working battery, a meter, and a manual. There weren’t the same level of online resources at this time. The SR-T, a MacKinnon 28mm f/2.8, Rokkor-PF 50mm f/1.7, a Kiron 70-150mm f/4, an off-brand 135mm, and a Soligor 200mm f/3.8. The whole kit cost me, you guessed it, five dollars. I was set to go right out of the gate, mostly because I was still new and the used camera shops were unknown to me at the time. Well, that same day I picked up another roll of President’s Choice 200-Speed colour film, grabbed the 200mm lens and went with my Dad to a stock car race that night and got a grand total of one workable shot. Don’t worry, I soon figured things out and got better.
The SR-T line of cameras was Minolta’s second generation of SLRs. It introduced TTL metering and, more importantly, their CLC or Colour-Light-Correction system, which used a pair of metering cells: one that metered through the lens, while a second meter took an external reading to combine for better exposure readings. And, just as the SR-T was Minolta’s second step, the SR-T 102 marked my second step in my photographic journey. While the Hi-Matic 7s taught me how to see and how to compose, the SR-T took that to the next level with the function of the SLR, but more importantly, it taught me exposure. I learned how aperture affects the amount of the frame in focus and how shutter speed can freeze or show motion. I also learned that it’s important to read the manual and how just sticking to one focal length can make you lazy. I quickly learned how to use longer lenses to make pleasing portraits, and opening up an aperture can isolate your subject.
When I say I’m a self-taught photographer, the SR-T 102 was my teacher- and a tough one at that. There’s nothing automatic about this camera, which means it lets you make mistakes- and I’ve made many. Out of my first four rolls of film, I managed to get six decent shots. But once I had everything figured out, I could keep going. The SR-T became a constant companion. I started doing photo walks (well, bike rides) around Milton with the thing, and it was always present at PYPS events. And I built on those foundations I learned with the Hi-Matic how to be in the moment, quickly set focus and exposure and take the shot before the moment passed. I also learned the power of a system camera, and while the 50mm was used 85% of the time, I quickly learned to use my longer lenses. The Soligor and Kiron became fast favourites, and eventually a Vivitar 70-210mm f/3.5 soon joined the ranks (my first eBay purchase). Using those long lenses also helped me capture the action without directly influencing it. A skill I still use today for photo walks, weddings, and street photography. I shot my first roll of black & white film with this camera, which is why I still gravitate towards match-needle style cameras.
While I believe there’s no such thing as a perfect camera, the SR-T 102 comes close. For someone to learn the technical aspects of photography, the camera is a great teacher. You can quickly learn what aperture and shutter speed do with the match needle display. Even today, they don’t command as high a price as a Pentax K1000, and are probably around the same price as a Canon FTb. The lenses are excellent. The Rokkor line is great, and there are numerous third-party options. The one thing to note is that while the lenses are still SR-Mount, those are more in line with the original SR line of cameras. For the SR-T with TTL metering, you’ll need the second-generation option, commonly referred to as MC-Mount. Check the lens barrel for the MC Rokkor designation. While I’m quick to sing the praises of this camera, there are some downsides. First up, it takes a mercury battery, but there is an on/off switch to help preserve battery life. And since it only powers the meter, the camera will work without one. And one final minor trouble is that Minolta was never consistent with its naming conventions. As a result, there is considerable overlap in model names depending on the market.
The SR-T is an excellent camera, and I used it for a good year before moving up to an X-Series, the Minolta X-7a, which could use most of my lenses without trouble. The SR-T 102 got passed along to another photographer, who used it for several years until the battery finally gave up. It was also with the X-7a that I finally started replacing many of the third-party lenses with Minolta glass, which I kept even after the X-7a died. It came in handy when I got back into manual focus Minolta SLRs with an XE-7 and XG-M. Since then, I have completely divested from the SR-System of Minolta cameras. Although they played a significant role, I’m more pleased that these cameras have gone to other photographers who continue to use and love them.