Minolta SR-1

The Beautiful Minolta SR-1

 I am going through my familiar cycle of gathering Minoltas again - it has happened twice before and twice I sold off everything to buy Nikon and Olympus. But Minoltas are so good and cheap that they always creep back in again - started with a 7xi, then it was a 700si and then two SR-T (303 and 100). I felt pretty covered by these until a nice, rare, black SR-1 showed up. In a pretty sad state but cheap - and I got it.

The public liked the SR-1 in the early 60s and Minolta kept upgrading it throughout its production - depending on which resource you read, there are six to eight different versions (I too believe there are 8 versions rather than 6 but the differences in some models are very small to be considered a different model). Stephen at Cameraquest has a nice summary there and so does "The Rokkor Files". Following the description on the rokkor files mine is "Model-B" from 1960. It is worth noting that my camera has the designation "SRC" stamped on the bottom plate but I am not sure what it means.

The SR-series started with an SR-2 offering a 1/1000sec top speed and a nice f/1.8 standard lens but it was expensive back in 1958. The SR-1 is a budget SR-2 with a lower top speed and was offered with an f/2 lens instead. Black SR-2 are a very rare bird to come across and so are the early versions of SR-1 (before adding the ugly meter bracket). In general, all black versions of the SR-series are rather uncommon. 

Having said all that, the SR-1 is not "just like the SR-2 without 1/1000". If you remove the bottom plate of both the SR-1 and SR-2 you will notice that the insides are quite different. Even early SR-1 models are redesigned to accept a winder (although no one has actually seen one), internal changes that make changing speeds possible without lifting the shutter dial and also emptying some space close to the lens mount where on Model-C we will find the mechanism to open aperture after exposure. So the SR-1 was constantly redesigned and refined until it led to the creation of the SR-1s, the SR-7 and later on the SR-T series. Also, these is a difference in how the prism sits on the focusing screen, on the models before the meter bracket there are a number of shims used, the newer versions are more adjustable via a set of screws - apparently technicians find much easier working on the newer versions than the first non-metered models.

The viewfinder of the SR-1
The split focusing screen is not very visible in this pic

As I said, my sample came in a pretty sad state. Self timer was jammed, shutter was squeaky at all settings and speeds below 1/30 did not sound very accurate (actually speeds below 1/8 were sometimes hanging open). I assumed that all these were the result of dry lubricants and sent it away for service. Also the viewfinder was very dirty inside. Dave Boyle of "Camera Repair Workshop" took good care of it and in less than a week (!) I had a fully functional camera.

If you have ever used an SR-T before, the SR-1 feels similar. It is slightly smaller and lighter - looks less like a square brick, it has more clean lines and the viewfinder hump is so more elegant. Advancing the film feels different too - it feels slightly heavy with a bit more resistance to it compared to the SR-T but just as smooth. Also the wind stroke feels shorter and with a slight leeway regarding where it ends (see my main criticism on the review of the SR-T 303).

Using an SLR from the early days of SLR  design comes with plenty of shortcomings. First of all, the camera does not open the lens aperture until you advance to the next frame. Also, there is no light meter on this camera. Another thing I don't like that much is the shutter dial, it is a bit on the small side and is  knurled for easier grip but this thing loves destroying woolly gloves. Finally, I really need to stick my eye on the camera to have a full view of the viewfinder - most of the times I see about 90% of it - people wearing glasses will struggle with it.

Aperture remains closed before advancing
Lovely Rokkor Glass

But by far, the worst feature of this camera (if you can call it like this) is the take up spool. Popular Photography commented negatively on their review of the SR-2 and Minolta promised to update it but I doubt they rushed to do it.  The take up spool has a gap lengthwise, just like medium format film spools and it is not easy to catch the film lead - once you advance it, it slips off. It makes the loading of a Barnack Leica look so easy. I did manage it but there was definitely some frustration and when I was shooting, if I didn't see the rewind button rotating, I would fear that the lead came off it. Of course it didn't but it needed better designing. (Read the lasting impressions at the end of the review).

The take up spool

Going back to the discussion about the viewfinder, my sample has a split focusing screen, this is not standard. Minolta was putting those split focusing screens on request. It is nicely bright and image falls into focus very easily. You wouldn't think this is an early 1960s camera.

*edit: shortly after posting this link to a Minolta camera group, I got a message from Maury Jacks that clarified the issue with the screen:

"Since the introduction of the SR-2, a split screen focusing screen was an available factory modification. The split version was the stock screen on the first SR-3 (non-fully automatic aperture). When the second version of the SR-3 (fully automatic aperture) was introduced, they went back to the spot version being the stock version." *

According to the very knowledgeable bunch on PhotoClubAlpha, Minolta used the well proven shutter of their previous rangefinder camera - the IIB - and adopted it to the SLR design. Minolta took some ideas from Leica regarding the bayonet mount as well as the film advance system (concentric shutter button with the advance level), these were well proven ideas on the Leica M3/M2 models

Talking about nice features *I absolutely love* the frame counter - not only it is big, it has a magnifying glass on top of it making it so easy to see. More recently I noticed having trouble seeing the frame counter on my OM4 - not with this baby.  It is strange how a small detail like this can make so much sense to me - others should put a magnifying glass on top of the frame counter too.

Lovely detail

Regarding lenses, the SR-1 came out with what was considered to be a "budget" lens - the Rokkor PF 55f/2. My sample is in very good condition and performance is excellent. Corners may not be the sharpest wide open and flare control is so-and-so but I do like the overall character - especially with b&w film. Use it with a lens hood and you are fine. I have come to use it more than the Macro-Rokkor I have (although the macro rokkor has its own virtues too, read here). There doesn't seem to be a lot of love for these lenses, the majority of people will go for the 55f/1.7 which is meter-coupled and can be used with the SR-T/XD/X series cameras.

The Rokkor 55f/2 is as I said an excellent lens though. It consists of 6 elements in 5 groups and all elements are single coated. The craftsmanship is exceptional, metal and glass only, nothing else. One thing that I struggle to get used to is that aperture on Rokkors opens-closes the opposite way compared to Nikon, Olympus and Pentax,  that does drives me mad. Optical performance reminds me a lot of the Helios 58f/2 but with less funky bokeh and more sharpness around the whole frame. Rokkors are famous for a good reason, all are good no matter what people say.

Wide open, the Rokkor is soft but pleasing

*A word of caution* - Minolta lenses of that period (and possibly other makers too) have extremely delicate coating on the inner elements. If your lens has fungus then send it to a pro to deal with it.  *Do not try to clean it*, you will have 100% success in damaging the coating. Also, Rokkors of that period are quite complex to disassemble. Avoid it unless you really know what you are doing.

Do not try to use Rokkors from the late 50's up to mid-60s on newer models (SR-T, XE, XD, XG, X-series). The older Rokkors do not fully close the aperture on newer cameras - I think they go up to f/8 or something. You can mount newer MC and MD Rokkors to SR-series cameras thought and they work fine. Having said that, my lens was produce in the late 60's and works well on my SRT-303.

The PF-55f/2 closes down to f/16 on my SRT

I spent quite some time going through old issues of Popular Photography from the years between 1958 and 1963 - there are only a couple of mentions about the SR-1 and that is mostly for the later versions which accept the meter. There is a first impressions article about the SR-2 on a 1958 issue and another article about the SR-7 on a 1963 issue (focusing more on the integrated light meter) but not much more other than that. Strange, I would expect more information about the SR-series really. 

Flare control is OK for the Rokkor PF.
Here shot at f/2.8

A few comments on rarity (2026 update)

Four years on from this post and nowadays Ai gives us access to information which was impossible when I first did this post. So I had to delete the old section regarding rarity of black SR models and update it with more accurate information. I compared results from 3 different Ai apps (Gemini, ChatGPT and DeepSeek) and tried to check the sources they referenced for those results. I tried to address two different things: first of all, what is the order from the most rare to least rare and second what lens is considered a period correct lens for the cameras.

Regarding rarity, there is no doubt that the black SR-2 is by far the most rare of them all. Unfortunately, without any hard data from factory we can only speculate the amount of cameras sold.  All three apps give an estimate of around 100 units (some give more, some give less). This makes the SR-2 an extremely rare camera to get hold of.

The biggest debate revolves around which one is the second rarest black SR camera. All three apps seem to nominate the SR-1 model-A and the SR-3. Unfortunately there is no clear indication as to how many cameras were sold but both are less than 500 with the SR-1 around 200-300 and the SR-3 less than 500. As all these numbers are speculation, the truth is that in real life both are just as rare to find.

The third rarest black SR is the one of this post. A black SR-1 model-B enjoyed some popularity as it didn't have the dreadful metering bracket of the SR-3/7/1-model-c and was more user friendly than the original SR-1 model-A. Still, all three apps suggest that it was sold in less than 1.000 units worldwide, making it a very rare model to come across.

The rest of the list is occupied by the SR-1 model-C and lastly the SR-7/SR-1v  cameras - only a few thousand of these were made making them highly uncommon. Still the jump between the model-B and Model-C is a number in the thousands making them comparatively more common although in the large scheme of things, they are very rare.

Now, there is a considerable debate as to which lens is a period correct lens for these cameras. The purist collectors would blindly demand a black version Rokkor 55f/2 on all black SR cameras but this is not always correct.

Although indeed Auto Rokkor 55f/2 were sold with a black anodised ring at the end of the lens barrel specifically for the use on black SR cameras, Minolta did not have a specific sales policy forcing this combination. What makes matters worse is that a lot of Minolta's sales strategies revolved around catalogue sales which meant that cameras would be paired with any lens available in the catalogue.

As a general rule, SR-1 model-A cameras were highly unlikely that they were sold with a black Auto Rokkor 55f/2. Lenses in the 11xxxxx serial number range had a silver ring on the mount. With the SR-1 model-B things are less straightforward as black Auto Rokkor 55f/2 were produced in the late  14xxxxx serial numbers and above but mostly for the Model-C version and later models (SR-3/7/1v). So although there were indeed model-B cameras sold with black Auto Rokkor 55f/2, a lot of them were not, making any Auto Rokkor 55f/2 in the serial number range 13xxxxx -14xxxxx a period correct and a defensible argument against collectors.

From Model-C onwards, there is a lot of truth in the argument that a black SR camera needs to come with a black Auto Rokkor 55f/2 although for the reasons stated before, this is not always historically accurate.

Be careful: there are plenty of repainted cameras selling online as genuine black. In general it is easy to spot as original black paint have a nice gloss paint to them.

Noise Levels for different cameras.
I know ! i was suprised too.

Ok, so how is it using this camera? I would not lie, it is a bit like Marmite - either you love it or you hate it. If you want a Minolta  that will cause less extreme feelings then you probably want an SR-T. For some people the 1/500 top speed might be a limitation, it is for me and that is why I never bonded with the SR-T 100. But the SR-1 looks gorgeous and feels more elegant, the mirror slap seems to be more quiet (the SR-T has a bigger mirror that moves backwards and up during exposure) and the overall feeling is that of a very tamed camera of high mechanical quality that is a pleasure to use.

Two holes on the curtain filled with tape.

First film came back with light leaks - on closer inspection the shutter blind has a small crack. I placed a bit of liquid electrical tape on the crack. Apparently it's quite common, the material used for those early Minoltas can dry up and crack, inspect for wrinkles on the blind, this is an indication of a dry shutter blind.

Second film came out much better. I am really pleased with the quality of the Rokkor lens.

Taken at f/2.8

Taken at f/4

I had mixed feelings about the SR-1 in the beginning, frustration and a sense of satisfaction at the same time. As the months went on, I found myself using the SR-1 more than the SR-T 303 or the Olympus Om1. Actually this is my most often used mechanical camera, it placed the Leica IIc back on the shelf. 

Conclusion
The black SR-1 is a rare bird to find and it feels quite outdated. In many ways the newer SR-T cameras are more practical but this is not to say that there is no place for the SR-1 in your camera bag. People will appreciate the build quality and its simplicity, as well as the good looks of it. As far as I am concerned,  this is a very functional camera to come back to after I have used the modern AF SLRs.

People who are used to the simplicity of old mechanical cameras will feel at home with the SR-1. Simple and reliable with a great line of cheap lenses available. It gradually grows in you.

Recommended! 

Lasting Impressions

So i shot a couple of films and yes, the film lead came off the take up spool. I knew it would happen, it is so badly designed. Now, i have no option but to tape the film leader on the spool on the next time. Meh...

What a waste of film...

They were not happy with it back in Apr 1959 either

Update 7/7/2022

You see, even for a simple camera like this, you need to read the manual. You are meant to TRIM THE FILM LEADER ! Who would have thought !

Repairs - lasting impressions (2026)

The Minolta SR-1 is a camera which unfortunately haven't used much since. I had a couple of other cameras arriving around the same time and the SR-1 fell by the wayside. 

I picked up the camera again recently and ran half a roll through it with the Rokkor MD 50f/1.7 only to notice that the portraits I did where not correctly focused. When checking with a measuring tape, the camera seems to be front focusing by a large margin (an object at 2m away was in focus at 1.5m).

The mirror seems to be ok so I assumed the issue is either the prism or the focusing screen not sitting properly.

To remove the top you need to:

1) unscrew the three screws around the top. Notice where each goes as there are of different sizes.

2) remove rewind lever. Underneath it there is a tightening nut, unscrew it counterclockwise.

3) unscrew the retaining ring on the shutter button. Remove the button rod with the washers. Unscrew the retaining ring. Pull up the lever.

4) set the shutter speed dial to "60" (it is easier to access all 3 screws). Slightly undo the three screws and pull up the dial.

5) unscrew the eye piece. Pull up the top plate.

So, the prism is held by two retaining springs that are very stiff to remove. I removed them and lifted the prism. Underneath there is a metal frame on which the prism sits and the focusing screen is underneath that held in place by two metal bits on each side. I spent two evenings trying to figure out what is wrong. I took it apart and put it back together but to no avail. Eventually I declared defeat and put it all back together. 

Once I removed the lens and fired at B, I noticed that the metal screw the mirror rests on had a bit of brassing on the top of the screw - at a place the mirror doesn't hit it. To my surprise, I noticed it is an eccentric screw - I rotated it a bit so that the mirror rests further back and lo and behold - the front focusing disappeared!

I love the size and the curves of the SR-1, I wish my SRT looked that cool 😎