Minolta SR-T 202 – Camera Review

Minolta SR-T 202 – Camera Review

1280 720 James Tocchio

Beginning in 1959 with the Nikon F, Japanese camera makers would spend the next few decades perfecting the SLR camera. 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. 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. 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.

Combining 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. From 1966 to 1981, this series of cameras would satisfy amateurs and professionals alike. From the basic SR-T100 to the flagship model 202, Minolta created a series of outstanding machines to fill every price-point. 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.

Minolta SRT 202 10

Like many SLR cameras of its era, the SR-T202 is a heavy beast. At 700g (body only) it’s nearly as heavy as a full-frame DSLR (Nikon’s D610 comes in at 760g). 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. Achy wrists aside, the SR-T’s full-metal construction feels as solid as 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. The 202, in particular, is the most robust of the range.

Aesthetically the SR-T can be a polarizing camera, since it looks the same way it feels, like a brick. Some will find it sparse and bulky, while others will appreciate it for these same traits. The general shape is rectangular with nothing superfluous to admire, such as grips or curvaceous contours. Abrupt right angles dominate; there’s not a bevel to be seen anywhere. The pentaprism and lens-mount are off-center which, while being a bit awkward, helps to break up the visual monotony and give the camera some shape. The “SR-T” and “Minolta” badging is deeply engraved and painted to contrast with the body. The brand’s minimalist logo (lower-case lettering only) stands as a philosophical demonstration; this machine is no-nonsense, effective, and to-the-point. It won’t win any beauty competitions, but the SRT is a purpose-built tool; a professional’s machine.

It comes in black and chrome, with the black version being the more rare of the two. Both are finished to a high standard, so which color is best will be up to personal preference. If street photography is the goal, the black version is probably preferential, though honestly this camera is so loud that it may not be the best choice for street shooting. Mirror slap is pronounced, and the noise is just about the loudest of any camera, so good luck getting those sneaky candids.

Minolta SRT 202 12

A handsome camera in black.

With the top-of-the-line SR-T, Minolta wanted to develop a camera that would meet the requirements of professionals in the field. They favored a control system that’s extremely basic, but entirely effective. Even without batteries, this fully-mechanical camera is still able to complete whatever task is thrown at it. The top plate features the film advance lever, shutter release with threaded cable-release socket, rewind lever, frame counter, hot shoe, and ASA/shutter speed selector. The front features the self-timer lever, lens-release, depth-of-field preview button, and flash sync selector (X/FP). Turning the camera upside-down reveals a tripod mount, film rewind button, battery port, and ON/OFF/BC switch.

The 202 sports the most full-featured viewfinder in the SR-T range. But while it’s true that everything the shooter needs to know is displayed, things are far from perfect. A window at the top of the frame displays the selected aperture, while the bottom of the frame shows the selected shutter speed. The problem is that these windows are lit by ambient light, so easy reading will be hampered in low-light situations. In fact, anything but outside, daytime shooting will leave the photographer cursing the viewfinder for its lack of brightness. Later decades would see this problem solved through the use of LED lighting, but for SLRs of the SR-Ts era this issue is sadly common.

Minolta SRT 202 Viewfinder

TTV (through the viewfinder) of the Minolta SR-T202. Shot in low light to demonstrate the weakness of the aperture and shutter speed windows.

The right side of the viewfinder shows the light-meter needle and match needle. This metering system constantly adjusts to show a value based on the amount of light in the frame. The photographer adjusts shutter speed and aperture until a matching needle aligns with the meter needle. When the two needles are aligned a proper exposure will result. Additonally there’s a battery check mechanism. By switching the ON/OFF/BC switch on the bottom of the camera to “BC”, it’s possibly to see if the batteries in the camera are good or bad. When the battery is providing the proper voltage the light-meter needle hovers over a small, black square in the viewfinder. Focusing is aided through use of a micro prism band surrounding a split-image spot window. This center spot works like a rangefinder; adjust focus until the vertical lines are aligned, and shoot.

Even though Minolta would eventually develop the first successful autofocus system in the Maxxum 7000, this was still decades away. SR-Ts use manual focus lenses only, and these cameras are built for the illustrious Minolta SR mount lenses. These lenses are labeled MC, MD, Rokkor, or Celtic, and comprise one of the best and largest lens lineups in all of photography. Without exaggerating, these lenses are among the best in the world. Minolta was one of the only camera companies to produce their own glass elements in-house, a process that included hand-grinding, polishing, and applying advanced optical coatings. These guys knew their craft, and as a result, Minolta lenses offer some of the best sharpness, bokeh, contrast, color, and distortion control of any vintage lens. Build quality is second to none, and with a lens for every situation from macro bellows to super telephoto, it’s difficult to argue against using Minolta glass.

Minolta SRT 202 3

The phenomenal Rokkor lenses.

Affordability is also a big factor in what makes these machines so attractive. For about the same cost as a single modern lens, it’s possible to collect a full-featured lens package for Minolta SLRs. Hop over to eBay or Amazon and one can easily find a wide, standard, telephoto, and even macro lens solution for less than $60 each. This price isn’t indicative of inferiority, only a market that’s less aware of the Minolta name, and less educated about their value. The 50mm ƒ/1.4 is one of the best standard manual focus lenses ever tested, with outstanding bokeh, color, and contrast. On the wide end, the 24mm ƒ/2.8 shows unparalleled sharpness and no distortion whatsoever. For portraits, the 85mm ƒ/1.7 creates gorgeous images, though this particular lens is fairly expensive, actually. It’s also worth noting that Minolta created some of the best specialized lenses, like the 16mm fisheye, and one of the best vintage tilt-shift lenses in the world. The brand is less renowned than its Japanese contemporaries, and that’s a shame.

As for practical operation, the 202 is very nice. A tighter overall package than comparable machines from the likes of Canon and Olympus, Minolta’s SR-T is one of the most solid cameras available from the Japanese. Attention to detail abounds, such as a metal film rewind lever, dimpled metal battery cover, and metal film back door. Yes, many parts are made of metal. Unfortunately, the shutter is not. Instead, the SR-T uses the cheaper (and less accurate) horizontally-traveling cloth shutter, which is capable of speeds from 1/1000th of a second to 1 second, as well as Bulb mode. The maximum speed of 1/1000th of a second is respectable, and this is one of the features of the 202 that sets it apart from the low end SR-Ts, such as the SR-T100, which only reached a maximum speed of 1/500th of a second.

Minolta SRT 202 9

Loading film is fairly simple, though not as easy as Canon’s QL system. Insert the film leader into one of the grooves in the take up spool and wind the lever. Rewind any slack, close the film door, shoot, wind, and it’s ready for action. The camera features a “film safe load” window on the back of the top plate that tells the photographer the film has been loaded correctly, and a memo holder stands to remind which type of film was loaded into the camera.

The entire SR-T line uses through the lens metering at full aperture. This means that the camera compensates in real time for adjustments the photographer makes to the aperture setting without diminishing the amount of light reaching the viewfinder. Instead of the aperture stopping down whenever the aperture ring is adjusted, it closes momentarily at the instant of shutter release. This allows for bright, clear viewfinders that allow easy composition.

The most noteworthy feature of the SR-T line is certainly the implementation of Minolta’s then new CLC metering technology. The “Contrast Light Compensator” system was the first of its kind in the world, and allowed the camera to meter from two separate metering cells mounted on different areas of the pentaprism. CLC allows for more accurate exposures, as it takes into account both the brightest and darkest areas of the frame and compensates accordingly. Better still, it actually works. Minolta’s metering system is one of the most forgiving systems in vintage cameras, making the SR-T range a great choice for newer shooters.

Taking the camera out around town is a real pleasure. It’s got that special characteristic that’s so hard to quantify; it makes you want to keep shooting. I’m not sure if it’s the heavy feel, the precision machining, or the laughably raucous shutter, but it just brings out a smile and makes photography fun. The outstanding lenses and the CLC system instill confidence that every shot is going to come out looking great. Never do the camera’s ergonomics hinder the process, making it super easy to get into a photographic groove. It’s the kind of camera that makes carrying extra film a requirement, since before you’re aware of it you’ve spent your roll.

The cameras of the SR-T range are among the best choices for people interested in vintage SLRs. They were built to an exacting standard of excellence, and are still perfectly capable as photographic tools. Batteries are cheap and common, and the bulletproof mechanisms will never fail. Minolta’s impressive CLC technology makes for effortless captures by both amateurs and professionals alike, and an outstanding suite of lenses bring these cameras about as close to perfection as it gets. The flagship model 202 is the one to lust after, and at under $100 there’s really no excuse to pass it up. It may just be the best value in all of photography.

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James Tocchio

James Tocchio is a writer and photographer, and the founder of Casual Photophile. He’s spent years researching, collecting, and shooting classic and collectible cameras. In addition to his work here, he’s also the founder of the online camera shop Fstopcameras.com.

All stories by:James Tocchio
  • I found your very well researched site while looking for articles on the Minolta SR-T 102. I’ve never had a 202, but I have an SR-T 200, two X-570’s and two X-370’s. I was looking for a Minolta with mirror lock-up and that feature went away somewhere near the end of the SR-T 102’s run. The SR-T’s are incredible cameras and almost indestructible.
    I was given the SR-T 200 after the original owner dunked it in a river and it was declared an “uneconomical repair”.
    I removed the top and bottom covers and poured most of a bottle of cheap Russian vodka through the camera to clean it out and then did some mild lubrication with some Ronsonol lighter fluid on a q-tip. I learned the Russian vodka trick from a Viet Nam war photographer who told me that was how they cleaned the mud out of their Nikon F’s. I don’t know if that’s true, but it worked. The vodka is almost pure ether and makes a fine cleaner while the Ronsonol has just enough lubricant in it to make parts work properly. You can’t do that on a camera loaded with electronics. That was in the late 70’s and the camera is still working fine.
    If you’ve never used an SR-T, get one. It doesn’t matter which model as all are very well built cameras. And for those who have never used Minolta lenses, they are second to none. I don’t know about their zooms, but all of the prime lenses I have are exceptional and rival anything I have from Nikon, Canon, or Pentax.
    A VERY well written article! Thank you!

    • Man these are the stories I live for! Thanks for your comments, my friend. You are spot on about the Minolta glass. Some of them are the best I’ve ever used and almost all of them are exceptional. Thanks again.

    • Great story. Vodka is composed of ethanol and water. Diethyl ether can be prepared from vodka, but it is not a normal component of vodka.

  • Rolando Hindquarters December 6, 2014 at 1:08 pm

    Nice article, thanks! I will quibble in a minor way with the criticism of the “unfortunately not metal” shutter comment. Rubberized cloth shutters last a very long time indeed– witness the Leica, L-flex, and every other top line camera save the Nikon F series. Accuracy is no issue with cloth, either. The metal shutters have problems of their own as well. Nicely done, thanks again.

    • You make a good point, my friend.

      Cloth is certainly prevalent and capable. Ive just bought a few too many with drag, or a finger poked through. I know that’s more the fault of the finger’s owner than the shutter’s designer.

      But you’re right. For the most part there’s nothing wrong with a cloth shutter.

  • Reblogged this on Organized Chaos and commented:
    Much like the birth of this blog, I am trying to reach deep inside my creative soul and really tap into my loves which are photography and writing. With everything being so automatic and quick nowadays, something like this is quite simply a lost art. Anyone can instagram a picture of some rocks, slap a filter on it, post and BOOM we have Ansel Adams 4.0. The sad part is that little hipster probably doesn’t even know what manual photography is all about. There is nothing more satisfying than rolling your own canister or film, tediously developing your negatives, then waiting patiently to see if you screwed anything up. There were no selfie buttons, or preview switches to see if you got “the shot” you had to trust your artistic vision and wait. Then it is in that final round of carefully choosing your negative, using the enlarger machine to transfer, then yet another serious of water, buckets, chemicals and time. The process of creating one simple piece of literally your own piece of art from start to finish can be anywhere between three to six hours depending how particular you are. I received this gem randomly one day. It was a gift from a friend who got this at a goodwill like 5 years ago for about 20 bucks. He saw the excitement and sheer geekdom that came over me and he gave it to me. Here is a perfect blog up as well as pictures to describe this absolute beauty. This to me, is the original pinup of vintage rangefinder manual SLRs. An absolute sexy bitch!!!

  • I purchased a SRT202 today at a local thrift store today. I came across this blog post while searching for more information on my thrift store find. Mine came in a case with a strange bellows-pistol trigger contraption. After some searching, I found the camera was owned by a dentist and was purchased in 1976 from a company in Washington state. The bellows and pistol trigger were attached to the camera with a fixed focus 100mm lens and used as a macro attachment. The total price on the receipt was $570 in 1976. A good chunk of cash back then. I suppose the dentist used it in his practice. I can’t wait to use this camera. It’s a tank, but the extra 50mm lens appears to be sharp. And the meter on the camera works, always a plus on a camera this old. 🙂

    • That’s great! Congrats on the purchase. These old Minoltas are the best.

      Is there any place that we can see the dental attachments?

      • I’ll eventually post some photos on my website. It’s one of those things that you wish could speak and tell it’s own story. I’m glad I found this camera. About 6 months ago I found one identical at the same thrift store, but the shutter was jammed. It was disappointing, but this find today makes the wait worth it.

  • Hej, what about the battery, I am considering buying one of thes beauties, but I read that it is very difficult to find the right batteries for it as the old mercury ones are not available anymore. Has anybody a perfect solution for this problem? And please don’t tell to use a lightmeter, I know I can do that, but I’d love to have a camere which is 100% functional with a battery.

    • No need to find an equivalent. You can source a 1.35v replacement battery as a lot of people advise on forums and elsewhere. I’ve found this is completely unnecessary. Just get the right size 1.5v battery and your exposure readings will be very close to perfect. Practically speaking, theses batteries last longer, cost less, and do the job perfectly. Depending on which SRT you get you’ll need either LR44 batteries or a 625 (different manufacturers use different numbers, so cross reference on Google). I hope this helps.

      • Nach vielen mechanischen Kameras habe ich mir vor zwei Monaten zwei Minoltas gekauft, beide SR-T 303.
        Die eine hat noch die Spiegelvorauslösung, die andere nicht mehr.
        Die Kameras sind zwar schwer, aber das Design ist klar und einfach. Sie sind sehr komplett ausgestattet. Der Belichtungsmesser funktioniert in der Praxis sehr gut. Ein wichtiges Argument sind auch die Rokkor – Objektive. Die Festbrennweiten sind sehr aussergewöhnlich gut.

  • Florent Delforge July 16, 2016 at 11:01 pm

    I bought a Minolta SRT-201 maybe a month and a half ago. I read your blog and impulsively got it. It is my first film camera and I’m in love with it. I’m experimenting portrait photography with my 1.7 50mm rokkor and the results are insane. Even though I’m not so familiar with the technics, the camera does an amazing job itself : I’m getting A LOT of good comments. I would like to thank you for bringing this new passion into my life. Your articles are amazing.

    • I can’t tell you how happy that makes me to hear. Thank you. The best part of running the site is helping people discover they love old cameras. Thanks again, and enjoy that machine.

  • Are the lens mounts for all SRT models the same? I.e. I am giving someone a lens (for free) with a lens mount for SRT101, but he has a SRT202. The lens has to be sent overseas, i.e. considerable postage involved, and I don’t want to send him a lens that does not fit as he offered to pay for the postage.

  • Why would you choose a SRT over a XD? As far as I know, the XD is lighter, has has aperture and shutter priority modes, is very well made and has a superior shutter. I have a XD and am thinking of getting an SRT as well.

    • Cork Van Den Handel May 16, 2017 at 4:57 pm

      The primary reason for selecting an SR-T over an XD is that the former is virtually all mechanical, and only the meter depends on a battery. The shutter will work at every speed, and you can take the tank-like SR-T into harsh environments (sub-zero temperatures, for instance) and still have a functioning camera. The brilliant XD-11/7 is my favorite camera, but the shutter is electronic and only operates at the 1/100 of a second speed (O mode) without a battery. Beyond that, the SR-T has the classic look of Japan’s finest SLR’s prior to Olympus’ trendsetting OM-1 that led the downsizing trend of the late 70’s. Plus that loud shutter sound announces to the world around you that you are shooting with “a real camera, and darned proud of it!” Just kidding.
      Seriously, though, the XD-11’s are electronic cameras that are almost 40 years old, and though well-maintained XD’s will likely continue to function well for many years to come, some of the earliest models have had issues, often related to poor storage. I purchased a number of XD-11’s about 10 or so years ago plus one XD-5; one of the early model XD-11’s and the XD-5 will drain brand new batteries in about a day. The others work beautifully.

  • That mirror slap was inherited by the Sony alpha DSLRs. The XD series has a more refined shutter mechanism and sounds way better. I could make mine even more silent with some EVA foam in the mirror dampening.

  • Michael Dickson June 3, 2017 at 10:37 pm

    I have both an SR-T 200 and SR-T 202. Both of these cameras date to the 1970s and I took hundreds of slides and negatives with them. They both work as good as the day the were bought new. I also have an X-570 and XG-7 also very capable cameras. But I think the SR-Ts were built the best. Here is a photo I took in Heidelberg Germany in the early 1980s with my 202. https://www.flickr.com/photos/130624547@N05/32984062000/in/dateposted-public/

  • James:

    A lot of these older Japanese cameras are far from first choices. Considering what you can get them for, a nice Leicaflex SL and early lenses can be bought at very reasonable prices.

    If I were to buy a manual Japanese camera from this era, I would choose an Olympus OM-1, Canon FTbn, Nikkormat FT3, Canon F1 new, or Pentax. The Minolta XG-7 is also nice. But an SRT? No, they are too old and flimsy. Many of these cameras are in bad shape. The foam around the focussing screen tends to rot, the shutters get sticky, etc., etc., etc.

    • Cork Van Den Handel May 16, 2018 at 3:53 pm

      Perhaps the first time I’ve ever heard an SRT described as flimsy. Most people use words like “tank”.

    • Surprised to see an SRT called flimsy and an XG-7 called “nice” in the same paragraph. My first SLR was an XG-7; wonderful in use, but unreliable. Plastic innards not durable.

    • You’re right. The srt is too new. I much prefer my sr-1s. Who needs a light meter or anything else but the shot in the viewfinder 😁

  • That’s really not how I would describe them. Heavy, yes, but sturdy, not really. I’d much prefer an XD-11 or OM-1 if I had to get a Japanese film camera. Compare a Leicaflex to these Minolta SRT cameras, and then you’ll see what I’m talking about. Even Pentax Spotmatics are superior!

    • SRT and flimsy in the same sentence is a first for me also. The shutter is very robust. They are better then Spotmatic. I have both.

      • A friend of mine owns a camera shop with tons of used cameras. In the back room is a clearance area with hordes of semi-functional Japanese cameras, Mostly Pentax Canon, and Minolta. There seem to be more Minolta bodies there than any others, including various SRT models. The ones that seem sturdiest are the XE models. In another area of the store are the better used cameras, and very few SRTs are to be found. I would certainly not wax poetic about Minolta SRT cameras!

        • Hmm, not wax poetic? My first real camera was an SRT-101 in 1972 and it is still working today. Along the way I managed to expand my Minolta collection to have duplicates of the 101, 102, 201, 202, XE-5, XE-7, XD-5, XD-11, XK, X-570, X-700, 7000 and 9000. Forget the rangefinders and TLR for now. The mechanical ones all work perfectly while a few electronic ones needed new capacitors.

          Flimsy? Not hardly though my Nikkormats and Topcons would be considered real tanks. The Nikon F2 and Pentax manual cameras are also in that collection so I have tried them all and can’t be accused of narrow mindedness. On top of that Rokkor lenses are fantastic in use and I have tried practically all of them in my collection. Almost sounds like a bad experience with a SRT in the past.

  • The beauty of the SRT series lies in their simplicity and ongoing functionality over decades. The XE models were probably the finest but they depended on batteries.
    I wish I could visit your friend’s camers shop – I have no doubt I would have a wonderful time picking out favourites without any second thoughts.
    BTW, I have owned many of the SRT, XD and XE bodies without any of the problems mentioned above. Maybe I was lucky, but stil….


  • Great post, I owned an SRT 202 which I gave to my brother when I decided to slim down my Minolta kit. I missed shooting SRTs so a few years later bought an SRT102, from there got my XE-7 overhauled, bought a pair of SRT 101s (one silver and the other black) and more recently a Japan market XD and North American XD-11. I still want an SRT 202, preferably black, and from the late 1970s to round things out.

  • I bought a used SRT 101 in 1972 and I have used it as my film camera ever since I did buy a second 101 as a backup about 10 years ago I use hearing aid zinc-air batteries at 1.4v which is next to no difference. I have had a GAS attack over the last year and have acquired a SRT 303b, XD. XE and a X570 all damn fine cameras and all use SR glass.

  • The Minolta SR series were nothing special, and slightly behind Canon and Pentax. With the XD cameras, they made a significant advance.

  • Opinions differ obviously I expect even box brownies have their following Full aperture TTL metering is not regarded by some as advanced at the time

  • Fantastic vintage SLR. I’m a collector of old cameras and lenses. My collection is quite large. I rank the Minolta SRT 202 right up there with the Nikon F2AS and Canon AE-1, two of my favorites from the 70s. (Not quite as good as my favorite Nikon SLR, the FM2n, but great nonetheless.)

    Ergonomic and carrying problems are partially solved by attaching the leather protective case, which gives a little edge to get your fingers into to grab the camera.

    This camera and vintage Rokkor lenses are hard to beat, and if you grab an adapter you can use the lenses on your mirrorless camera, too (I use mine on my Sony A7III, with great results.)

  • I have an SRT 202. Beautiful camera. Well built and works well. I bought it to use…I wanted a vintage film SLR. I am an enthusiast so I find the good in all cameras. Doesn’t matter what you shoot. If you love film and vintage, you will love the SRT.

  • When you consider the SR-T’s production numbers, their reliability and their durability, it is no surprise they are such a popular choice for folks getting into film photography. My first 35mm SLR was a Minolta SR-T 201 and it was nearly impossible to take a bad picture with it. I also have recently been rebitten (is that a word?) by the film bug, but I decided to go more upscale with a Minolta XD 11, no slight to the SR-T, but it is a camera I have dreamed about having for over 40 years, Another reason Minolta makes such a popular camera choice is that Rokkor lenses render such beautiful image quality and make a perfect pairing for these mighty metal mechanical marvels. Some of the older Nikkor lenses, as good as they are, could be an adventure to attach to their cameras. Nikkormat FT, are you listening? Minolta’s SR- bayonet mount got it right the first time and needed just minor modifications for TTL open aperture metering (the MC lens tab) and shutter speed priority autoexposure (the MD lens tab).

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James Tocchio

James Tocchio is a writer and photographer, and the founder of Casual Photophile. He’s spent years researching, collecting, and shooting classic and collectible cameras. In addition to his work here, he’s also the founder of the online camera shop Fstopcameras.com.

All stories by:James Tocchio