The Minolta SR-2 was released in 1958, and was a very advanced camera for the era, boasting a number of significant features that set it apart from many of its contemporaries. Firstly and importantly, the camera had an instant return mirror. This means that the mirror drops back down immediately after exposure. At the time, most of the competing SLRs used a system where the mirror was only lowered when the film was advanced. Accordingly, the SR-2's instant return mirror was at the cutting edge of photographic technology.

Secondly, the SR-2 had a system where the body automatically controlled the lens diaphragm. Unlike cameras from most other manufacturers, with the SR-2 the photographer could compose and focus at full aperture, and rather than having to stop down the lens themselves, the camera would instantly stop the lens down at the moment of exposure. This was a great step forward for photographers, as it enabled much faster responses in fluid changing situations. This feature was semi-automatic, as the lens only returned to full aperture as the film advance was used.

The major specifications of the camera were as follows:

• Single lens reflex camera with pentagon prism viewfinder;
• Fully mechanical cloth focal plane shutter with speeds from 1-1/1000 sec plus B
• Reflex mirror with quick return system
• Flash synchronisation (X and FP)
• Fine microprism focusing with fresnel lens
• Automatic reset film counter
• Automatic shutter lock preventing accidental double exposure
• Self timer
• Quick bayonet "rapid change" lens mount.
• Screw thread on the viewfinder that facilitated the use of viewfinder accessories including a magnifier and an angle finder.
• Flash shoe that attached through the screw thread around the viewfinder.

The SR-2 was a great camera and very popular, however it was very expensive. In order to achieve greater sales, Minolta produced a camera with slightly lower specifications in July 1959. The SR-1 had a slower top speed of 1/500 sec, and a slower lens, but in all other respects was identical to the SR-2.

The Minolta SR-1 was to undergo many variations over its 8 year life, as it was altered to stay competitive with current trends in photography. Over this period it remained as the second model in the Minolta line, and its longevity has contributed to the fact that it is the most readily available model from the SR Series available today. The different models of SR-1 released over its life are summarised below.

SR-1 (Model a) - Basic model derived from the SR-2, but with a lower top speed.

SR-1 (Model b) - Introduced in 1960, the model b had an alteration to the shutter speed dial so that it no longer needed to be lifted in order to change the shutter speed. Additionally, a bayonet mount to the viewfinder was added to facilitate easier use of viewfinder accessories, and a new anglefinder which incorporated the bayonet mount was released.

SR-1 (Model c) - In August 1961 Minolta intoduced a significant improvement to its models, being the new fully automatic diaphragm. With this change, rather than the lens staying stopped down after exposure until the film was advanced, the camera automatically opened the lens to full aperture again.

SR-1 (Model d) - In 1962 the SR-1 underwent another significant change, with the introduction of a new external meter for the camera. The camera had a mount for this meter attached to the right side of the body, requiring the SR-1 logo to be moved to the left side. The new selenium meter was linked to the shutter speed dial, meaning that as the film speed was adjusted, the meter automatically showed the required aperture. This system was first introduced with the SR-3 in 1960. After the introduction of the SR-7 in July 1962 buyers had the choice of the original Selenium meter, as well as a new, more expensive CdS 'SR meter-2' with improved low-light sensitivity.

SR-1 (Model e) - In 1963 the camera had a modest update with its film counter being moved to the right side of the body to match that of the SR-7.

SR-1 (Model V) - In 1965 Minolta changed the body styling of its cameras to a squarer style, more in keeping with changing design aesthetics. In addition, the camera had a new rectangular viewfinder, and a new Anglefinder V and Viewfinder Magnifier V were introduced. The Anglefinder V incorporated a prism, with the result that a brighter, unreversed image was achieved, a significant improvement. The Minolta logo was moved from the flat front of the prism to the angled portion, and the meter connection was streamlined, becoming similar to a flash shoe, as opposed to the previous large rectangular block. A new meter with a different mount was available for the Model V, being the SR Meter-V. Finally, a mirror lock up was added, enabling users to utilise the 21mm super wide angle introduced by the company in 1962.

This view of the SR-1 from the rear shows the earlier body styling that was used in all of the models until the release of the Model V styling in 1965 .

The SR-3 was introduced in August 1960 to replace the SR-2 as the flagship model of the Minolta line, and was essentially unchanged from the SR-2 with two major exceptions, being the inclusion of a meter, and the inclusion of a focusing screen with a split image bi-prism focusing aid. Where other cameras required the photographer to estimate exposure variables or carry a handheld meter, the SR-3 incorporated a Selenium clip-on meter that attached to the camera in front of the shutter speed dial. This same SR Meter and attachment method was used two years later when the economy model SR-1 was updated similarly.

The ability to adjust the shutter speed using the linked meter enabled a semi-automatic exposure control. A user could set an aperture, and then simply turn the meter dial until the aperture on the meter matched that set. This process automatically changed the shutter speed, and was very advanced when the camera was released in 1960.

In August 1961 the SR-3 was further updated, with the introduction of an automatic diaphragm. With this mechanism, rather than the lens staying stopped down after exposure until the film was advanced, the camera automatically opened the lens to full aperture again.

In 1962 Minolta replaced the SR-3 with a revolutionary new camera, the Minolta SR-7. Despite its appearance which was very similar to the SR-3, the SR-7 was a dramatic shift for the industry as a whole, as it was the first SLR camera with a built-in CdS light meter. The meter was also connected to the shutter speed dial, so that the photographer simply had to select a shutter speed, and the meter would advise the required aperture for correct exposure.

The camera also included a mirror lock-up feature to facilitate use of the new 21mm super wide-angle lens

• Single lens reflex camera with pentagon prism viewfinder;
• Fully mechanical cloth focal plane shutter with speeds from 1-1/1000 sec plus B
• Built-in CdS exposure meter coupled with shutter speed and film speed. Meter sensitivity is EV 1-17 at ASA 100
• ASA Speeds from 6 to 6400
• Reflex mirror with quick return system
• Mirror Lock-up
• Flash syncronisation (X and FP)
• Fine microprism focusing with fresnel lens
• Automatic reset film counter
• Automatic shutter lock preventing accidental double exposure
• Self timer
• Quick bayonet "rapid change" lens mount.

For the first year of production the SR-7 had no on/off switch for the meter, relying on the camera being stored in a case to stop light getting to the metering cell and hence drawing current. Naturally many owners preferred to use their cameras without a case, and so many chose to affix electrical tape over the metering cell to stop current draw when the camera was not being used. After 12 months Minolta corrected this drawback with an update that included a meter on/off switch on the base of the body.

At the same time Minolta introduced a new mirror-lock-up mechanism in the camera. Previously the photographer had to turn the mirror-lock-up switch, then shoot a picture (basically a duplicate or wasted frame) to flip the mirror up, after which it stayed up until the switch was turned again. With the new mechanism this procedure was no longer required.

In 1965 Minolta changed the body styling of its cameras to a squarer style, more in keeping with changing design aesthetics, and called the new design the SR-7 (Model V). In addition, the camera had a new rectangular viewfinder, and a new Anglefinder V and Viewfinder Magnifier V were introduced. The Anglefinder V incorporated a prism, with the result that a brighter, unreversed image was achieved, a significant improvement. The Minolta logo was also moved from the flat front of the prism to the angled portion.

To see some advertising brochures for the SR-7, simply click on the images below. The second one shows the SR-7 (Model V), enabling the viewer to see the differences between the two.