In the manual focus (MF) era, the XD was arguably Minolta's biggest step forward technologically. It was the first 35mm SLR to feature both aperture- and shutter-priority auto exposure modes and all within the flanks of the first compact Minolta SLR body. The new form factor and added electronic sophistication necessitated the adoption of integrated circuits (ICs) by Minolta. The XD was thus far more complex electronically than its predecessor, the XE, which did have an electronically-controlled shutter and aperture-priority, but was still largely mechanical in its actual operation. The XD's basic electronic layout would prove to be the pattern for all subsequent manual focus Minoltas (including the XG and X-xxx series). And it was the XD that made capacitors front and central in the basic operation of the mirror and shutter assemblies of every succeeding Minolta MF SLR. Capacitor failures are few and far between with XDs and the majority of XGs, but became much more prevalent with the X-xxx series. My personal X-700 fell victim to "capacitor-itis" over 15 years ago, but my XD 11 has never skipped a beat. That set me to wondering...
Canon the innovator...Canon the boundary pusher...Canon the...wait just a minute! Are we talking about the same Canon that moves today at what appears to be a less-than-glacial pace? Nope, we are talking about the Canon of over three decades ago...the vintage Canon ;-). A Canon that, while still the market leader, was determined to meet a declining SLR market with more than retrenchment. From an all-time peak of nearly 7.7 million SLRs sold in 1981, by 1983 sales for all brands of SLRs had fallen by over 30%. Sound familiar DSLR users? Canon had wrung the last drops from their A-series of SLRs (1976-84), the most successful line of manual focus SLRs ever, and the catalyst to the SLR boom of 1976-81. The question now facing Canon (along with very other SLR maker) was: Where to go from here? Their first response would be the T-series of SLRs (1983-1990). So how did that work out for them? From a sales perspective, the T-series failed to accomplish Canon's goal of revitalizing the SLR market. Each model seemed bedeviled by at least one Achilles' heel. But one thing was for certain, the problems came down to execution and timing, not a lackadaisical attitude on Canon's part. And ironically, out of the (relative) failures of the T-series would come Canon's greatest period of success, the seeds of which were sown by the most tragic of the Ts...the T90.
In automotive circles, the "sleeper" has a long and roguish history. Take a plain-Jane car and throw some serious performance bits under the hood and prey upon the unsuspecting (bwahahaha). A frumpy four-door with a quiet (at least at idle) exhaust makes it even tastier :-). When it comes to old SLRs, there is no such post-purchase hopping-up per se, but there were enough models that followed the spirit of the sleeper as far as looks and features went to make things interesting. The bonus today is that you can snag one of these soporific snappers for a fair bit less than their more-celebrated contemporaries, while giving up very little (if any) outright performance. Now, if I happen to leave out your favorite flies-under-the-radar film-burner, don't get uptight. Feel free to mention my misses in the comments, and who knows, maybe we will have to do a sequel. So...in no particular order...
Just sit right back and you'll hear a tale,
a tale of a fateful slip
that happened to three companies
who thought they were so hip...
In Part 1, we focused on Pentax, Olympus, Nikon, and Minolta, respectively, as the first companies to introduce production auto focus (AF) 35mm SLRs in the early to mid-1980s. Although Pentax was the first-mover (1981), and Olympus & Nikon followed two years later, it was not until the introduction of the trendsetting Minolta 7000 in February 1985 that the AF SLR truly came of age. This was borne out by the other three manufacturers' abrupt decision to adopt Minolta's idea of AF motor-in-body (MIB) design, abandoning their previous allegiance to the motor-in-lens (MIL) philosophy. These companies' next AF SLRs bore an uncanny resemblance to the all-conquering 7000, at least in the lens mount area ;-). Minolta appeared poised to dominate SLR sales for the foreseeable future, yet within three years, they would be toppled from the peak and by the time the early-'90s rolled around, they would be back in their familiar third-place sales position that they had held from the early-'70s onward. So, even being the first successful AF SLR manufacturer was no guarantee of being the long-term winner. How could that happen? This time, we will take a closer look at the reaction to the AF revolution by the then-biggest fish in the SLR pond.
In the land of manual focus SLRs circa 1984, things were looking grim. That old implacable foe, "market saturation", had once again surfaced from the depths of the eastern Pacific to wreak havoc on the sales charts of the Japanese manufacturers. Over a decade had elapsed since its previous appearance in the early to mid-'70s. The proliferation of affordable autoexposure SLRs, from 1976 onwards, had not only blunted that attack, but had then led to the greatest sales extravaganza for 35mm SLRs, EVER. But now, the denizen of the deep was back with a vengeance and taking names. Internal motors for film advance, LCD displays, and angular '80s styling were doing nothing to stem the tide. Only another big-time innovation was going to give the SLR makers a chance. Their trump card?
I don't know if Rodney Dangerfield was into photography, but if he was he must have used f/3.5 lenses, judging by the way he was always bugging his eyes out. Which would be understandable, because any half-baked photographer knows that f/3.5 is a raging vortex where photons go to die, leaving your eyes straining for the faintest trace of light. Not to mention the utter impossibility of achieving anything remotely resembling shallow depth of field with such an infinitesimal iris. No proper lens jockey would be caught dead with such a miserable excuse for a photographic tool. So if you have any remaining shred of photographic self-respect, let me save you the trouble now of reading any further ;-).
The 1980s were the heyday of the quality, yet relatively affordable, automatic auto focus (AF) 35mm camera. Competition was intense between manufacturers, and they were constantly trying to leapfrog one another in features and capability. Every year saw some kind of improvement until about 1988 or so, when the inevitable "race to the bottom" really started to heat up. Within this era, the years from 1983 to 1987 were arguably the high-water mark for quality and innovation, and some ingenious engineering. In this article, we are going to key in on a quirky category of cameras that served as a bridge between the original, fixed-focal-length AF point & shoots and the first P&S zooms: the temporary titans of P&S technology..the twin-lens (or bifocal) AFs.
The mid-1960s were heady days in SLRland. From 1964-66 all of the Big 4 Japanese manufacturers brought out new top-of-the-line enthusiast models: the Pentax Spotmatic (1964); the Nikkormat FT (1965); Canon's Pellix (1965) and FTQL (1966); and the object of our attention in this article...Minolta's SRT (1966). The feature all of these cameras had in common was: built-in through-the-lens (TTL) metering. We take it for granted now, but five decades ago this was revolutionary. Of the five models, the Pentax and Canons used stop-down metering (meaning that the photographer had to manually close (stop-down) the aperture on the lens to get an accurate reading and then focus at maximum aperture). The Nikkormat offered full-aperture metering (the lens remained at maximum aperture for the brightest view and ease of focusing while the meter reading was taken), but required the user to manually index the aperture ring every time that they changed lenses. Then came the SRT-101. Full-aperture metering and the aperture automatically indexed whenever you mounted a lens. No muss, no fuss. And all it took was a spring...a string...and a little tab on the aperture ring ;-).
At first glance, the FE (along with its slightly-older sister the FM) is as nondescript a Nikon as there ever was. Its specifications are nothing out of the ordinary for a late-'70s enthusiast SLR: 1/1000 sec. fastest shutter speed, Nikon's venerable 60/40 centerweighted metering, sub-600 gram weight, and a seeming dearth of innovation. Looks? Nothing to see here people...move along...move along. Flanking the classic Nikon logo on the pentaprism housing are two virgin swathes of metal betraying no clue as to the identity of this wallflower. Only once you go to bring the camera to your eye is there the possibility of positive identification, that is, if your right thumb isn't already covering the tiny "FE" that precedes the serial number on the rear of the top plate. But don't sleep on the FE, there is more here than meets the eye ;-).
Canon got off to the slowest start of the original Big 4 Japanese camera makers (Minolta, Nikon, & Asahi Pentax were the others) when it came to SLR development and sales . This was partially due to their commitment to interchangeable lens rangefinders for longer than their competitors. By the mid-1960s, however, they had embarked on a slow but steady climb that would lead them to market dominance by the late-1970s. Their first truly competitive SLR was the FT of 1966, and it would spawn one of the finest series of mechanical-shuttered enthusiast SLRs of the age and Canon's most successful non-A-series manual focus model. The second- and third-iteration FTb & FTb-N would prove to be the backbone of Canon's amateur lineup in the first half of the '70s and sold extremely well while both Pentax and Minolta were facing declining sales of their excellent Spotmatic & SRT mechanical SLRs at that time. That alone makes it a pivotal model in Canon's history. But it is much more than a sales footnote, it was one of the best enthusiast-level SLRs of its day, and that makes it a great choice today for the film-SLR aficionado. You could call the FT the analog 5D of its era :-).
1975 saw the introduction of the Contax RTS, the first camera since 1961 (when the Contax IIa/IIIa rangefinders were discontinued) to bear that moniker and which was the firstfruits of the technological alliance between Zeiss (owners of the Contax name) and Yashica, the Japanese camera maker (who did the actual manufacturing). The RTS (which stood for Real Time System, to emphasize the supposedly superior responsiveness of the body) was aimed at professionals and serious enthusiasts with pocketbooks sufficiently large to take on the task of mounting pricey Carl Zeiss glass in front of it. The RTS was a success, but as Nikon had found out two decades earlier with the F, having a single model camera lineup that aimed towards the high-end of the SLR market tended to limit opportunities for sales (less cameras sold = less lenses & accessories sold ;-)). So, four years later, in a move that mirrored Nikon's introduction of the enthusiast-oriented Nikkorex F in 1962 (followed by the more-successful Nikkormat of 1965), Contax/Yashica introduced their Contax-badged contender in the very-competitive amateur market. But what does this have to do with the Yashica FX-D? Let's find out :-).
Maybe it has something to do with the application of the term "vintage" to items over 30 years old, but there is a dead space for most cameras (and many other manufactured goods) that are in the 15 - 25 year old range. Not elderly enough to evoke nostalgia, and far from the cutting edge of current technology, they languish in a veritable no-man's-land. The subject of this article, the F90(X), is in such a place today. If you are a 35mm bargain hunter, and are willing to look past its plebian polycarbonate pelt...your ship may just have come in :-).
Coming-of-age. If any term could be applied to Nikon's auto focus SLRs from 1986 to 1991, that one has to be at the top of the list. The transition to AF maturity coincided with Nikon's rise to second place in the overall SLR market to essentially form a duopoly with Canon as the other members of the then-Big 5 (Minolta, Olympus, and Pentax) slid further and further behind, and in Olympus' case, dropped AF SLRs completely. The irony in all of this was that Minolta had gotten the drop on everyone and dominated the first few years in AF SLR sales with their groundbreaking 7000 model. Canon brought out their T80 FD-mount SLR a couple of months after the 7000, and it wasn't even close to the Minolta. So much so, that Canon abandoned further FD-mount AF development and began a crash program to come up with a completely new mount and SLR system. It would be two years before they brought out the EOS 650. For Canon, that would turn out to be time well spent, as the EOS cameras rocketed them to AF SLR sales leadership in rather short order. Nikon got on the board in April of 1986 (over a year after the 7000 made its not-so-subtle entrance). While the F-501 did not surpass the 7000, it was the first true competitor to the Minolta and gave Nikon a toehold (and critically, a one-year head-start over Canon to get established in the market) until they could bring out their second generation enthusiast AF SLR in 1988. By the mid-'90s Nikon had clawed their way past Minolta and tried to maintain pace with Canon in market share (which didn't happen, but they did comfortably establish themselves in second place :-)). Let the retrospecting begin...
Welcome to the final installment of our "Choosing Manual Focus Lenses" series. In this article, we will look at the larger picture of lens sets in general and also check out a few options for specialty optics, such as macros and shift lenses.
Zoom lenses really started to come into their own by the late-1970s and became standard equipment with most SLRs by the mid-'80s. Versatility was the name of the game, with such optics sometimes enabling a photographer to replace up to 3 primes with one lens. However, this was not a free lunch; there were always compromises involved.
Suffers from a two-decade and counting film and manual focus SLR addiction. Has recently expanded into 1980's AF point and shoots, and (gack!) '90s SLRs. He even mixes in some digital. Definitely a sick man.