Category: Gear Reviews (page 1 of 1)

Fujinon XF 55–200

I think of it as my panda lens. Out of the 171 images I shot with this lens while I owned it no fewer than 72 of them are of pandas, specifically Tian Tian, Mei Xiang and Bao Bao at the National Zoo in Washington DC.

To some photographers 171 images many not sound like a lot and since I had the lens for a couple of years that’s a reasonable conclusion but I’m not really a telephoto user. That said it’s nice to have a little bit of extra reach from time to time when the occasion calls for it, an occasion for example like a visit to Washington DC to see the pandas.

So I’m never going to be in the market for one of those fast 70–200 drainpipes but I’ve always ended up whatever the system with one of the cheap(ish) 55–200 type lenses. I had the Sony A and E mount versions when I was a Sony user and it seemed an obvious choice when I switched to Fujifilm.

Like most Fuji lenses this one is a cut above what’s on offer from most of the other camera and lens manufacturers. The quality of construction is much better (something confirmed by the people at Lens Rentals recently when they took one apart). It feels much more solid and substantial than the lightweight and somewhat creaky competitors. It’s also a little bit faster than the opposition — f3.5–4.8 compared to the usual f4–5.6. It’s not a lot but at the longer focal lengths every little helps. It also helps that this lens comes with Fuji’s OIS system.

Image quality is excellent, vastly better than either of the Sony’s I’ve owned and on the basis of what I’ve read and heard better than anything else out there in this sector. Previous lenses I’ve used were generally fine until around 160–170mm when the image quality took a real hit. They were also noticeably weaker wide open. By contrast the Fuji is good all the way to 200mm and at all apertures. The only weakness I’ve found is at 200mm wide open in the corners where it’s not great, but it’s the corners so it’s usually no big deal.

Also gratifying is the degree of resistance while zooming. Sometimes it almost seems like it’s a little too much but this for me is preferable to too little resistance. The one dislike I have with this lens is that unlike the zoom ring the aperture ring is far too easily rotated and I do find myself shooting at entirely unexpected apertures because the lens gently brushed my shirt and shifted from f4 to f16. Perhaps it’s just my copy but it is noticeably looser than the aperture rings on my other Fuji lenses.

All of this goodness does come at a price. The Fuji lens is more expensive that the typical 55–200 lenses which tend to come in at around $350 at most and are often much less. The Fuji’s recommended retail price is $700 — not exactly a bargain — but it usually goes for $500 during Fuji’s regular sales. For an occasional user like me $500 is an acceptable price given that this is in every respect a better lens than anything from the competition.

If you are a regular telephoto shooter or need the extra speed you will undoubtedly prefer the XF50–140 f2.8, but for the occasional user this lens is definitely worth getting hold of, particularly if you wait for the price drop.

A lens review without pictures is a bit pointless so here are a few images from my very small collection taken with this lens including of course some pandas.

These first two shots were taken at Manila American Cemetery, the first at 110mm and f8 and the second at 55mm and also f8.

The next two shots are looking across the Pasig River from the Makati side towards the Pasig side. Both were shot at 200mm and f5.6. The third image is a crop from the top left of the second shot showing how well the lens performs at this focal length.

This next one of a rapidly moving boat was taken from the back of somewhat slower moving boat. I was impressed with both the sharpness and the ability of my X-E2’s rather rudimentary focus tracking together with the lens’s less than state-of-the-art autofocus capabilities to keep up. This one was taken at 55mm and f8.

Now for the zoo. First up is Mei Xiang relaxing in her yard. Considering that this was shot at 200mm wide open I was impressed by the detail and sharpness in her fur and whiskers.

Next, it’s Tian Tian relaxing in his yard — pandas do a lot of relaxing. I thought this was a great pose, propped up on one elbow leaning on a tree trunk. Again this is at 200mm and wide open and again there is decent sharpness and detail throughout even down to the fly that has landed on his back.

Finally just to prove that pandas aren’t the only inhabitants of the zoo here is one of the male lions relaxing while keeping an eye out and one of the tigers having fun in the pool. Both were shot at 200mm wide open and both also cropped a little because you can’t get that close.

So a good lens which is well worth the higher cost for the superior mechanical and optical quality and the extra half stop. In the end I sold this lens because I didn’t feel I was putting it to use enough but I still do keep an eye out from time to time for Fujifilm sales or used deals. I suspect I may own it again at some point.

The Minolta 24mm…

…or to give it its full designation the Minolta MD W.Rokkor-X 24mm 1:2.8.

This is an SR mount lens. The SR mount was introduced with Minolta’s first SLR, the SR-2, in 1958. (Strangely there was an SR-1 but it was released after the SR-2). All manual focus Minolta SLRs used the SR mount but when Minolta switched to autofocus cameras the company developed a new mount. This mount known as the Alpha mount is still in use on Sony’s DSLRs. The MD designation identifies this as a lens specifically designed to work with the Minolta XD camera introduced in 1977.

The XD offered both aperture priority and shutter priority semi automatic exposure modes and required the use of MD lenses to make use of the shutter priority option. While earlier generations of SR lenses could be used on the XD in manual or aperture priority mode they would not work properly in shutter speed mode. The ‘W’ indicates that this is a wide angle lens. With a handful of exceptions all Rokkor lenses between 17mm and 35mm had the W.Rokkor designation. Those over 100mm were known as Tele Rokkors, while zooms, obviously enough, were Zoom Rokkors.

I believe Minolta was the first of the major Japanese companies to give their lenses an additional brand identity when they introduced the first ‘Rokkor’ lens in 1940. Others followed suit and gave us Nikkors, Hexanons, Fujinons and the rest. More recently South Korean lens maker Samyang has sold lenses under its Rokinon brand which sounds like an attempt to associate its lenses with the Rokkor name and identity.

Supposedly the name is derived from the Rokko mountain range near Osaka where the company was founded and maintained its headquarters until the merger with Konica. Minolta’s founder Kazuo Tashima was an admirer of German photographic equipment and the company was initially known as Nichi-Doku Shashinki Shoten (Japan-Germany Camera Company). Given this perhaps Tashima was influenced by the practice of German companies like Zeiss and Leica who gave their lenses additional branding — the Zeiss Planar and Tessar or the Leica Elmar for example. The Rokkor branding finally disappeared around 1980. My 50mm f1.7, for example, is simply a Minolta. Despite this, ‘Rokkor’ is still often used as a generic name for all Minolta lenses. The ‘X’ seems to be largely a marketing exercise. There appears to be no difference between Rokkor and Rokkor-X other than the X.

The MD lenses were modified from time to time during the years of production and based on the information provided in Dennis Lohmann’s very detailed database my copy is a late example of the MD series II from around 1980. Like most Minolta lenses of that era it’s well made, solid and mostly of metal construction. Both the focus ring and the aperture ring are smooth and consistent with appropriate resistance. The lens elements appear clean and the aperture blades operate smoothly.

I wasn’t planning to buy this lens. It’s among the more expensive Minolta lenses ($220–250 in good condition from reputable dealers) and I only occasionally go wider than 35mm. Besides, I already had a 24mm lens for my Nikon FM2n if I needed one. However, while making my near daily check of a couple of online dealers recently this lens appeared on one of them for only $149. I assumed at that price it would be in very poor shape but it was listed as ‘Excellent’ and the reason given for the low price was some damage to the front filter ring which you can see in the photograph at the top. Since I don’t use filters a damaged filter ring makes no odds to me so I ended up with a bargain.

The pictures were taken around Washington DC with the XD and 24mm combination on Kodak Ektar. Everything is nice and sharp and the colours look good to me. The only downside is that it is susceptible to flare though I was shooting on a very bright and sunny day. I think I’ll need to pick up a push on lens hood for this one. Overall though, this is a very nice lens and it’s well worth the bargain price.

Nikkor AI-S 105 f2.5

I recently picked up the Nikon AI-S 105mm f2.5 lens. I attached it to my FM2n and over the last couple of weeks I have been out and about around Sofia shooting with it. I got the developed film back yesterday and scanned the negatives last night. So here are some thoughts on the lens and some sample shots.

First, the lens itself. Having already bought a 24mm, 35mm and 50mm for my Nikon I was looking for something a little longer for occasional use. The obvious option was one of the various AI or AI-S 85mm lenses but for some reason these do tend to be expensive even by Nikon standards. I was aware of the 105mm/f2.5 having read many good things about it but considered the focal length to be a little more that I wanted.

However, when one showed up for just under $200 in very good condition I decided to try it. The AI-S version of this lens was introduced in 1981 and continued in production until 2005. From the serial number mine appears to be a very early copy. As far as I can ascertain the optical design of this lens goes back much further having been introduced in 1971. That in turn was an optically redesigned version of the original 105mm/f2.5 introduced in 1954. Over time the 1971 version added Nikon’s integrated coating and was adapted mechanically for Nikon’s new automatic indexing system.

The 1971 lens was designed by Yoshiyuki Shimizu who was responsible for many of Nikon’s most famous lenses. The lens has five elements in four groups and is sometimes described as a Gauss type design, though Nikon’s website describes it as a Xenotar type lens. The Xenotar itself is described as a hybrid between the Gauss type and the Topogon type. Confused? Me too. I’ll leave those of you interested in these matters to do your own research. You might start with the Nikon’s own history page for the lens and take it from there.

As with most lenses of this vintage the 105mm/f2.5 is a solid piece of kit made mostly of metal and glass and weighing in at 435g or just under 1lb. The focus ring turns smoothly and evenly and rotates through roughly 150°. Closest focus is 1 metre or just over 3 feet. The aperture ring is similarly smooth and even with well defined clicks at each full stop. This lens has a maximum aperture of f2.5 which is marked on the lens body and while there is no mark for f2.8 there is a click stop for it. Minimum aperture is f22. Everything is engraved as you would expect and the aperture markings have Nikon’s traditional depth of field colour coding. Up front the lens takes 52mm filters, like every other AI and AI-S lens I own. In short, if you have ever owned or used an AI or AI-S lens you will know exactly what to expect.

It’s actually quite a compact lens — 2.5″ wide and just over 3″ long — and feels very well balanced on my FM2. It is shortest at infinity and extends around half an inch as you focus in closer. The AI-S version added a retractable built in lens hood which blends in very well with the overall design. It slides out smoothly and snaps into place with a distinctive click. I rarely use a lens hood but it is nice to have it available without having to carry it as an extra.

I could try and describe the results this lens produces but I believe that this is largely a subjective matter so instead I will add some images and let you decide for yourself. The images were shot on three separate days around Sofia using the lens on my FM2n. All were shot on Kodak Ektar.

First, a couple of shots taken in the colonnades that surround the building housing the Council of Ministers and the Constitutional Court, and a view over the rooftop and domes of the Sofia History Museum, formerly the public bathhouse.

Next a couple of pictures taken at the ‘Zhenski Pazar’ – the Women’s Market – in downtown Sofia. This is the place to buy cheap, fresh produce. Unlike the supermarkets everything here is sold in season so while you may not be able to get everything you want all year round what you can get it is always fresh.

Some sculpture next. The first picture is of a bust of Ronald Reagan that stands in Yuzhen Park. This picture was shot with the lens wide open at f2.5 and gives some idea of the rendering of the out of focus areas. The two following images are of a statue of Patriarch Euthymius of Tarnovo, a 14th century Bulgarian saint. The first was taken at f8 and the second at f2.5 so you can compare the way in which the lens presents the background.

Now a couple of shots from one of my favourite places in Sofia. These are the mineral water fountains that deliver year round hot spring water.

Three more shots to go. These are some of my favourite shots from this roll. The first is one of those shots that appeal for no obvious reason. It could be the combination of strong vertical and horizontal lines. Or perhaps the echo of the pedestrian crossing sign in the actual pedestrian crossing the street. Or maybe the street on the right of the image receding into the distance which adds some depth. Or possibly the light and shadow. Or perhaps some combination of all of these elements.

Next is a shot taken outside the Saint Nedelya Church in central Sofia. I spotted the two men framed by the sun shining through the archway and waited for someone else to enter the frame. Eventually the woman, who had just left the church, did so and I got this shot. I liked the grouping of the people in the image and the way in which they are all framed by the sunlight through the arch.

Finally, this shot was taken near the mineral water springs where there is a tram stop. I pre-focused and waited for a passing tram. When one stopped in front of me I took a couple of shots of which this was the best.

So that is the Nikon Nikkor 105mm f2.5 AI-S lens. If you are a Nikon shooter using manual focus lenses the 105mm/f2.5 is worth your consideration even if it is not a focal length you typically use. The combination of compact size and optical quality is hard to beat.

Forty Years Later

I originally posted the following in 2017 shortly after I bought a Nikon FM2n, my first film camera in many years. When my old blog crashed and burned last year I lost a lot of posts but some were preserved on Medium. This is one of them.


Despite the promises of the Marxist-Leninist cheerleaders, the average Soviet citizen of the 1970’s still couldn’t afford a Leica. So the Soviets built their own Leica ‘tribute’ — the Zorki 4K. Then, for the benefit of those of us who, despite the promises of the capitalist cheerleaders, couldn’t afford a Leica they exported it to the West. And so the Zorki 4K became the first camera I ever bought back when I was around 14 years old. I didn’t know much about it at the time; its most appealing feature for me was the price. I think it might have been around £30. I also acquired a hand held light meter since the Zorki dispensed with such unnecessary fripperies (as did the Leicas of the time).

My first SLR — the Canon EOS 1000

What I really wanted was an SLR, but they were beyond my financial reach. A year or two later Nikon introduced their new SLRs, the FM (1977) and the FE (1978). I really, really wanted one or the other of these, but their introduction coincided with my own introduction to the world of casual work and unemployment and so they too were unattainable.

Time passed and my initial interest in photography faded. By the time it returned, while still the era of film, electronic technologies — autofocus and autoexposure — were the norm. And so I bought my first SLR, a Canon EOS 1000. I felt a bit of a traitor doing so even though I had never actually owned any of the Nikons I had once admired. I followed that somewhere around 2000–2001 with the EOS 30 holding out against the gathering digital tide until 2005.

I went digital with yet another Canon but along the way have also had cameras from Sony, Panasonic and Fujifilm. Despite my early hankerings I had never owned a Nikon — until today. I am now officially a ‘Nikonian’.

And this is not just any old Nikon, not one of your showy all singing, all dancing, auto everything mini computers bedecked with buttons, knobs, dials and a dashboard’s worth of blinking and flashing lights. This is an honest to goodness, built like a tank, manual everything, mechanical, film Nikon. Finally, after forty years, I have my FM —specifically, a pristine late model FM2n.

My first Nikon — the FM2n

The FM and its variants were in continuous production from 1977 to 2001. Mine appears to have been manufactured in 1999. An FM3a appeared in 2001 for a brief and glorious last hurrah before succumbing to the inevitable triumph of digital photography, though the FM3a was more a hybrid of the FM2 and the FE2.

I had been considering acquiring a film camera for a while and in the last month had been watching a few used camera sites. Then on Thursday of last week this camera appeared on KEH.com. The only problem — it was expensive. No, it wasn’t. It was expensive relative to other FM series cameras I had seen. But it cost more because it was newer and in excellent condition. I should have bought it instead of prevaricating but prevaricate I did. Which was just as well because the next morning I got an email from KEH offering 15% off film cameras and 20% off lenses. On Thursday it was expensive. On Friday it was a bargain. I ordered it. This morning it arrived together with an equally nice 50mm f1.8 AI Nikkor.

In preparation I acquired some film — HP5 and Tri-X — and a battery (only needed to power the built in light meter). I also downloaded one of the many online copies of the orginal FM2 instruction manual — all 50 pages of it. (For comparison, the manual for the current digital Nikon D500 runs to 438 pages). I even found an FM2 repair manual with wonderful exploded diagrams of every part of the camera, though I’m hoping I won’t need to consult that any time soon. Tonight I installed the battery and attached a strap. Tomorrow morning I’ll load some film and hit the streets.

But why?

Nostalgia?

Maybe. A little.

It’s more about taking control. I’ve never been inclined to take hundreds — or thousands — of images when I go photographing, or to shoot at ten frames per second. I prefer one frame at a time, trying to be a little more deliberate, resisting the temptation to fire away and sort it all out later. This camera is just a way of taking that deliberative approach one stage further. Manual metering and manual focus force me to take more time, to think about what I’m trying to photograph. So in one sense there is more to think about. At the same time there is less to think about. So many of the options that digital cameras offer simply aren’t available on a film camera, particularly on a film camera as basic as the FM2. Fewer choices but more time spent on the choices that matter is a recipe, I hope, for better photographs.

There is also the small matter of cost. I have 36 exposures to work with. It will cost me money to buy the film and cost me more to process it. Once a frame is used, that’s it. There is no delete option. And so it becomes more important to try to get it right in camera.

Of course, it may be that six months from now I’ll wonder why I bothered and rush back to the comforting ways of digital. If I do I suspect I’ll be able to sell the camera on Ebay and make a profit. Or it may be that I will decide to sell all my digital gear and go all in with film. I’m looking forward to finding out.

From Silverfast to VueScan

When I bought my Plustek film scanner it came with SilverFast SE Plus scanning software. Since this version of SilverFast is priced at $119 getting it with the scanner which cost around $350 seemed like a good deal. It’s clunky and the interface is hardly user friendly but it did the job, or at least it did until I scanned my most recent roll of film. While everything looked fine on the pre-scan the finished scan has a distinct purple/magenta tint.

Scanned with SilverFast

Normally when I scan I aim to create a tif file with as little adjustment as possible. I’m primarily looking to create a digital archive file and if I want to adjust it for display I do so later in Lightroom. So I was at a loss to understand what was happening. Resetting everything to ensure that no adjustments were being applied without my knowledge made no difference. Then I thought the problem might be with the scanner.

A quick online search revealed two things. First, plenty of other people using SilverFast had experienced the same problem, with some discussions going back as far as 2012. Second, there was an affordable alternative called VueScan. So I downloaded the trial version of the latter, scanned one of my negatives with it and like magic the tint disappeared. Better still, the interface while not exactly state of the art is a lot better than SilverFast. Best of all my impression is that the scans with VueScan are of a higher quality.

Since VueScan offers additional adjustment parameters I’m still experimenting to see which settings produce the most ‘neutral’ rendering but the first image below, largely on default settings, provides a good starting point for further experimentation. The cool, slightly washed out tones could perhaps take some adjustment at the point of scanning but since my taste runs to a cooler look I find that this lends itself to easy adjustment in Lightroom (as in the second image below). At only $50 with lifetime updates it was an easy decision.

Scanned with VueScan

Minolta XD

The Minolta XD-7 is another of those late 1970’s SLRs that I was much taken with as a teenager, and another I could never afford. In my quest for an aperture priority SLR to complement my resolutely old school Nikon FM2n I hadn’t really considered the Minolta since they so rarely came up for sale. Then this camera popped up on Used Photo Pro in excellent condition for a little more than $100. Another $50 got me the Minolta 50mm f1.7 lens. After putting a roll of film through it I sent it off to Garry’s Camera Repair for a CLA. Since mine is an earlier version of the camera it was suffering from the common problem of shrinking leatherette, so I also had that replaced with a dark blue version.

Design

My first impression? I like it. Size is ideal for me, not too big or heavy like the earlier generations of SLRs, but not so small that it feels awkward or fragile. It’s a little smaller than the FM2n, but not by much, and a few grams heavier. That weightiness is a result of the metal body, something that disappeared with the next generation of SLRs. The Minolta MD lens, while not having the same reassuring heft of my Nikon 50mm f1.8 AI, still feels like a well made, quality product.

The camera both looks well and works well. The designers produced what, to my eye, is a very clean, purposeful look. In particular, by locating the shutter button within the shutter speed selector dial they simultaneously reduced the clutter on the top plate while creating extra space to make that dial and the mode selector switch bigger and therefore easier to operate. (Pentax did something similar with the ME Super, but without the same benefit since the ME Super was already significantly smaller than most of its peers. Canon combined the shutter speed selector dial with the film wind lever but this arrangement, for me, is less successful). The low profile of the Minolta’s shutter speed selector dial and the film speed selector dial also helps the overall look.

Controls

All of the XD’s controls are well located and easy to operate. The film advance is smooth and even, the shutter speed dial is easy to grip and has an ideal degree of resistance. The three position mode selector clicks cleanly into place for each setting. The shutter release requires some getting used to. That low profile that I mentioned earlier means that there is very little travel in the release, which also happens to be quite sensitive, and since a soft press is necessary to operate the meter, on a couple of occasions I have accidentally fired the shutter. I expect with increasing familiarity this will resolve itself but at the moment having got used to the much longer travel, and greater resistance, of the shutter release on the FM2n, I’m still a little heavy handed. From using the FM2n I’m also used to having a shutter lock so I was surprised to find that the XD lacks this basic but valuable feature. Combine this with the sensitive, short travelling shutter release and there is a risk of wasting a few frames if your not careful.

On the other side of the top plate the film speed selector dial turns very smoothly, once unlocked with a sensibly sized button. A small lever on the same dial offers + or – two stops of exposure compensation. Mine is one of the older model XDs where this lever faces forward and left. In later models it was repositioned to face right ostensibly to prevent accidental engagement. However, the lever has to be pushed in in order to move and I feel that the resistance is sufficient that it would be difficult to move it without realising.

What else? A self timer in the usual location, depth of field preview button, and a viewfinder shutter. There is no separate multiple exposure button. Instead, depress the film advance release button on the base of the camera and wind on. Finally, there is the ‘Safe Load Signal’ a red vertical bar that appears in a small window on the rear of the camera below the wind lever when film is loaded correctly and moves gradually across that window as the film is advanced. Simple, but useful.

XD, XD-7 or XD-11

I understand why the branding experts sometimes give products different names in different markets. A word that sounds good in one language might have very different connotations in another. I can even see how a combination of numbers and letters could also be problematic. Even so, I can’t for the life of me understand why Minolta launched so many of their cameras with multiple identities.

Not that Minolta was the only camera company doing this. Canon was another culprit, particular with their consumer grade DSLRs. Nikon’s consumer level F models became N models in the US. Panasonic still do it with many of their cameras. But no-one opted for multiple naming with the same enthusiasm as Minolta. Generally there were three names: one for North America, another for Japan and the far east, and a third for Europe and the rest of the world. My camera is an XD, which is also an XD-7 which is also an XD-11. Why? Who knows? Only ‘the mind of Minolta’.

XD was the designation for the Japanese market, while XD-11 was used in North America. I’m not entirely sure how my Japanese market camera ended up in the US, where I bought it but if nothing else it gives it a little extra distinctiveness.

Exposure

Discussions of Minolta often point to the company’s history of innovation (a tradition that Minolta’s successor, Sony, has maintained) and the XD was indeed an innovative camera when it was launched in 1977. The shutter priority semi automatic exposure system first appeared in a mainstream SLR camera in 1965 with the launch of the Konica Auto-Reflex. Some years later in 1971 Pentax launched the first aperture priority SLR, the Electro Spotmatic. Minolta’s innovation with the XD was to create the first SLR with both shutter and aperture priority modes. While Canon is credited with introducing the first program mode in 1978 with the A-1, the XD also had a rudimentary kind of program mode linked to the shutter priority mode. There is of course a fully metered manual mode available.

Metering on the XD is through the lens, full aperture, centre-weighted using a Silicon Photo Diode — the first Minolta to use this type of cell. Neither the brochure nor the manual offer more specific information regarding the metering, though it is presumably similar to the typical 60–40 pattern found on most other SLRs of the time. The XD also introduced another new Minolta feature, ‘Final Check Metering’. As well as taking a reading with the aperture fully open, another reading is taken when the aperture stops down just before the shutter opens. Minolta described this as providing ‘maximum fail-safe accuracy’.

All the information you need for each exposure mode is displayed clearly in the viewfinder. In aperture priority mode the chosen aperture is displayed at the bottom centre with the shutter speed range displayed on the right. LEDs indicate the camera selected shutter speed or, where appropriate, the under- or over-exposure markers.

From left to right the viewfinder display in aperture priority, shutter priority and manual

In shutter priority mode the aperture is still displayed bottom centre since it is read directly off the lens via a small window in the prism. Next to this the chosen shutter speed is shown and the display on the right now shows the aperture range with the camera’s selection indicated by the LEDs. That rudimentary program mode I mentioned earlier takes effect if the chosen shutter speed requires an aperture settings beyond the limits of the attached lens. In this instance the over- or under- exposure indicator will light up, but if you don’t make the necessary adjustment the camera will automatically adjust the shutter speed to ensure proper exposure. It’s clearly a very basic function and one that would not be regularly required (assuming a minimally competent photographer), but it was interesting in its time as a pointer to the ongoing development of automatic exposure control.

It’s also worth noting that use of the shutter priority mode requires the use of MD lenses. While older lenses can still be used with the XD in manual or aperture priority mode, they will not work in shutter priority. This is because the shutter priority mode requires the attached lens to be set at its minimum aperture in order to function correctly and the earlier lenses lacked any means of communicating that information to the camera. The MD lenses added a small tab that fulfills that function. MD lenses also have light weight aperture blades designed to work with the ‘Final Check Metering’ function.

Exposure compensation of + or – two stops is available. Even though the adjustment lever only offers click stops at each full stop setting (that is, -1, -2, +1, +2) the manual does say that ‘the index may be set at intermediate positions’.

Viewfinder

The viewfinder feels big and bright and offers the usual split image and microprism focusing aids. According to the XD brochure the camera ‘incorporates a newly developed focusing screen which is unsurpassed for brightness’ offering ‘an edge-to-edge, and top-to-bottom brightness and consistency not found in any other SLR’. I don’t have a battery of SLRs to compare it with, just my Nikon FM2n. I don’t see a huge difference between the two but the FM2n did not appear until 1982, some years after the XD, and a brighter focusing screen was one of the distinguishing features of that camera compared to the FM2. Suffice it to say both are excellent.

I have already mentioned the viewfinder information that is displayed in each mode above. This is what Minolta called the ‘Total Information Viewfinder’. The strength of the display is not just the amount of information but also the manner in which it is organised. Everything is displayed clearly in the bottom centre (aperture), bottom right (shutter speed) or right side (LED scale) of the viewfinder which means everything can be checked at a glance.

While this may be of little importance for some photographers I have discovered that the quality of the viewfinder layout and presentation is almost a make or break issue for me. I bought and then sold a Nikon F3 — a superb camera in almost every respect — because I could not get used to the poor viewfinder, specifically the terrible LCD display. When I took my FM2n out recently I was struck by how poor the viewfinder display is compared to the Minolta. The FM2n displays exposure information on the left (shutter speed), right (LED display) and top (aperture) of the viewfinder. The result is that I have to scan round the entire viewfinder to check the information. I had noticed this previously but I’m now much more conscious of it — and more irritated by it — having spent time shooting with the Minolta and its excellent viewfinder.

Accessories

At its launch the XD could be used with the already extensive Minolta system, but Minolta added new items to the system to take full advantage of the XD’s capabilities. In addition to the MD lenses that were necessary for the proper operation of the shutter priority mode, Minolta announced the Auto Winder D and the Auto Electroflash 200X.

The Autowinder D is a simple device that does exactly what it says and no more. Install four AA batteries, attach the winder to the XD and you can choose either single frame advance or continuous advance at a relatively modest two frames per second. A flashing LED indicates that the device is working properly, while a steady light shows that the roll is finished. Given the relatively small size of the XD, attaching the winder might also improve the handling for those with bigger hands. According to the Minolta brochure the motor in the winder was designed to be reasonably quiet in use. I don’t have one — yet — so I don’t know how true this is. These winders are available for less than $20 from the usual sources.

The Auto Electroflash 200X was the first in a range of new automatic flash units for the XD and later X series cameras. Attach it to the camera, set it on automatic and the unit will set the sync speed on the camera (1/100th). The flash can also be used in manual mode. It lacks any bounce or swivel capability so in some ways it’s quite limited, but it is relatively compact and, like the winder, is cheap to buy. Minolta expanded the range of ‘X’ flashes over time so there are other options available. I think think the last time I used a flash was in 2010 so this is not something I’ll be adding to my system.

Conclusion

Perhaps Minolta lacks a little brand recognition among a new generation of photographers encountering film photography for the first time, but those of us who are a little older can remember when Minolta was not only one of the big beasts in the world of photography, but also had a reputation for innovation. Sadly, Minolta struggled to make the transition to digital. The company merged with Konica — another failing photographic giant — in 2003 and the new company, Konica Minolta, got out the photography business entirely in 2006 when the camera division was sold to Sony. Konica Minolta survived and today is a 5 billion dollar multinational with more than 40,000 employees with business units focused on office equipment, digital printing, optical measuring devices and medical imaging technology.

By now you will have worked out that I like this camera, so naturally I’m going to recommend it. If you are in the market for a well made, relatively compact, sophisticated yet traditional SLR the XD is well worth consideration.