Ha. Peer pressure. Maybe. Lots of good reviews. Good price. The Leitz connection. I had to see what the fuss was all about.)
Probably won’t be buying an SR-2 any time soon, but you never know. I have a Pentax SV that is probably similar.
Why the SR2 and not the SR7? Not that I really need a SR, but since I have from every generation from SRT to X570 & X600 one of the important models (no XK/XM/X1, but I count the XE7 as "that generation"), the pre-SRT area would still be missing. Even though that might get close to my Praktina (totally different lens mount and still earlier then the SR, without instant return mirror etc, but also very cool). I saw an SR7 not too long ago really cheap, and that one should be the top model from the SR area?
Yes, it looks like the SR-7 is the end of the SR line and can be had for not much. I dunno. The SRT101 is probably the lowest in the line I'll go, but I'd get the SR-7 over the SR-2 based on functionality rather than collector value.
I did some more research on the Maxxum 7 and it's just not worth fixing. I'll stick with the X-570 and the 9xi for my modern Minoltas.
Since learning more about films latitude, I find shooting meterless during daylight hours a lot of fun. Can't say I've had even one frame of film poorly exposed yet. These are front line cameras not collectibles . . .
it looks like the SR-7 is the end of the SR line
I need to develop (no pun intended) the ability to successfully do meterless shooting. I got the Pentax SV to do that and haven't, yet. It intimidates me a bit. I have a handheld meter and the iPhone app, but would really like the skill to do without them. I suppose a film with a lot of latitude helps.
I didn't mean to imply that the SR's were only collectibles, but they would be to me at the moment since I'm served in those areas by other cameras I have and I haven't learned meterless shooting, yet.
Thanks for putting the SR series on my radar, though. I'd never known anything about them until this thread.
The saying goes it's better to overexpose then underexpose. Well now I know by how much.
If you're shooting mostly color negative or b&w film, you will have so much latitude to work with. Below is up to +10 overexposure of Kodak Portra 400 and with a tiny bit of post work I show what you can get from it. I also show Kodak Ektar 100 up to +5 not realizing at that time that even though it's a relatively contrasty film, it also had latitude to spare. Digi files OTOH - even RAW, are completely unusable past +3.
Kodak Portra 400 overexposure by Les DMess, on Flickr
The X-570 has all you need!Yes, it looks like the SR-7 is the end of the SR line and can be had for not much. I dunno. The SRT101 is probably the lowest in the line I'll go, but I'd get the SR-7 over the SR-2 based on functionality rather than collector value.
I did some more research on the Maxxum 7 and it's just not worth fixing. I'll stick with the X-570 and the 9xi for my modern Minoltas.
I'll be putting either a 50mm or 58mm in f1.4 or a 55mm f1.7 of the XE-7. I believe the 58mm is the most common pairing. That's what came with my SRT101 back in the day.
while the XK & XE cameras were sold with the MC-Rokkor-X lenses. That's where the "X" comes from. They had rubberized focusing rings, white numbers on black f-stop rings, and improved multi-coating.
The X is just a marker for the American market, the same lenses were sold in the rest of the market without the X, same design otherwise. Some as the different camera names, like XE7=XE1=XE.
Different with the Celtic lenses, these existed only in America...
Yes, this is what I've always heard. So the XE-7 was probably sold with the "X" lenses and the XE and XE-1 with lenses w/o the "X".
Yeah, this market based naming is nuts and continued later with Maxxum/Dyxum/Alpha. Did other brands ever did something similar?
I'll have to add one to my wish list.
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