While I have reviewed many cameras over the course of the two years running this project, and there have been many satisfying cameras. The one sub-type of cameras I haven’t explored in much detail is the SLRs from the 1990s. That is the plastic consumer SLRs that dominated the market before the advent of digital SLRs. The only other one I’ve checked out was the Nikon F90, which is a fantastic camera! And after listening to Episode 152 of the Film Photography Podcast I decided to check another one out and landed on a sweet deal on the Maxxum 700si!
Camera Specifications
Manufacturer: Minolta
Model: Maxxum 700si
Alternate Names: Dynax 700si, α-707si
Type: Single Lens Reflex
Format: 135 (35mm), 36x24mm
Lens: Minolta A-Mount
Shutter: Metal Vertical Travel Focal Plane shutter, 30s – 1/8000s + Bulb
Meter: TTL SPC type, 14-Segment Honeycomb Pattern, EV0 ~ EV20 @ ASA-100, ASA-6 – ASA-6400
Autofocus: TTL 4 CCD Phase Detection, EV -1 ~ EV 18 @ ASA-100
Dimensions (WxHxD): 153.5x98x71.5mm
Weight: 595g w/o lens & battery
Power Source: 1x 2CR5 Battery
Year of Manufacture: 1993
Background
Founded 1929 as a joint German-Japanese firm, Minolta first appeared as a camera model in 1933. These early cameras relied on either plate or roll films; it was not until after the Second World War that Minolta produced their first 35mm camera. The SR-2 marked the entry into the SLR field in 1958, and a metered SLR, the SR-7, in 1962. Only four years later, the SR-T 101 added an open aperture through the lens metering. The most significant leap forward would happen in the 1970s with a technology-sharing agreement with Leitz, and Copal gave birth to the X-Series. The X-Series added various levels of automation to the Minolta SLR lineup. The 1970s also brought mainstream acceptance of using microprocessors in cameras, but it also got the ability to create a viable autofocus system. While both Nikon and Leitz had been working on autofocus systems since the 1960s, they were heavy beasts that required the entire system to be enclosed in the lens itself. Leitz had demonstrated an autofocus system on a heavily modified Leicaflex R4, but Konica released the first passive autofocus camera in 1977, the point-and-shoot C35 AF. Konica had worked with Honeywell to build the Visitronic system that used a pair of spaced CCD sensors that relied on visible light and a microprocessor to set the focus point. Polaroid would release a sonar-based autofocus system with their folding SLR SX-70, and Canon would produce an active autofocus system using infrared light. Pentax, Nikon and Canon would all produce autofocus SLRs through the early 1980s, but these were limited systems based on existing lens mounts and went nowhere. When Minolta started to work on an autofocus system, the director of research and development, Icharo Yoshima, wanted a system that used a brand new lens mount and the motor to drive the focusing mechanisms to be in the camera body rather than the lens to keep the costs low. But Minolta did more than build a whole new lens mount; they also radically departed from standard camera designs of the era. When the Maxxum 7000 hit the market in 1985, space-age was the only word to describe the camera. The angular body did away with all physical controls; buttons controlled every function, and screens displayed feedback. The new system also included twelve lenses initially, with five zoom lenses and the rest primes from 24 to 300mm. Aimed at the prosumer market segment, the camera featured a centre-weighted meter and an autofocus system that used visible light being read by a pair of CCD sensors. The system looked suspiciously like the same one developed by Honeywell.
The initial success would see Minolta release a second generation of their A-Mount cameras; in 1988, the new 7000i arrived. Gone were the boxy angles of the 7000; instead, German industrial designer Hans Muth smoothed down the edges for a sleeker look and feel. The autofocus system added a third CCD sensor for improved accuracy with six selectable focusing points. The meter also took the reading off the selected focus point. The 7000i would take dedicated solid-state cards from the Minolta Creative Expansion Cards to expand the camera’s capabilities. It would be in the third generation, the 7xi. The automatic zoom function is one of the more unique features of the xi-series. The camera would set both the focus and the zoom based on the ideal conditions, providing you have the correct lens attached. These features were even more enhanced with the Creative Expansion Cards. Honeywell launched and won a lawsuit in 1991 against Minolta for copyright infringement with Minolta’s early autofocus system. As a result of the lawsuit, Minolta would rethink their autofocus system, and with their fourth generation release, the 700si in 1993, a new phase detection system was introduced. The new system was far more accurate and faster than the previous systems. The new camera maintained the Expansion Card system, but most of the features added by the cards were already standard on the 700si. The 700si also added some pretty standard features on Minolta SLRs today: the new proprietary hot shoe and the eye-start system. The Eye-Start system would use a pair of sensors, one on the camera grip and a detector on the viewfinder; if the photographer were holding the camera and putting it up to their eye, the system would start, meter and focus.
Impressions
At first glance, you may just dismiss this camera. And after using top of the line manual and auto cameras, I was the same way. However, the 700si is incredibly satisfying to use. It’s plastic, but it’s a solid plastic. And it does this without being too heavy either. It sounds great when you press the shutter, and the whole camera operation has a very classic sound. It reminds me of the shutter sound my first digital camera made which was a recreation of the Maxxum 7. My favourite feature is the Eye-Start. Eye-Start is a series of sensors in the grip and on the viewfinder that if engaged (you can switch this function off and on) will set the exposure and focus the shot upon bringing the camera up. Eye-Start is great and if I had a prime lens on it means you can quickly shoot the camera one handed. While I have used Minolta cameras in the past, we’re talking the SRT and X-Series, but I found the camera controls very easy to use right off the bat. Finally, the meter on the camera is spot on, no need to worry about getting the wrong exposure with this one, even in full program mode.
Experiences
The biggest issue I have with any camera is the battery. And in this case, the camera takes a specific camera battery that you can only get at a camera store. Thankfully it does last a long time, so you don’t need to worry too much. But in cases if you’re using the camera in a city that doesn’t have a proper camera store or that store is closed, you better pack a couple of spares. In the previous paragraph, I praised the eye-start functionality; it can be a bit annoying if you’re holding the camera and it’s close enough to give the sensor on the viewfinder the shadow it needs. The camera will constant be focusing and checking the exposure. Thankfully you can turn it off. The final issue I have with the camera is more of a cosmetic problem. The grips like many cameras of the era do degrade over time and can crack and get tacky. The example I have is okay, but it’s not perfect either. I don’t really see this as a breaking point on the camera just mild unpleasantness when using it, but it can be cleaned.
Optics
Like any other A-Mount camera, you have access to a massive catalogue of lenses. You have to watch out for the later model SSM (SuperSonic Motor); the body does not fully support these lenses. You can mount them, and they will meter and take photos, but you will have to focus them manually. It is best to avoid these. Besides, the older model A-Mount lenses can be sold for a low price. A good set of prime lenses, including a 28mm, 50mm, and 100mm MACRO, makes for a tremendous three-lens prime kit. Minolta produced a great set of zoom lenses, which make great workhorses. My copy came with the kit lens of the day, the Zoom AF 28-80mm 1:4-5.6; it makes an excellent match for the camera in size and weight. Some larger lenses, like the 28-135mm “secret handshake,” might be a bit too front-heavy for the smaller form-factor. A nice balance in the later model kit lens, the Zoom AF 24-105mm; while not the perfect lens, it works well.
The Lowdown
The 700si is an excellent balance between the older model mid-level offerings in the A-Mount line, without the price tag of the later model cameras in the same line. These days you can pickup a 700si for less than 100 dollars, a little more if it comes with the VC-700 grip. Like other cameras of the era you do have to watch out for the material on the front handgrip it does tend to crack due to age, and you can slap on some tape to hold it into place but then you loose that eye-start functionality because the sensors are blocked. The 700si is a solid camera choice to get into the Maxxum system, lots of good features and a fair price.
Further Reading
Don’t take my word on the Maxxum 700si; check out these other reviews from other amazing bloggers.
Earth, Sun, Film – The Minolta Maxxum 700si — The One with All the Awards
Film Retriever – Minolta 700si
Henk Jammes Photography – Minolta Dynax 700si
Craig Huxley – Living with a 700si
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