The Minolta Super A

    Compared to other rangefinder cameras of the fifties, the Minolta Super A (left) seems massive. In fact, it's like viewing a rowboat placed next to a tugboat. For example, the top plate of a Canon IID2 (right) measures about one-and-one-eighth of an inch from front to back.. The Super A, on the other hand, is one-half of an inch wider across its top. And it's almost one-half an inch taller as well. Notice how squat the Minolta appears to be as contrasted to the Canon.


    "What's that round dial peeking out of the top of the camera?" you ask. Believe it or not, it's the shutter speed adjustment dial (B, 1, 2, 5, 10, 25, 50, 100, 200).
     And that small slot below the rangefinder window? Well, when the shutter is cocked, the slot changes from silver to red. I really can't see how that's of any great value.
     The flash synch selector dial surrounds the PC socket near the base of the camera. The focusing knob is shown at the three o'clock position in the photo. The camera doesn't have a self timer or a hot shoe.

    The hinged back cover shown at the right features a Depth of Field Indicator for the camera's 100, 85, or 35mm interchangeable lenses. This is a welcome (if cumbersome) addition to the camera because the supplementary lenses do not have depth of field markings.  Another plus is the integrated rangefinder/viewfinder window, which was lacking in many other cameras of the fifties.

  Viewed from the top (photo left) the film rewind knob is on the left; the shutter speed selector and accessory shoe are at the center; and the film advance lever with ASA reminder, film counter, and shutter release are at the right.
      The lens barrel mounts a  2/50mm Super Rokkor lens and a  leaf type shutter. The blue dot marks the click-stopped diaphragm adjusting ring (f2-f22). Yellow denotes the lens removal ring, and red shows the mark you use to line up the lens with the camera's body for removal or replacement. Green indicates the focusing knob. Note that the Minolta A will accept only lenses that match its unique mount.

     Although I'd like to try this camera's three other lenses, the only one I possess is the 2/50 lens, which I found to have adequate sharpness and contrast. So that's a plus.
     Another plus is that, if you need to clean and lubricate the helical mount, it's easily accessible. Just remove the lens and you can get to the mount without a problem. That's important when you consider that many vintage cameras suffer from lubricant that has hardened and made it difficult (or in some cases) impossible to focus the camera.


COMING SOON: Mamiya 35 S2