My first SLR was a Minolta Maxxum 5000. It was a gift from my grandparents, who inspired me to explore my creative interests in new and challenging ways. Autofocus was a relatively new mainstream camera feature. Even though my camera preferences eventually went a different direction, that generous gift to an eighteen-year-old started a rewarding journey.
That Maxxum started failing during my first year in college, and it was replaced by the X-700. Minolta seemed to be the best brand for me at the time, as it was relatively affordable, and yet the lenses were superb. I have always had an affinity for Minolta. Both of the regular readers of this blog already know that.
I recently found myself in a pawn shop in northern Nevada, one that I usually visit when I am passing through town. This lens had been there for at least two years, by my recollection. It was overpriced, and pretty dramatically so. Over time the shop had amassed a bushel basket of orphaned lenses and camera accessories. I had picked through that basket several times and there was little left that interested me.
On this trip, however, there was a sign on the box that read “all lenses $10”. They were liquidating the trash table lenses. This Minolta lens was in that box, still with its original price tag. I inquired about it, and the clerk confirmed that they were just trying to blow it all out, even at a loss. So be it.
Upon getting back home, I ordered an adapter for the Sony mirrorless, and started testing it out. I have several catadioptric lenses already, none of which enjoy a reputation for high image quality. Reading up on this one made me more hopeful as I set about trying to use it. This is one of very few autofocus mirror lenses, and occupies a unique spot in photographic history.
There was a spot of fungus inside the edge of the front element, but that was quickly cleaned off without any fuss or lasting damage. A fresh 50/50 mixture of 3% hydrogen peroxide and ammonia solution takes care of all but the most stubborn fungus. Fortunately the glass had not been irreparably etched.
On a subsequent trip into Nevada, this lens rode along side, mated to the Sony. Both legs of the trip included a stop at Comins Lake, south of Ely, where the lens got to play. There were birds in and around the lake, both yellow-headed blackbirds as well as shore birds such as herons and stilts. Later in the day I spotted a young pronghorn alongside the highway, who appeared curious as to why I stopped.
Manually focusing this lens is difficult due to its very narrow focal field and very long focal length. I missed several bird photos because either they or I moved just a little. Off-hand use was too shaky and I could barely compose the image, much less focus. Following birds in flight was a challenge. I tried using it on a tripod, which stabilized it better, but restricted movement too much. Focus peaking helps, but it is not sufficiently precise.
I eventually determined that my best option to stabilize this lens and camera combination for moving subjects was to mount it on a “chicken foot” monopod. This is a monopod that has three short feet extending from the base. This system offers less stability than a tripod, but isn’t nearly as cumbersome.
The head of the monopod needed to tilt and swivel. I removed the long handle from a Manfrotto fluid head, which has adjustable tension for both tilt and swivel. This gives me smooth and stable movement allowing me to position the camera without moving the monopod. This was the compromise I was looking for.
No discussion of catadioptric (mirror) lenses would be complete without mentioning the out of focus areas. “Donut bokeh” is the term commonly seen today. This is endemic to mirror lenses. Due to the optical geometry and construction of the lens, specular out of focus highlights take on a donut shape.
The nature of the background matters here. Lines often become double lines. Spots become donuts. Busy backgrounds become busier still. They can be distracting. You do have to choose your shots if you want to avoid it. Low contrast backgrounds seem to melt away, as they would with a conventional lens.
Some images just scream, “I shot this with a mirror lens!”. Bokeh shouldn’t be the subject of the photo, unless for the purpose of demonstration. I’m not sure what would happen if an actual donut were out of focus in the background. It might open up a portal to another dimension, and I’m too afraid to try it.
Is this a viable lens today? Sure, but one must understand it. On the positive side, it is lightweight compared to traditional optics of the same focal length, due to the use of mirrors. Disadvantages might include the minimum focus distance, which is about 4m, or 13 ft. Donut bokeh, love it or hate it, can be managed with the choice of background. It is what it is, and it is simply part of the deal.
A unique characteristic is that most mirror lenses don’t have an adjustable aperture, and in this case that fixed value is f8. Also, you can see that the front element is very large, resulting in a filter diameter of 82mm. Big filters get expensive. Minolta built into the lens a smaller, drop-in filter system not unlike that on many of Nikon’s large telephotos. This one came with the UV filter installed.
After several outings with this lens, I have no regrets. I will buy almost any lens for $10, but this one has proved its worth many times over. It required a learning curve to figure out how to get the best out of it, but it has been a fun chase. Yes, it is fraught with limitations, but when used within the boundaries of its capabilities, it really does shine.
Specs:
Designation: Minolta AF Reflex 500
Mount: Minolta AF, now Sony A mount
Type: Catadioptric (mirror) lens
Weight: 689g (24.3oz)
Aperture: f8 (fixed)
Minimum focus distance: 4 meters (13 ft)
Filter diameter: 82mm
Accessories: Drop-in filters, screw-on hood