Minolta Autocord TLR: First Impressions – by Sroyon

I shot a roll with a twin-lens reflex camera (TLR) for the first time this month. But long before I used a TLR in real life, I loved the idea of it – so much so that I thought the reality was almost bound to disappoint. What camera could possibly live up to such high expectations? Enter: the Minolta Autocord.

Minolta Autocord: Overview

Chiyoda aimed for the fences with their new camera … and hit it out of the park.
Mike Eckman

The Minolta Autocord is a fully-mechanical twin-lens reflex camera which takes 6×6 photos on medium-format film. Produced from 1955–66, the Autocord came in a number of variants. Some take 120 film only while others take both 120 and 220. Probably the most significant variation is that the L and CDS models have a light meter (selenium for the Ls, CdS for the CDSs). Other differences are relatively minor, like cosmetic changes to the nameplate or slightly different shutter speed sequences. All variants share some common features including a superb taking lens – a Rokkor 75mm f/3.5 with four elements in three groups (Tessar-type).

My model is an Autocord I, manufactured in 1965. It does not have a light meter, but I personally prefer the meterless Autocord variants (mainly for aesthetic reasons; I’m shallow like that). And I don’t mind shooting without a meter – sometimes I use a phone app, sometimes I just guess.

Advertisements: Popular Photography 1956 (left) and 1957 (right) showing both meterless and metered versions

The Autocord and other TLRs

While I may one day add a high end Rolleiflex to my collection, … the Autocord does everything the Rollei does, and does it for a fraction of the price.
Mike Eckman

Full disclosure: I’ve only shot one roll of film with my Autocord so far, so I’m not qualified to write a proper review. But most reviews I’ve read – e.g. Dante StellaMike Eckman, Casual Photophile, Tobias Key – praise the Autocord’s handling, design and build quality, reserving special plaudits for the Rokkor lens (which I’ll come to a bit later).

Meanwhile on the topic of disclosures, I also admit to a bit of a Minolta bias. My first “real” camera was my father’s Minolta SLR, still in regular use. I happen to think that compared to more famous brands like Nikon and Canon, Minolta’s 35mm SLRs and lenses were (and still are) underrated and underpriced – and I’ve always been partial to underdogs and good bargains. Funnily enough, the Minolta Autocord shares a similar fate, living as it does in the shadow of the Rolleiflex. A 1995 issue of Popular Photography included the Autocord in a list of “borderline cult cameras”. This is peak Minolta – not famous enough to be in the Rolleiflex/Nikon class; not rare enough to be a cult camera. Just “borderline cult”.

But I have no complaints; it keeps the prices down. I don’t know if the Autocord is “better” or “worse” than a Rolleiflex, but I do know that even a “low end” Rolleiflex was outside my budget, while my Autocord – purchased off eBay, fully functional and in decent condition – was much more affordable.

Autocord handling

…better optics, easier focusing, and a more logical control layout than any other TLR.
Dante Stella

I’m not a professional, just someone who takes photos for fun. And to me, the experience of using a camera is just as important as the pictures. With no prior experience of using a TLR, I was prepared for all manner of difficulties, but it turned out that the Autocord is surprisingly easy to get used to. It’s kind of a vague thing to say, but the controls just “make sense” – or at least, they do to me.

If you’re looking down at the Autocord, the aperture lever, which I tend to set first, is on the left of the lens board. Moving it up lets in more light (wider apertures). The shutter-speed lever is on the right. Again, moving it up lets in more light (slower shutter speeds). The selected aperture and shutter-speed are displayed in little windows above the lens board – viewable from above when you hold the camera at waist-level, which of course is how it’s designed to be used.


Waist-level finder (left); flip-up magnifier for critical focus (right)

My focus screen looks deceptively good in these pictures, but in reality it’s a bit dim; I’ll probably get a replacement screen at some point. The dimness was more of a concern since I shot most of the roll – including all seven photos in this post – wide open, and the depth-of-field, as you’ll see, is pretty shallow. The magnifier (above right) was helpful, but when taking photos on the street, I did not always have time to use it. I was actually quite worried about focus issues, but luckily it turned out that I had missed focus on just one of the photos (and it was a pretty average photo anyway). Ironically, that one was shot at f/5.6. Go figure.

The Autocord also has a sports finder. This is an extremely simple device – basically just a square frame with a peephole behind it. It’s approximate at best, and there’s no focusing aid. On the plus side, it offers a direct, unmediated view of the scene, and of course, unlike the waist-level finder, it’s not laterally reversed. I have not used it yet, but maybe I will on the next roll, just for fun.

A page from the Minolta Autocord manual

Other Autocord features include self-timer and multiple-exposure; I’m sure I will occasionally use these too. In fact, with the possible exception of the flash terminal, I don’t think there is a single feature which I will not use. Everything you need, nothing you don’t – surely there’s something to be said for that?

Film loading and advance

Image on the left is from a Minolta instruction booklet, courtesy of Pacific Rim Camera

Loading the Minolta Autocord is simple if you’re used to medium-format cameras (in fact, it’s simpler than most). Insert a roll of 120 film in the upper chamber, feed the leader into an empty spool on the bottom chamber, advance until the arrows on the backing paper line up with indicator marks in the film chamber. If you’re interested, Herbert Keppler’s review in Modern Photography (1955) goes into more detail on the loading procedure and its supposed benefit over the Rolleiflex film-transport mechanism.

Film advance is with a crank lever on the right side of the body. The lever is a single piece of metal (not folding like the Rolleis) but it has a folding handle which can be docked into a bracket. To advance film, you “untuck” the handle, turn it forward (clockwise) as far as it goes, then move it back and tuck it back in. This manoeuvre – simple, fast and easy to get used to – also cocks the shutter and advances the automatic film counter.

The advance is smooth (at least on mine) and the little handle is spring-loaded which makes it easy, even pleasurable to use. I really appreciate such design features on cameras – or anything else, for that matter. Minor things maybe, but for me, they are evidence of the manufacturers’ attention to detail and user-centered design. Many such minor things, taken together, can make the difference between a camera which is merely alright, and one which is a delight to use.

Focus lever

An unusual feature of the Minolta Autocord, common to all versions, is the focusing mechanism – a protruding lever below the lens board (pictured below). Quite a few reviewers seem to think the lever is an ergonomic improvement over other TLRs, many of which have a focusing knob on the side of the camera. I haven’t used any other TLRs as I mentioned, but I can see where they’re coming from. With most TLRs, you would typically support the camera with your left hand while you advance the film with your right. Then you would switch hands – focusing with your left hand while supporting the camera with your right. With the Autocord, there’s no need for switching. With your left hand, you support the camera and operate the focus lever; with your right, you advance film and trigger the shutter.

The lever is also convenient for zone focusing. The 6 o’clock position of the lever corresponds to 6 metres, and of course the two ends are the minimum focus distance (1 metre) and infinity. In this way, at some specific distances, I can now focus simply by feel without looking at either the viewfinder or the distance scale.

Unfortunately, the focusing lever is also one of the few weak points of the Autocord (that I know of). It is made of Zamak, a relatively brittle zinc alloy. Forcing a jammed focus lever can result in breakage. Quite a few Autocords on eBay have jammed or broken levers, so if you’re in the market, it’s something to watch out for. And of course, if your lever jams, get it lubricated; don’t force it.

Minor quibbles

Other quibbles with the Autocord – just mine, your mileage may vary – include the fact that the aperture lever is smooth with no detents (I like click-stops because you can set the aperture without looking – e.g. for f/8, go all the way to f/16 and then two clicks in the other direction) and that it’s quite close to the self-timer lever, which I have inadvertently set a couple of times when trying to change the aperture (more on this later). But these are minor things, I can get used to them.


it’s easy to fall into quiet contemplation as one admires … the combination of gleaming glass and polished metal.
Casual Photophile

Black metal and leatherette, silver trim, knurled knobs, art deco curves. The Autocord is an incredibly pretty camera. What else can I say? Perhaps this stuff shouldn’t matter, but it does to me.

Autocord accessories

My motto is to go wild on the accessories.
Heidi Klum

Minolta produced two sets of accessory close-up lenses – No.1: 40–65 cm, and No.2: 35–42 cm – but I don’t plan on getting them (sorry Heidi Klum). Part of my thinking behind getting a TLR was to have a simple, high-performance system with few choices – one where I think more about framing and composition, and less about what lens or accessory to use.

Fred Math lists various other accessories including the Autopole (a circular polariser which fits over both viewing and taking lenses and is coupled for synchronised rotation), Paradjuster (collapsible mount for parallax correction in close-up photos) and Panorama-Head (rotating mount with a spirit level, and click stops at 30° intervals designed for 12 pictures covering a 360° panorama). The Autocord is also compatible with Rollei Bay I mount accessories. But as I said, I plan to keep it simple. Famous last words?

I do however have a Kenko lens hood which came with the camera (and which I keep forgetting to use).

Autocord optics

[T]he lens was performing as well as just about any twin-lens reflex lens we had ever tested.
Herbert Kepper, Modern Photography (1955)

The Minolta Autocord is equipped with a Rokkor 75mm f/3.5 taking lens. From my online research I understand that all Autocord variants share the same lens design – a Tessar formula with four elements in three groups. (This Japanese website says the Autocord III and CDS models have a “New Rokkor” lens with high-dispersion glass, but I believe the lens diagram still looks identical.) The viewing lens – a three-element View Rokkor 75mm f/3.2 – has an amber coating in the older variants, and a blue coating in the newer variants from the Autocord I (my model) onwards.

The Minolta Autocord’s 75mm f/3.5 lens has a similar viewing angle and depth-of-field as a 40mm f/1.9 lens on a 35mm/full-frame camera. The minimum focus distance is 1 metre (3.3 feet) – not very close by modern standards, but par for the course when it comes to TLRs. If you need close-up capability, you can get accessory lenses as I mentioned above.

As for the quality of the lens – I really like the rendering, and I don’t see any glaring flaws. Maybe that’s not much to go on, but at this point, I honestly don’t have anything more useful to say. What I have so far is a small sample of photos, all on black and white film, in a limited range of settings (mostly wide open, close focus, human subjects).

I also can’t compare with lenses on other TLRs since I haven’t used any. But other reviewers have, and Dante Stella claims that the Autocord’s Rokkor lens is sharper than the Rolleiflex Xenar or Tessar. But does that mean it’s equalled or perhaps surpassed by the Planar or Xenotar? The review does not say… For that matter, what does sharpness even mean? Do we worry about it too much? Is it just another way photographs can be?

Well… these are philosophical questions, and this is just a camera review. All I can say is, the Autocord is sharp enough for my needs. With a camera of this quality, at least in my case, the limiting factor is the photographer.

Autocord sample photos

depth of field game 10/10
—my friend Bronwen critiquing my Autocord photos on WhatsApp

I’ve only shot one roll with the Autocord so far: Ilford HP5 Plus 400 (my go-to film) which I developed in ID-11 1+1. Of the twelve photos on the roll, I got about six keepers. Admittedly my standard for keepers is not that high, but this is a better ratio than I generally manage on either medium-format or 35mm.

My first photo on the roll is of my mum. When trying out a new camera, I like to start easy, with a cooperative subject.

Everything went smoothly (though of course I could not see the result at the time!) and this gave me some confidence to do a “field test” taking pictures of strangers. The rest of the photos in this post were shot in the course of two afternoon walks in my hometown, Kolkata.

I don’t know if you’d call it “street photography” – some people reserve that term for candids, and only my last photo is truly candid. The rest are more like… “street portraits” I guess? Anyhow, when taking these types of photos, I usually chat to people – try and get them to relax, or do something interesting. And I’m useless at multitasking, so if I’m not comfortable with a camera, to the point that I can operate it almost without thinking, this approach doesn’t really work. But barring one or two glitches, my new-to-me Autocord gave me no trouble at all.

Kolkata is pretty hot at this time of year (the highest temperature today was 39°C), so I went out in the late afternoon when it’s cooler. The light is more flattering too; you can see the long shadows in the photo below. On the left of the frame, you can also see two goats which belong to the boy’s family. I took another picture of him with the goats, but that’s the one I mentioned earlier where I missed focus.

When I posted the photo on a film photography group, a fellow member commented that it’s a genre with a “with a deep heritage in photography,” linking to André Kertész’s 1928 photograph, Boy Holding Puppy (goes without saying, Kertész is in a different league; it’s just a fun parallel).

When I took the next photo, the light was failing and I was in a narrow alley. Consequently I shot wide open at 1/60 sec, praying for no camera-shake (luckily, it’s relatively easy to hold the Autocord steady, especially if you brace it against your body). At f/3.5 on a 6×6 camera, the depth-of-field is pretty shallow. I chose to focus on the dog, but the little girl had real “presence”. I’d like to go back and take a couple of portraits of her too, if I can find their house again. And I think I’ll make a print for her dad; I asked his permission before taking the photo, so I’d like to give them something in return.

The ladies in the photo below are eating kulfi, a good way to beat the heat. One of them blinked, but I like the photo anyway.

The next photo is one I’m not particularly fond of, and I initially didn’t include it in this article. But one of my photographer-friends really liked it and all but insisted I include it… so here we are. But it lets me illustrate something I mentioned earlier about the Autocord’s controls.

Before taking this photo, in trying to set the aperture, I set the self-timer by mistake (the two levers are rather close together). At this point, the sensible thing to do would be to close the lens cap, fire the shutter for a blank exposure, then use the double-exposure feature to cock the shutter without wasting film. But all this while carrying on a conversation was too much for me (did I mention I’m bad at multitasking?) So I just resigned myself to a ten-second lag, pressed the shutter and hoped for the best.

Well, it could be worse I guess. And I like the reflections on the steel utensils.

The next two photos feature the same kid. In the first one, I think the bokeh is a bit “busy”, but it doesn’t bother me too much. Then again, it looks smoother in the earlier kulfi photo, so before drawing any conclusions, I need to take more photos at different apertures and distances, and with a variety of out-of-focus backgrounds.

The next photo is the last one of the roll. I was running out of film and running out of light. I had to shoot at f/3.5 and 1/60 sec, which is why there’s a bit of motion blur – but I think it adds to the photo.

On a waist-level finder, as you’re probably aware, the image is reversed left-to-right like in a mirror, and this is generally regarded as suboptimal for action shots. To be fair, I’m somewhat used to this since I have an Ihagee Exa – a 35mm SLR with a waist-level finder. But the fact that I could take a “decisive moment” type photo with a new-to-me TLR is a testament to the Autocord’s ease of handling.

The kid noticed I was taking a photo and asked to see it. I explained that this is an old camera, so unfortunately we couldn’t see the picture right away, but if she was willing to jump again, I could take one on my phone.

I showed her the phone pic (above) and she seemed pleased enough, but soon her attention shifted back to my Autocord. “What about the photo you took on this?” Cue more explanations, which she was not entirely convinced by. So I guess I need to make a print for her too.

A “human” camera

It was a fun little interaction, but also a good example of why I so enjoy shooting with the Autocord. Like most (all?) TLRs, there’s an undefinable “human” quality to its design. The little kid had probably never seen a TLR before. The older man who’s watching her jump probably had (he asked me if it’s a Yashica). But young and old, they were both curious about the camera – practically fascinated by it.

Maybe it’s the cuboidal form factor. Maybe it’s the shiny knobs and levers, or the twin lenses like Minions’ eyes. But I saw this time and again in my interactions with strangers. In the middle of their daily activities, they were willing, even happy to be photographed – playing with a stray puppy, jumping down stairs, eating kulfi. And I in turn could keep eye contact with my subjects and engage them in conversation – asking them what their dog is called, whether they like kulfi more or ice-cream – occasionally glancing down at the ground glass, and pressing the shutter when the time is right. The shutter is quiet, and there’s no mirror-slap. If I keep talking, often they don’t even realise when I took the picture.

Martine Franck once described the camera as “a barrier of sorts that one is constantly breaking down so as to get closer to the subject.” A TLR, I think, is less like a barrier; more like a bridge.

I look forward to taking many more pictures with my Autocord; if you’re interested, you can see the fruits of my labours on Instagram, or maybe here on 35mmc if I think of more things to write about. Thanks for reading.

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About The Author

53 thoughts on “Minolta Autocord TLR: First Impressions – by Sroyon”

  1. Patrice HENRION

    Vos photos sont superbes…. et votre approche de la vie aussi. Félicitations.
    Your photos are superb…. and so is your approach to life. Congratulations.

  2. Peter Roberts

    Great write up, Sroyon.
    As you say, TLRs do seem to become a talking point when you are out and about with one. Sometimes this can be a great help, but sometimes a hindrance.
    I had an Autocord many years ago and found it very easy to use, especially the lever for focussing. Something about that must be buried in my subconscious because I still find myself trying to use the non-existent one on my Rolleicord!
    I love the images you’ve captured. They have a timeless traditional look to them. Marvellous.
    Stay safe.

    1. Thank you, and that is funny about the “ghost lever”! Do you have a preference between the Autocord and Rolleicord?

      1. Peter Roberts

        I might be indulging in personal nostalgia brought on by your review, but I would say that my preference would be the Autocord. But then it is a Minolta and like you I’m a Minolta fan.

  3. Lovely review. I know the Autocord has a great following. Try out the sports finder – it is much easier to compose with than the waist-level viewfinder. I am intrigued by the link to the new focusing screen.

    1. Thank you! Yes I will try it out on my next roll. I plan to shoot all 12 photos in unconventional ways – well, unconventional for me, e.g. sports finder, flash, double exposure, etc. Let’s see how that goes (pushing my luck haha). I was just speaking to someone else who got a new screen for his Rolleiflex and he said the difference was “like night and day”. Intriguing indeed. But if your original screen is in very good condition, I image the difference will be not as stark…

      1. The split image as a focusing aid would be great. The screens on both my Rolleiflex and my Microcord are about the same – possibly state of the art for the 1950s, but possibly well behind your 60s technology.
        Interesting that the film goes from top to bottom – my two (plus a non-functional Yashica) leave the exposed film at the top of the camera…

        1. Minolta did that intentionally. They did not want the film to have to curl around a corner before it was exposed so they had it come from the top to be exposed and then curl.

  4. Sroyon, I don’t intend to be condescending, but these images are truly excellent for a first-time out with a TLR.
    The Minolta Autocord is not a camera I’ve owned, or used, during a 40 year plus period in which I used 6×6 TLR’s, from my first Yasicamat in 1963, to a Mamiya C330, then Rolleiflex 2.8E2, 3.5f, RolleiMagic II, and finally back to the last Mamiya variant, the C330S. (I still have this as well as the Yashicamat and Rolleiflex 3.5f and Magic II.)
    I knew about the Minolta’s focusing lever instead of the ubiquitous knob on most TLR’a, but the film path was new to me from this excellent overview, and I’d like to expand on your comment that it was felt to be superior to that of a Rollei, and Rollei derivatives. The same comment is made about Mamiya TLR’s, although in these the film is wound from the bottom chamber to the take up spool in the upper chamber. But apart from the direction of travel, the same principle applies to both the Minolta and the Mamiya. The “advantage” referred to is that the film is not pulled around a roller before it reaches the film gate. Some felt that this could induce a kink in the film if it was left unwound over a period of time, and this may have an impact on film flatness, although it wasn’t anything I’d experienced. With the Minolta it seems the film is pulled round the second roller after exposure, and with the Mamiya the whole film path is straight from upper to lower spool.
    P.S. I love kulfi, especially pistacchio, after a balti or restaurant meal. Fascinating to see it on a stick!

    1. Thanks Terry for your compliment, and the details about the film transport mechanism! Yes, that’s what I got from Herbert Keppler’s review in Modern Photography which I linked, and like you, he seems to suggest that the Rolleiflex type is not necessarily problematic either (“Frankly, we’ve never had such a difficulty [kinking] with any twin-lens reflex”). I love kulfi too 🙂

  5. As always, it is rare to find such quality and humanism in a photography article, especially when it deals with technical cameras. Thanks for this article Sroyon – and I love the tea seller picture, he’s very expressive!

  6. I like this write up a lot. It seems a great camera and you are very capable at handling it. I hope to see more pictures and words of you on this website.

    1. Thank you Peter! I write a lot for this website haha (perhaps too much). But this is my only article so far about this camera 🙂

  7. I used an art teacher’s Autocord while I was at school, circa 1971. Subsequently, I’ve owned an early Rolleicord, a Lubitel 66, and a Yashicamat, and I currently have a Rolleicord Vb.

    The standout feature of the Minolta was the focus lever: I think that some MPP cameras shared the idea, and I liked it a lot. Though it’s too far back for me to be able to compare quality with the Rollei, I think it was rather good…

    1. Ah no worries, comparisons are subjective anyway 🙂 I think they say less about the camera and more about the photographer and their preferences (which is more interesting in some ways).

      I believe the Flexaret had a similar focus system below the lens board, Minolta may have got the idea from there (just my guess, I haven’t researched it…)

    1. Thank you! I think the camera design is intuitive or I just gelled with it well (or both!) but it didn’t really feel like I have to concentrate too much! Could just be beginner’s luck, let’s see how future rolls turn out haha

  8. When searching for an old TLR, I looked into the Autocord. I found tghat there is a 3rd party that makes or made a stronger focus lever and the comment I read were vary favorable…….. I ended up with a Rolleiflex E with a 2.8 Xenotar and a meter that actually works very well.

    BTW, I liked your article. Very nice and complete.

    1. Good information about the lever, thank you! Enjoy your Rolleiflex ☺️ I would like to try one someday

    1. Thank you! I am actually not a fan of the light in the second one haha, but I am glad you like it 🙂

  9. Hi Sroyon – very cool write up and I agree with the others who praised your nice shots and success on your first outing with it. My grandfather had one of these in the 1950s. It’s still in the family; recently CLAd and now in the possession of my nephew. We had the one with the meter built in, but I don’t think I ever used it; its system that was supposed to be easy was to my mind a bit tricky. But yes, as the first TLR I ever shot I found the ergonomics good. My grandfather also said the lens was better than a Rolleiflex but I don’t think he had any basis for saying that unless he’d heard it from someone else or maybe read that review. I currently have a C220 and the Minolta is SO much lighter and more compact. I’ve never shot a Rolleiflex so can’t offer a comparison there though. Cheers.

    1. Thanks David 🙂 Yes all the reviews I’ve read say they found the “guide numbers” confusing. Haha I like your grandfather! We are a biased lot… #minoltagang

  10. A lovely, engaging article, Sroyon. You’re far too modest about your photos, to my mind they’re superb. I wish you well with your Auotcord journey and hopefully we’ll see a few more images from it. Thank you ????

    1. Thank you Ralph, very kind! I plan to try a more experimental roll soon, let’s see how it goes. If the results are either good or very bad, it might make an interesting article; in between, maybe not 😀

  11. A very fine, accessible and thoughtful review of this camera. I suspect that prices of Autocords (and possibly Minoltas in general), will now start to sneak up a wee bit as folk read your article Sroyon. (Super images by the way. You’re far too diffident about your abilities.)

    For those of us thinking of dipping a toe into the world of TLRs you’ve demystified the process a good deal with this piece of writing, even if you have likely made it a tad more expensive!!

    1. Hi Keith, thank you so much. If you haven’t tried a TLR yet I recommend it! If you find it’s not for you, you can always resell it (and probably get your money back if you didn’t pay too much more than market value) ???? I also have a Mamiya 645 Pro but the TLR has a real charm I think.

  12. I love my TLR, a late-model Yashica D from the early 1970s. Like your Autocord, my Yashica D has everything you need, but nothing that you don’t in order to take excellent 6×6 medium format images. Like your Autocord, my Yashica D has an f/3.5 Tessar-style lens, with no light meter. I have grown very fond of manually metering my shots. I specifically looked for a late-model Yashica D because, for one, it is much less-hyped than the Yashica-Mat 124 and 124G models, much like your Autocord compared to similar Rolleiflex/Rolleicord models. I did not want a TLR with a light meter because I figured it would not likely be very accurate due to age, but also because it might be cheaper. Unlike your Autocord, my Yashica D has a separate film winding knob and shutter cocking lever, so taking double exposures is as easy as cocking the shutter without advancing the film. It’s a great camera that I love very much, plus it was my first medium format camera. I have taken this camera with me on several trips abroad and have been blown away by the amazing images on both color and B&W film. The only accessories I have for my TLR are a metal lens hood and a Bay1 yellow filter for the taking lens for occasional use with B&W film.

    1. That is great to hear that you’re enjoying your Yashica! Yes I was also thinking the Autocord would make a great travel camera. I look forward to taking it on trips, when trips are possible again. I too have a metal hood – though a Kenko, I would like a Minolta! – and I was actually thinking about a yellow filter for portraits. If I get one additional accessory it might be that one…

  13. Really nice writing and excellent photos – thank you Sroyon. I swapped a Mamiya C220 for an Autocord (same model as yours) a couple of years ago, and I really like it; great lens, easy handling, and really not big or heavy at all. I look forward to seeing more of your photos with it.

    1. Thank you… and that’s interesting, some would call it a “downgrade”! Was it mainly for the size? I think I would lean towards the Autocord myself – mainly for the size, looks and my aforementioned Minolta bias (though I say this without having used a Mamiya TLR…)

  14. MIchael Jardine

    Hi Sroyon- these are great photos, I think the first frame of your mum is especially full of life and love.
    You did mention that you’d got hold of one of these funny little boxes and I was looking forward to the fruits of your first shootings. I’ve found it really easy to evangelise using a TLR for the way the experience of using it makes the pics come out. Put rather better by you, obvs.

    1. Thank you! Yes I find this is one of the interesting things about different types of cameras, how they impact what we photograph, how we photograph. Compared to some 35mmc readers/contributors my camera collection is not that big, but they are all different, e.g. 35mm compact, SLR, rangefinder, medium format SLR, TLR, folder… and so on 🙂

  15. I came for the article and wasn’t disappointed. I’d looked at the Autocord when searching for a TLR and also have a fondness for Minoltas as my first camera was an XG-1 (still have it). I ended up getting a really good deal on a Rolleicord instead.

    But, what I ended up really liking were the images you got. Fantastic pictures no matter what but particularly for a first outing with a new class of camera. Congrats.

  16. You have motivated to get out and use my father’s Autocord he left me after he passed. I thank you for that.

    1. Aw I’m sure he would be happy. The first camera I used was a Minolta SLR purchased by my late grandfather in the 1980s (but before I was born).

  17. Great review of a great camera, and excellent pictures, – incredible that this was your first roll with this thing!

    Your mum’s cheer really shows in the portrait, and it seems to have flown into your writing as well!

  18. Pingback: Le Minolta Autocord, sauvetage. | Michel LE MANDAT (mlmpages)

  19. This is an absolutely lovely photo essay and article. You really get to the heart of the experience here and it is inspiring.

  20. j’ai bien aimé la douceur de vos propos et la justesse de votre analyse sur ce boitier . Je viens moi aussi d’en acquérir un et il est vrai que c’est un fabuleux appareil. Je vous souhaite de conserver longtemps votre passion de la photo.

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