Folding cameras were not supposed to be part of the VMLP. I was drawn to SLRs and was quite happy limiting my photography journey to them. That feeling held until I used an Autocord. Yes, the Autocord is a TLR, but the 6×6 negative yielded such clear, detailed images that I fell in love with large negatives. TLRs are bulky and not exactly the kind of camera one wanders about with, so I began searching for a less cumbersome way to obtain the blessings of medium format. Eventually, I found my way to folding cameras.
Folding cameras are photography relics. Most were sold before the mid-1950s when rangefinders and later SLRs took over. Age makes finding usable folding cameras a challenge. Many people collect old cameras for the simple joy of owning them. Me, I like using mine, so I want working cameras. Being a Minolta person, I had the additional challenge of finding Minolta folding cameras. Minolta sold a few different models, but the only ones I have seen for sale are the Semis— Semi P and Semi III.
After a few false starts, I found a working Semi P, introduced after the Semi III. I was surprised at the sharpness of the lens. Knowing the delicate nature and scarcity of Semi Ps, I searched until I found another working copy. At this point, I was satisfied. However, last year, a working Semi IIIa became available. I jumped on it because, in five years of searching eBay, I had never seen a listing for a working Semi III. “Made in Occupied Japan” stamped on the tripod mount sealed the deal.
Historical Perspective
The Semi III was the first camera released by Minolta after WWII. It was also the first Japanese camera to be exported after the war. According to Camera Wiki, 60 cameras were shipped to South Africa in 1947. The next year, 200 were shipped to New York and 60 to Hawaii and a few other places.
The Semi III evolved over its production run (1946-1950), and this copy is a later model of the first major variation, dubbed “A.” Looking at the advance knob, it shows a stylized arrow and a diamond with katakana characters inside, making this one of the later variants, closer to 1950. The diamond with characters indicates this model was sold to US personnel stationed in Japan. Compared to the later and simpler Semi P, the Semi III has a double exposure prevention mechanism. Minolta moved away from folding cameras when the Semi P ceased production in 1955.
Inspection and Appearance
Knowing the Semi III was old, I did not expect much in terms of appearance. Thus, I was pleasantly surprised to find it in excellent condition with only minor signs of wear. The leatherette was chipped in a few places, but they were hard to see on casual inspection. There was no rust, and all metal surfaces looked quite lustrous. My immediate concern was the lens, which proved to be clean with no haze or fungus. By far, the biggest surprise was the shutter. All shutter speeds seemed accurate, even the slow ones! The bellows did not show noticeable damage, and all controls moved easily and properly. I was shocked to find a 75-year-old camera in such great condition.
Usually, I test cameras right away to ensure they work in case I need to ask for a return. However, given this camera’s historic nature, its appearance, and the shutter’s excellent behavior, I decided to keep it without the usual tests. Then, life intervened, and my Semi III sat unused for over a year.
Function and Handling
The Semi III feels solid—more so than the Semi P. It is lightweight and easy to carry. I have a case, which is not an exact fit–otherwise there is no way to attach a strap to the camera. The bellows release also pops up the viewfinder, which is only good for aiming. Focus, aperture, and shutter controls all worked as expected—none were stiff or overly loose. Since no focus assistance is provided, one has to guess the subject’s distance and set that on the lens. Thus, for every shot, one has to go through the sequence of composing, metering the scene, setting distance, setting the aperture, setting the shutter speed, and then firing the shutter. It’s easy to forget a step unless you are concentrating.
The Semi III is a simple camera, and aside from the learning the basic functions, all one has to do is load film, and that is where my troubles started. There is no manual for this camera (at least none I could locate). As a result, I spent a lot of time trying to figure out what the small button/lever on the back was for. As it turns out, it was the frame counter reset. Since the Semi III has a double exposure prevention mechanism, one has to wind the film, set the shutter, fire the shutter, and then wind the film until it is properly loaded. Right away, I had a problem loading film. Sometimes, firing the shutter did not allow the film to advance, resulting in a few double and even a triple exposure. I had to press the shutter release a second time, which allowed the film the advance even though I had not cocked the shutter. (Maybe I cocked the shutter without first advancing the film???) Once I got the fire-advance film-cock shutter sequence in my head, things went better. (It probably did not help that I was using a Minolta AF-C during the same outing.)
Shooting the Semi III
This is a 6×4.5 camera that is setup for portrait orientation. Shooting in landscape orientation is dicey at best. Aside from self-inflicted problems with the fire-film advance sequence, which caused double and triple exposures, I had no other trouble. The shutter responded properly each time. Like the Semi P, I appreciate its relative lightness. Heavy cameras are not a thing for me. I was happy with the experience until I saw the negatives. Not one image was in focus. A few came close, but close is not enough.
Since the Semi III lacks a rangefinder, I assumed I had misjudged the distances. As an experiment, I set up a tripod in the studio and loaded another roll of film. Then, to be sure about subject distance, I used a yardstick to measure off exactly five feet. Next, I adjusted the lighting so that an aperture of f5.6 required a shutter speed of 1/125. From there, I fired off a series of test images. I also tried a few other apertures and shutter speeds.
Well, all frames on the second roll were also out of focus. However, they were exposed correctly. On the first roll of film, I deliberately shot three frames at infinity to check focus. Those infinity shots are the closest to being in focus. They are also correctly exposed. On the upside, I did work out the problems with the film advance sequence.
Impression
This camera is at least 75 years old and deserves a good CLA. It is in beautiful cosmetic condition, and surprisingly, the shutter works. With a slight focus adjustment, it will provide beautiful images.
I like owning a part of history, which is one of the main reasons I bought it. I am torn over whether to have it serviced. With two working Semi Ps on hand, I don’t need to use it. The only real advantage the Semi III has over the Semi P is a faster shutter. However, I have ND filters for the Semis and Pearl II, so shutter speed is not a major concern. Also, my Pearl II has a rangefinder, which makes it the more likely candidate for heavy use. But really, I like the Semis just as much because of their weight.
How shall I proceed? I am wary of taking my little piece of history out too often (or at all) because it is almost irreplaceable. Since the Semi III was the first camera Minolta produced after the war and the oldest Minolta I own, it holds an honored place in my collection. The fact that it was the first Japanese camera exported after WWII adds to its historical appeal.
Looking over my collection, I now see the Semi III as the start of my Minolta journey, as a way of going back to the beginning of Minolta’s modern era. Making my way from the Semi III to the Maxxum 7D, I can experience directly how a struggling company in a devastated country found a path of innovation that enriched the lives of millions. Perhaps, one day, I will part with it long enough for a proper overhaul. However, there is no need to rush into anything— it can rest for a while.
