I love my black Minolta SRT 101 but it has an issue where it looks like there's vignetting at the very bottom of the frame. I know what the problem is, there's a light baffle behind the mirror that's a little loose. I don't have the finger dexterity to fix it, I'm getting a tech to look at it. The photos have been cropped in Lightroom so no one is the wiser.
Cinestill 50D, which is Eastman Kodak Vision 50D with the remjet removed. An interesting film to shoot with, of course, I choose to shoot on a day with very changeable light because hey, why not. Well, Cinestill 50D and Minolta Rokkor glass are made for each other, I've shot this film with Nikkor and Pentax SMC lenses over the years, I like what I got here. Sadly though Cinestill 50D isn't cheap in Canada, partly due to the exchange rate partly due to the film being expensive because of the remjet removal, pity.
I have a pair of Minolta SRT 101's, one silver, pictured here made in my guess 50 years ago, and black one made in the early 1970s. Minolta was an innovator during their heyday, back in the mid 1960s while other brands were getting a handle on TTL metering, the SRT 101 had CLC (Contrast Light Compensator) or proto matrix metering. What I like about this on super bright days I can get better exposures, pretty good for a 52 year old camera design.
Going back from what I shot mid week in Toronto's Yorkville neighbourhood (our Magnificent Mile), leaves me with huge respect for what you could get out of an SRT series Minolta, particulary one roughly the same age as you are.
Camera: Minolta SRT 101, MC Rokkor 55 f1.7 lens, MC Rokkor X 28 f2.8 lens.
Film: Kodak Tri-X 400, Xtol 1+1.