Mid 1970s, Pentax was getting a little concerned, sales of its screw mount camera line were dropping off, M-42 was a great mount circa 1958, held its own in the mid 1960s but by 1975 was getting long in the tooth. Pentax collaborated with of all companies Zeiss Ikon to design the K mount in the late 1960s to come up with a joint lens mount The German partners decided to get out of the camera business altogether by the mid-1970s and Pentax made the K mount an open source technology. In an alternate universe if Zeiss Ikon kept making cameras, they would have K mounts but I digress.
Pentax dropped onto the market three cameras, the entry level KM which was a Spotmatic F with a K-mount for all intents and purposes (want to get one at some point), the KX which had a much better meter and the top of the line K2 which had a Seiko vertical Copal shutter which was electronically controlled with the ability to do aperture priority like the Nikkormat EL Minolta XE-7 and the Olympus OM-2, Canon …
I always wanted a Minolta XD-11, this camera was part of the great engineering partnership between Minolta and Leica. If you look carefully, you can see the basic layout for the Leica R4, R5, R6 and R7. For longtime readers you know I borrowed my brother's Leica R4 and lenses, the XD-11 feels the exact same way in your hands. In fact some Minolta lenses were also used as Leica R lenses. The mount is different. What's sad is Leica R bodies are going for a song these days because everyone wants the R lenses on their full frame cameras.
Getting back to the XD-11, it is a very intuitive camera to use if you know your way around Minolta. My lens kit is mostly MC Rokkor, and since I'm not a shutter priority kind of guy, no big deal. Size wise, this camera is around the same size and weight of Nikon FM/FE having a just right feeling in our hands.
As you can see, I got the black one courtesy Burlington Camera, now I hope a chrome one crosses their path at some point.
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.