Konica

I started with the Kodak 110 Instamatic.

And graduated to, get ready, a Konica FT1, which had a two frame per second integral motor drive.

And then used a Canon A1 and AE1 in my college days.

And then I'd mentioned the Sony point and shoot.

You know, it's got that sort of like 90s swoopy Porsche design kind of feel to it.

Was that Konica

Minolta? It was still 90s.

Prior to Konica.

Okay.

Yeah, because that didn't happen until 2003 is when the merger happened.

Yeah, they were shutter priority.

Exactly.

And I really don't want to see that because it's such a storied name.

You know, we did the thing about the Konica 2A.

And what was really interesting about that is learning how much history Konica had as a brand and how much potential Konica Minolta had.

And then how, off the rails it went you know what i mean so it's like you don't want to see that happen at pentax and and rico's doing great because rico has the gr series that's their niche they do well but what's happening to pentax right and and i think that company really needs some assistance it needs a totally different direction it needs a big influx of cash to do that it's got very talented people there and it's got such a long history and i feel like yeah there's some moves they could make that they're not making i'd want to be a part of that

Cool.

I think Sony had a big learning experience by trying to make digital SLRs, but really it was – And there was nothing necessarily wrong with them.

And they were really starting to get some information about image quality, their color theory, which again, I don't think was great at the time, maybe not even now, but also like menu systems and all that kind of stuff.

But that was really built off of the carcass that was Konica Minolta, right? So...

that I got from a charity shop like 10 years ago.

A real camera? A real film camera, a Konica C3-5, which I think, someone might correct me if I'm completely wrong, but I think it's from the 60s, I think it's like 64.

Wow.

And