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Sinar P / Schneider Symmar 150mm / Agfa MCP paper negative
The Twelfth night is a blessing even for us unholy unvelievers. Epiphany has been generous for me this year, as the three kings brought me this little jewel from the Lomography wares. My wife paid for a KM, Lomography sent me a KM Plus. What can be better than this?
Well, the camera itself is not that exciting. I feel a little sting every time I look at it, thinking that there won't be any more Zenits. And maybe this is good, because this camera is not really what I would call a worthy heir to the name of Zenit, not even the Zenit Automat line.
I find it funny that most of the (too) many camera commenters in the Internet are so stubbornly insistent on comparing the KM and KM+ to mehcanical Leica-inspired Zenits, like the TTL, the E or the later 212-312-412 line, when, in fact, they are nothing even close.
The KM+ is the last iteration of the Zenit Automat, a SLR that only shares names with the original Zenits. It is a SLR of more Japanese inspiration; I think the amateur Canons were a final influence on them. They were substantial cameras, with a sturdy look; one only has to look at the (normal sized) mirror to see that the insides were absolutely different than those the original Zenits. This KM is to the Automat the same the 412 is to the TTL: a 'made in Russia' cheap feeling plastic body with an attractive design.
I find strange that the name of this camera is 'KM' because KMZ used the 'M' designation for their auto diaphragm M42 cameras, while they used 'K' for their Pentax bayonet ones. Thus, 'KM' is a name not too consistent with previous KMZ nomenclature, which of course doesn't matter because no other Zenits will ever be made...