In my aspirations I placed as much importance to its appearance as a modern teenager does to her mobile telephone's, and worried that with its overhanging Photomic head, the Nikon looked emasculated with anything less than the 50mm f1.4 Nikkor standard lens. Like the Topcon, it does not fit in the hands like an ergonomic modern SLR, it's very heavy (1535 grams in its leather ERC), and lens-changing and exposure metering are awkward and slow.But the Photomic meter is accurate enough, and that lens is sharp by any standard.
Shutter speeds and film speed are set on overlapping dials surrounding the film advance lever.
The dials interlock and prevent the setting of shutter speeds that fall outside the meter's operating range for a particular film speed.
These were not true interchangeable lenses, but screw-in front element groups, with effective focal lengths of 35mm, 50mm, 95mm and 125mm.
The rear element group was fixed and remained in the camera.
This means that with 400 ASA film, the slowest selectable speed is 1/30th second.
The late Victor Blackman, who once borrowed a Contarex to try, definitely did not like this limitation! With its bulky awkwardness, slow focussing and the limitations of its metering system, it was a stout, crotchety old queen, and is best kept as a museum piece.
Also, the narrow focussing helix inside the fixed lens mount was adequate for the small lens groups, but under the near 1lb weight of the 125mm, it quickly wore and developed serious backlash.
The Konica body had similarities to the Nikkormat and the quality of Konica's Hexanon/Hexar lenses was comparable to Nikon's, and the Konica bayonet (unlike its rivals) allowed quick, one-handed lens changes. Unlike the T Series, it had motorised film transport, and LEDs, rather than a needle indicated the AE exposure in the viewfinder.
I only wish I could revisit the times and places where, in my youth, I fantasised about using them.