Show Off Your Contax

[Erik van Straten]

Does it have a black distance scale on the lens mount?

Thank you, Michael!

This one has a black distance scale and has the slow speeds too. It is a model 4. I also have a model 5, with rounded corners and an aluminium accessoryshoe. Strange enough that one has a lower number than this one.

I also have a model 7 (turning wedge rangefinder).

On the field of ergonomics the Contax I is an disaster area. I think the whole project of the Contax I was an experiment for Zeiss until their definitive product, the Contax II, was ready. It took Leitz almost twenty years to complete the M3, so the only six years or so of development of the Contax II is a miracle in itself.

The worst are the placement of the wind knob and the setting of the speed. You need good glasses and a good memory to use the speed knob. You cannot make a quick series of pictures with the camera. It is however a stunning fact that the camera was a succes: about 35.000 were sold.

But I like the camera in terms of design. The style of the v5 and later models is like Adolf Hitlers Mercedes. That shiny black! That leather on top! That modernist lettering!

Erik.

 

[Highway 61]

But I like the camera in terms of design. The style of the v5 and later models is the same as that from Adolf Hitlers Mercedes. That shiny black! That leather on top! That modernist lettering!

That would be an excellent dissertation topic for Roger Hicks : "To reach the quality plateau, should a classic black paint German camera share its design with some contemporary Hitler's cars so that you can take better pictures because you like that camera more than your others ?"

I am eager to read the article. It will change my way to understand whether photography is one of the authorized fine arts, or not. Provided that I don't want to invade Poland.

Here is my 1938 Contax II with its collapsible CZJ 5cm f/2 lens. I restored that camera some years ago (new ribbons included). I haven't used it much since but I'm quite happy to still have it - it's one of the cleanest I have handled ever.

I like the second version of the Contax logo style.

 

[Erik van Straten]

Beautiful camera Nicolas!

Erik.

 

[Erik van Straten]

I like the second version of the Contax logo style.

That is with the small "t", isn't it?

I always think the logo is too far to the left. If you ask me, it must be placed 5 mm or so to the right, exactly in the middle of the space between the right window and the curved line on the left.

Erik.

 

[Erik van Straten]

Leica M5, Nokton-M 50mm f/1.5, Tmax400.

Contax I v4 with Nikkor 35mm f/2.5 and Leitz 35mm finder.

Erik.

 

[Highway 61]

That is with the small "t", isn't it?

Yes, and with the other letters being more rounded.

Early 1950 Contax IIa with CZJ Sonnar 5cm f/2 rigid made of aluminum in Jena :

I had to fully restore that one as well when I bought it in 2007. I used it last month for a couple of rolls of Tri-X and it's still running strong. The lens is wonderful.

 

[Erik van Straten]

Early 1950 Contax IIa with CZJ Sonnar 5cm f/2 rigid

Wonderful clean camera. How dare you to use it!

Erik.

 

[Highway 61]

The same fully restored 1938 Contax II as above, this time with a contemporary CZJ Sonnar 5cm f/1.5, uncoated.

When I got the lens I had the feeling that it had never been used ! It's really like new with neither cosmetic nor optical flaws, but for some very minor paint loss on the filter threads. But it was totally off at infinity (that's probably why it was so clean) so I had to collimate it. Now it's as perfect as it gets for a Sonnar 1.5, and delivers excellent results through the entire focusing range, with a surprising resistance to flare for a prewar uncoated lens.

 

[Erik van Straten]

But it was totally off at infinity (that's probably why it was so clean) so I had to collimate it.

Beautiful, Nicolas!

How did you proceed to do this collimation? With shims? How did you check the focus? With a focusing screen mounted on the film track?

I have the same lens, very clean too, but not like this one and it is in black & nickel, No. 1628901. Focusing is perfect.

Erik.

 

[Highway 61]

How did you proceed to do this collimation? With shims? How did you check the focus? With a focusing screen mounted on the film track?

Erik.

By changing the position of the adjustable screwed-in shim around the rear internal barrel, with a junked Rolleiflex focusing screen mounted on the Contax film tracks and firmly strapped around the Contax body with rubber bands, a target drawn with a black marker at the center of the focusing screen, and the registered "indoors infinity method" featuring two tripods, a desktop lamp, a Nikon F2 and a Nikkor Ai 85mm f/2 lens.

 

[Erik van Straten]

By changing the position of the adjustable screwed-in shim around the rear internal barrel,

You mean the black ring on the rear that repeats the serial number of the lens?

Erik.

 

[Highway 61]

IIRC, yes. That was ten years ago !

 

[Erik van Straten]

IIRC, yes. That was ten years ago !

No, I mean at the back of my Sonnar there is a black ring (secured with a set screw) with the number of the lens on it. Is that used for shimming the lens?

Erik.

 

[Highway 61]

No, I mean at the back of my Sonnar there is a black ring (secured with a set screw) with the number of the lens on it. Is that used for shimming the lens?

Erik.

Ah, I see. Well, no. I meant a screwed-in collar around the rear tube. You don't see it when the lens is reassembled.

 

[Erik van Straten]

Ah, I see. Well, no. I meant a screwed-in collar around the rear tube. You don't see it when the lens is reassembled.

I still do not understand, but never mind.

The glass of my Sonnar 50mm f/1.5 has quite strong "blooming" effects (oily colors on the surface) that I have seen on other old Zeiss and Leitz lenses too. I do not see it on your lens, or is it there, but not visible on the picture? Some glasses show this effect stronger than others.

Erik.

 

[Highway 61]

I still do not understand, but never mind.

The glass of my Sonnar 50mm f/1.5 has quite strong "blooming" effects (oily colors on the surface) that I have seen on other old Zeiss and Leitz lenses too. I do not see it on your lens, or is it there, but not visible on the picture? Some glasses show this effect stronger than others.

Erik.

I wasn't remembering well, sorry Erik.

The Carl Zeiss Jena Sonnars get collimated with shims, yes !

The postwar Sonnars made in Oberkochen get collimated like I (not so clearly) described it above. See Mike Elek's pages to look at this :

http://elekm.net/zeiss-ikon/repair/collimate/

Yes my uncoated prewar Sonnars, either the f/2 collapsible or the f/1.5 pictured above, exhibit the blooming effect you mention. I guess it's due to the very special glass used by Zeiss at that time. It might explain the exceptional optical quality of those uncoated lenses, even by modern standards.

 

[Erik van Straten]

Thank you, Nicolas, now's everything clear!

Erik.

 

[Gben]

A nice combination.....

A nice combination.....

I always thought that 35mm lenses were about the best all-around for general photography. I was lucky enough to have Henry Scherer overhaul this Contax IIa body, and the 35mm Biogon came with a IIIa parts camera. I don't remember where the finder came from, part of being over a half-century old. Of course the camera purrs like a kitten and the Biogon does a great job. I also have 35mm lenses for my Nikon F, a Spotmatic, a Voigtlander Prominent, Mercury II, Argus C and a few others.

 

[Deklari]

after 2 months work... finally working camera...

 

[Dralowid]

This is my Zeiss collection as far as it goes...and as some of you know it doesn't 'go' very well!

IMG_2881 by dralowid, on Flickr

If soaked in lighter fluid the 'dimple' Contax has a shutter that fires on all speeds but does not open. The tension seems very high and I think I can guess what is wrong (spring). At least this is a camera with no slow speeds so it will be simpler inside. On the other hand it is said to be quite rare and I am inclined to leave it on a shelf.

The Contax behind is the one I have been working on. Result? The shutter works but the way in which the advance winds on gives no confidence in that the knob does not end up where it started from. The shutter opens on all but the fastest speeds but I am unsure of the actual exposures. I have only put it back together loosely and may go back to it when I have recovered from the last bout.

The Super Nettel actually appears to be working, stiff to advance but the shutter seems to be doing what it should. It also responds well to lighter fluid. If I were to pull it apart someone suggested I approach the film advance/speed dial/shutter release knob in much the same way as a Contax II.

In the past I have had good results from the Super Nettel (Tessar 3.5) and from the Contax at the back withe either 3.5 Tessar or 2 Sonnar.

Over the years I have picked up quite a few non working Contax I. They used to be very cheap (understandably) but now seem to fetch money. I am left with these because I sold those that I expected to make the most first (V7 etc) as part of one of my annual GRPs (Gear Reduction Programmes). Three examples of this shutter is surely enough.