• Zeiss Ikon Contessa
    Photography

    Zeiss Ikon Contessa

    If you know me at all, you probably know that I love old Zeiss Ikon cameras. They are a bear to work on and a bit fiddly at times, but all old cameras have their quirks that make them unique and endearing. The camera I am reviewing today is the later Contessa, the compact rangefinder that, although it is heavy by today’s standards, it is compact for its time, embodying a blend of innovation and classic design. These were developed in the early sixties with selenium light cells for light meters, a cutting-edge technology at the time that highlighted the ingenuity of camera engineering.

    Over the years, I have acquired a few of these with working light meters and a few that didn’t work at all, and it’s fascinating to see how the functionality can vary so significantly across different models. It is very rare that they are accurate, as the passage of time often takes its toll on these delicate mechanisms. I would not recommend you rely on that alone, especially with a color film that requires accuracy; after all, achieving the perfect shot is often about timing. Black and white film, what I use the majority of the time, has a lot more exposure latitude, allowing for a bit more creative freedom in the developing process.

    This particular model is accurate within a stop some days and not accurate at all on other outings, creating a sense of unpredictability reminiscent of film photography’s charm. You can sometimes revitalize these old light meters by cleaning the contacts, a rewarding endeavor for those who enjoy tinkering; each restoration feels like breathing new life into a forgotten piece of history. Cleaning these old cameras is good to do, regardless of the chance of rescuing the light meter or not, as it enhances their functionality and preserves their beauty. The main reason for this post is to talk about the amazing little lens they put in these little cameras. It has a Carl Zeiss Tessar 50mm f/2.8 lens that is sharp and takes stunning photographs, rendering details in a way that often surpasses modern lenses. As stated, I usually use black and white film, but due to the coatings on the lens, you can use any color film, allowing for vibrant and rich imagery that stands the test of time.

    This particular model has accurate shutter times, smooth aperture operation, and buttery focus, creating an exhilarating shooting experience that brings joy to both seasoned photographers and novices alike. These cameras are at such a great price point, making them an accessible option for anyone interested in exploring the world of rangefinder photography. If you want to try a rangefinder before shelling out thousands of dollars on a Leica, buy one of these cameras; the value they offer is truly exceptional. You will not be disappointed in the quality of the lens and its sharpness, which can capture faint details even in less-than-ideal lighting conditions. Due to its coatings, it does provide a lot of contrast as well, delivering images with depth that draw the viewer in.

    I am selling this one on eBay, but I would recommend it whether I am selling one or not; my admiration for these cameras goes beyond mere transactions. If you have any questions about the camera, leave me a comment. Or, maybe you have one handed down through the generations, each with its own stories and memories. Tell me your story, as I am always excited to hear about fellow enthusiasts who understand the passion that surrounds these wonderful machines.

  • Captured with the Zeiss Ikon Contessa 35 on Arista Edu Ultra 400at ASA 200
    Uncategorized

    Zeiss Ikon Contessa 35

    After World War II, Hubert Nerwin of Zeiss Ikon in West Germany created a line of folding cameras to help rebuild the company after the war. He relocated to the United States in 1948 through the government program Operation Paperclip, according to sources. Project Paperclip was an interesting program, but that’s a topic for another post.

    The 533/24, Contessa 24, is futuristic in its design and function. It’s a true conversation starter. I recently took it out for a film test to write this article and was bombarded with questions about it. People asked me what type of camera it was. One person even thought it was some kind of Geiger counter. Considering its background, that’s not too far off.

    As cool and unique as it is, the camera is not the easiest to use. As is expected with folding cameras, you have to cock the shutter on the lens. There’s no way to do that on the camera body. Personally, I’m used to shooting with folding medium format cameras, so this wasn’t a deal-breaker for me. However, for most people, the placement of the shutter button right above the lens will be a challenge. I tried reading the manual again to hold the camera as depicted, but it still feels awkward.

    Depressing the shutter button can be difficult, resulting in some blurring at slower shutter speeds. Anything under 1/100th of a second tends to be blurred. The only way to alleviate this is to mount the camera on a tripod and use a remote release. It’s an amazing camera that looks magnificent from afar or up close and it’s definitely interesting to carry around.

    I’ve owned this camera for a year and a half and have only used it two or three times during that period. Normally, I rotate my cameras and they get more use, but due to the awkward shutter button, this one has been neglected. It’s a shining example of engineering from the early 50s, although perhaps a bit over-engineered. The lens is incredibly sharp and the shutter never misses a beat or feels sluggish. It’s absolutely superb.

    I am selling my early model 533/24 on Ebay. The price is right!

  • podcast

    Episode 1 of Coffee with Jefferson Davis

    In this first Episode of ‘Coffee with Jefferson Davis’, I discuss the Minolta SR-7, Yashica MG-1, Zeiss Ikon Contessa, and different black and white films. I talked about the cost of film and different options available to us currently. My favorite is Kentmere 100 and 400. They are just as good as Ilford’s FP4 and HP5, but that is just my opinion. I hope to see Kodak or someone in the states come out with a competitive film. Arista Edu Ultra films are merely rebranded Fomapan films. They do work, and I have got some great results from them, yet they are prone to curling and scratches. The base on the Arista Edu films is very thin and easily scratched. I will have a review of the Contessa up by the end of next week.

    Thank you for listening to this episode. I appreciate your time and attention. It gives me immense pleasure to know that you find value in the content I provide. Your support means a great deal to me, and I am grateful for the opportunity to connect with such an amazing audience. I hope you will continue to enjoy future episodes and find them even more insightful and engaging. Your feedback and suggestions are always welcome as they help me improve and cater to your interests and preferences. I look forward to the thought-provoking discussions that will undoubtedly arise from these episodes. So stay tuned, subscribe, and be ready for more captivating and enlightening conversations ahead. Thank you once again, and let’s embark on this exciting journey together. 🙂