Contax Zeiss Survival Guide

[Tom Hamilton]

Thanks very much Nick, lens declicked, overhauled, and custom lens gears installed by Peter at RP Lens for use in the Rouge underwater housing.

 

[Nick Morrison]

Thanks very much Nick, lens declicked, overhauled, and custom lens gears installed by Peter at RP Lens for use in the Rouge underwater housing.

WOW super cool!! I never realized Peter could add IRIS gears!! Why didnt I think of that??!! What a great Easter gift!!

Love this mod Tom!!

 

[Tom Hamilton]

Yep, I tasked him with the job, he came through with flying colors, amazing lens tech, would not use anyone else for these lenses. And thanks to you Nick for the Zeiss Contax steer.

The 6K video is stunning, this lens has unbelievable cinematic mojo. Lots more to show if I could, but all under wraps for the upcoming Cousteau movie, will post links as they come on line.

Cheers

 

[Patrick Anton]

Looks great! Are you using a gimbal? Love her styling too!

Yes its Reduser, but we often discuss lots of cameras on this thread...no worries!

Hey Nick,

I am using the Glidecam 4000 for this shot.
A perfect match for the BMCC's form factor IMO.

thanks

 

[Janis Huber]

What is a good wide-angle zoome fitting the 35-70/28-85/80-200 contax lenses? The 18mm from contax costs quite a bit and I would
prefer a wide-angle zoome. But afraidly contax hasn't got any.

Any sugestions?

 

[Nick Morrison]

What is a good wide-angle zoome fitting the 35-70/28-85/80-200 contax lenses? The 18mm from contax costs quite a bit and I would
prefer a wide-angle zoome. But afraidly contax hasn't got any.

Any sugestions?

Janis, unfortunately Contax never made a wideangle zoom in C/Y. They made a fabulous 17-35 for the auotofocus N line, but that's very expensive, and needs to be modded to EOS (also expensive).

 

[Nick Morrison]

In honor of NAB 2015, I present the latest update to the Contax Survival Guide.

Again, been writing this for the past 3 months, so if anyone feels like adding anything, just drop me a note! best

********************************************************

THE CONTAX LENS GUIDE - 2015 EDITION
Contax was in business for 30 years (1975-2005), and released almost 40 lenses. This is an attempt to provide feedback on almost all of them - mostly with film-making in mind.

Note - I have a Contax Brochure from the 1994 that includes prices! When available, Ive posted all the original LIST/NEW prices (adjusted for inflation to present day value), and compare them to today's USED prices (in "LIKE NEW" condition)...for everyone's edification. It's fun to see what's changed over past 20 years!

Here we go:

THE CONTAX “Supers”
These are the primes I'd recommend if you are willing to spend $$$. Except for the macro and the 21, these keep you at an f2 from 28mm to 135mm.

21 2.8
28 f2
35 1.4
50 1.4
85 1.4
100 f2
135 f2
60 2.8 Macro

Note - "New" prices are 1994 prices adjusted for inflation (59%).

21mm 2.8 ($3,150 new, $2,000 today/used)
The 21mm is a gem. It's arguably one of the best designed and all around lenses in the Contax lineup, and demands a high premium (one of the most expensive primes available). The design barely changed when it moved to ZE/ZF. Razor sharp wide open and edge to edge (even on full frame). Blessed with superb close focus. The best wide angle available. A world class lens.


28 f2 ($??? new, $1,250 today/used)
The 28mm "Hollywood" is full of personality. Allegedly borrowing the floating element design from the 28mm T2 Standard Prime, this full frame derivant is NOT the same lens, but nonetheless a standout. It's close-focusing (almost macro quality), nervy/gorgeous bokeh, and spectacular performance stopped down make it tremendous addition to the arsenal. It's very similar in performance to the 35 1.4, except wider, and more extreme.


35 1.4 ($2,675 new, $1,500 today/used)
The 35 1.4 is a must have. It's your "normal" lens, and at 1.4 gives you tremendous lowlight ability. Feels like a Super Speed, and acts like one. Tremendous focus throw, great close focus (with a similar floating element like the "Hollywood"), and has gorgeous/dreamy bokeh. Anchors your lineup. Changed only minimally in it's move to ZE/ZF.


50 1.4 ($700 new, $450 today/used)
The 50 1.4 is a classic 50, and complements the 35 and 85 perfectly. More traditional bokeh than the nervy 1.7, and has much more robust build. Tack sharp stopped down. A perfect 50 for your set. Changed only minimally in it's move to ZE/ZF (in fact many say its better).


85 1.4 ($1,700 new, $800 today/used)
The 85 1.4 is a CLASSIC. Capable of timeless imagery, this lens has minimal to no distortion, making it ideal for portraits and landscape. At 1.4, gives you tremendous lowlight ability, and focal separation (shallow depth of field). The perfect compliment to the 35 1.4 during interviews.


100 f2 ($2,800 new, $1,200 today/used)
The 100 f2 is another CLASSIC. Never continued into the ZE/ZF line, this lens has enjoyed a cult status for years. Like the 85, has almost no distortion, making it another gem for portraits and landscapes. Sharp wide open, and brimming with tonality, this lens is a fantastic compliment to the 85, when you need to get just a bit closer.


135 f2 ($??? new, $1,200 today/used)
The 135 f2 is a bit controversial. Honestly, it can be hard to see the performance improvement over the 2.8 Sonnar, which is much, much cheaper. However, at f2 this 135 still delivers powerful imagery, and having that extra stop cannot be underestimated. It also has a twinkle and a magic that at times is worth the price of admission.


60 2.8 S Macro ($1,700 new, $700 today/used)
The 60 2.8 is my favorite macro. Not because the 100 isn't great, it is...but the 60 is just so versatile. It's focus throw seems more forgiving than the 100, and it's ability to transition from a "normal" 60mm to a 1:1 macro is incredibly useful. Bear in mind, this phenomenal lens is capable of 1:1 MACRO, not 1:2 like the ZE/ZF macros, putting you TWICE as close to the action. Incredibly sharp wide open, and with almost zero distortion, this is another world class lens.

 

[Nick Morrison]

THE CONTAX “Standard Primes” or GIMBAL PRIMES

18 f4
28 2.8
35 2.8
50 1.7 / 50 1.4
85 2.8
100 3.5
135 2.8

Contax Zeiss did the world a favor and made "budget/travel" versions of many focal lengths. Small, lighter and more affordable, these lenses seem designed not just for cost conscious professionals, but also for travel photographers who often needed to save space, and keep things simple.

To that end, most of these primes are almost IDENTICAL in SIZE/SHAPE/WEIGHT...so much so it's hard to believe it's a coincidence (they almost seem designed to be "swappable" in a travel case).

THESE primes in particular are almost identical in shape/size/weight:

18 F4
28 2.8
35 2.8
50 1.4
85 2.8

Why is this important? Well in this age of gimbals, where lens size/weight is so important to balancing your rig, having a set of tiny LIGHT WEIGHT Zeiss primes that also happen to be evenly SIZED...is incredibly convenient. In fact, Movi shooters like Chris McKechnie are able to swap these primes mid shoot and barely make any adjustments to their gimbal...which is a MASSIVE time saver.

REVIEWS:

18 F4 ($,1975 new, $850 today/used)
The 18 F4 is a very interesting lens. Though not tack sharp wide open, it's still VERY professional at F4. What makes it truly special however isn’t just it's ability to cover Dragon 6K (its full frame after all), but it's incredibly well controlled distortion. In fact, it has the same level of control as the 21mm, even though it's wider at 18mm...underscoring how remarkable it is. Stopped down it’s strong. Has fantastic close focus.

It's one downside is lack of any filter thread. Best remedy for this is to have a lens tech attach an 80mm OD piece of Delrin to the front, so you can easily clamp on 80mm attachments and filters (that's what we did).


28 2.8 ($900 new, $450 today/used)
The 28 2.8 is a superb wideangle. In fact stopped down it may even surpass the 28 f2 Hollywood. Very popular amongst landscape photographers for it's small size and incredible resolution at 5.6 and beyond. The MM is improved over the AE, so try and get the MM if possible.


35 2.8 ($725 new, $400 today/used)
The 35 2.8 is very similar. Stopped down it is remarkably sharp, and even at 2.8 hard to distinguish from the 1.4 (especially at S35). A very small lens with tremendous punch.


50 1.4 ($700 new, $450 today/used)
The 50 1.4 has been reviewed above.


50 1.7 ($450 new, $350 today/used)
The 50 1.7 is a very interesting lens. Though a budget prime (the most affordable of all Contax primes), this lens delivers remarkable performance. Sharper than the 1.4 wide open at 1.7, this lens is a serious piece of engineering. Its lively nervous bokeh gives it a unique, youthful signature.

It’s only drawbacks are it’s tiny size (even smaller than the 50 1.4), making it harder to attach a FF too, and it’s build quality - designed with a blend of plastic and metal (to save $$$), this planar lacks the ALL METAL robustness we come to expect from Contax glass. A small price to pay though...for stunning performance...on a budget.


85 2.8 ($??? new , $450 today/used)
The 85 2.8 is a classic design that delivers world class imagery. Wide open it’s tack sharp/contrasty, and blessed with gorgeous circular bokeh. Incredibly even performance up and down the iris makes this lens one of the most complete in the Contax arsenal. The AE flares like crazy. Whereas the MM is much cleaner. A small marvel.


100 3.5 ($??? new , $450 today/used)
The 100 3.5 is one of the oddest lenses in the Contax arsenal. By all accounts, it’s one of the sharpest lenses Contax ever made. Indeed it’s sharper than both the 100 f2 and 100 Macro, even wide open. However it’s slow speed and mild distortion (the other two 100’s have almost NO distortion)...makes it a bit of an odd duck. Nonetheless...it remains an outstandingly sharp and powerful lens. I’d love to see more people shoot with it.


135 2.8 ($900 new , $350 today/used)
The 135 2.8 is a favorite of mine. Extremely sharp wide open, and today very affordable, this tele is a no brainer. If you don’t need the extra stop of the Planar, this Sonnar is a perfect complement to your arsenal. Like the 85 2.8, has very even performance up and down the iris. The MM is a bit improved over the AE (keep that in mind as you go shopping).

 

[Nick Morrison]

ADDITIONAL PRIMES TO CONSIDER

25 2.8
100 2.8 Macro
180 2.8
300 F4
16 2.8 fisheye


25 2.8 ($1,350 new , $650 today/used)
The 25 2.8 is a personal favorite. Derived from a very classic design, wide open this lens is RAZOR sharp in the center, but soft at the edges. The result is magic to the eyes (I love the vintage feel and bokeh on S35), but can disappoint others on full frame. Nonetheless, by F4 this lens is sharp across the board, and at 5.6 even more impressive. One of our most used primes when we shoot. It's blessed with character, and flares like CRAZY. The AE’s are maybe better built? MM’s can sometimes get “soft”, perhaps we think because elements have lodged out of place?


100 2.8 Macro ($3,150 new , $1,200 today/used)
The 100 2.8 macro feels like a clone of the 60, but with more reach. Nearly identical in performance, and build, its hard to pick them apart. In fact, for some the 100 may be better...as the working distance can be more convenient (ie you can shoot macro from further away). We've found the focus more sensitive and demanding on the 100, presumably because it's a longer lens than the 60. Either way its world class and brilliant. Almost no distortion and capable of 1:1 macro - just like the 60.


180 2.8 ($2,450 new , $450 today/used)
Once expensive (as much as the 35 1.4), this now affordable Sonnar is a great tele. A modern update of the venerable "Olympia Sonnar" from 1936, this is a classic with a modern twist - it features a floating element (like on the 28 f2 and 35 1.4) to improve close focusing...which makes me wonder if it was designed also with portraits in mind? Professional wide open, and sharp stopped down, this lightweight tele is fast enough for studio work. Great barrel rotation/long focus throw. The MM is said to be improved over the AE.


300 F4 ($3,150 new , $450 today/used)
This once extravagant Tessar is now incredibly affordable and convenient, but hard to promote wholeheartedly. It's not super sharp, and woefully outclassed by the much smaller/lighter 100-300. Nevertheless, its capable of strong imagery in the right hands, and is a professional budget 300. Its 82mm thread accepts 77mm filters (with stepdown), which is convenient.


16 2.8 Fisheye ($7,550 new , $1,800 today/used)
This Distagon maybe one of the best fisheyes in the world. One of the sharpest Contax primes ever made, its design is uncompromising (hence it's shocking price when NEW). Built like a tank, its protruding element nevertheless makes it vulnerable to scratches and scuffs. Hard to get a great copy. Rare and exotic. Like all fisheyes, renders the world in unique way. However when shot "flat", this one betrays very little distortion (only adding to its allure).

 

[Nick Morrison]

ZOOMS TO GET

28-85
35-70
35-135
80-200
100-300


28-85 3.3-f4 ($2,450 new , $650 today/used)
The 28-85 3.3-f4 is the most useful Contax zoom for filmmaking. A bag of primes in one lens (and once as expensive at the 35 1.4), it’s range makes it ideal on set. Unbelievably sharp wide open and stopped down, this marvel of a zoom is also blessed with great close focusing and gorgeous bokeh. We bring it on almost every job. It’s push pull design makes it ideal for run and gun - but not as convenient in a studio. Has tremendous barrel rotation, so rack focuses beautifully (approx 270 degrees even @ 28mm...unheard of for a full frame wide-angle!). Almost flawless. Only mild drawbacks are it’s gentle distortion at 28mm, and it’s ½ stop loss of light going from 28mm to 85mm.


35-70 3.4 ($1,750 new , $500 today/used)
The 35-70 3.4 is not as convenient as the 28-85 on set - but many say it’s better. Has probably the biggest cult following of any Contax lens (some say its one of the best full frame zooms ever made). Its combination of technical brilliance and superb color and 3D "pop" have earned it almost iconic status. Sharp wide open. World class stopped down. Has a 3:1 macro function. Does everything with brillo inside a tiny package. Has become one of the most sought after Contax lenses ever made. For photographers trying to save on size/weight, this zoom is a no brainer. But if you're filming on set (and your kit already weighs 15lbs), the 28-85 is hard to resist.


35-135 3.4-4.5 ($3,800 new , $1,250 today/used)
Is the 35-135 the Cadillac of Contax zooms? Outrageously expensive brand new, this 4X zoom was designed with tremendous range and versatility in mind. Large and heavy by Contax standards, this lens is nevertheless blisteringly sharp across the board. Add in a robust 1:25 macro function, and you can see how it's truly "many lenses in one". Paired with a 21 2.8 you could shoot all day outside. Only drawbacks are it's size, mild distortion at 35mm, it's one stop loss of light from wide to tight, and it's overall speed. For filmmaking it can be quite special - as there are very few FF zooms with this combination of range, versatility, and performance. On Vista Vision Weapon it would probably destroy. But it still seems best suited for shooting outdoors, where its speed and push-pull design make it well suited for run n gun shooting.


80-200 ($2,000 new, $300 today/used)
The 80-200 - Once quite expensive, and now outrageously affordable, the 80-200 is one of my favorite Contax lenses. For the price, it's almost impossible to beat. It's telephoto range is ideal on most jobs - but what makes it extra special is it's close focusing. Whereas most 200mm lenses focus down to btw 6-10 feet (the Nikkor 200 f2 @ 10 feet, the Contax 200 f2 @ 6 feet), this zoom can focus down to 3 feet at 200mm - making it a shockingly beautiful and creamy macro "tele" that's quite rare. Rack focuses gorgeously too. Only drawabacks are it's push pull design, slight slow speed at F4, and it's mild loss of resolution at 200 wide open (but still very professional).


100-300 4.5 -5.6 ($??? new, $1,250 today/used)
A world class zoom, the 100-300 has earned itself a cult following almost on par with the 35-70. Built with an "APO" design, this lens is unbelievably sharp, outclassing many primes. Even more surprising is it's tiny footprint - even though it covers more range than the 80-200, its actually smaller. For travel and doc work requiring a world class telephoto, this zoom is worth a long look. Only drawbacks are it's speed - it's quite slow for filmmaking at 4.5-5.6, but for exterior work it's a stunner. Remains quite expensive to this day. Close focusing not as dynamic as the 80-200, but still very good (4.5 feet).

 

[Nick Morrison]

OTHER ZOOMS


40-80 f4 ($??? new, $350 today/used)
The venerable 40-80 AE was replaced by the iconic 35-70 MM. This classic zoom is quite old (there are West German copies with serials in late 5's), and is the only short range zoom w/ the ninja star. Plagued with distortion both at 40mm and 80mm, this lens was nevertheless very strong at 50mm. We've never used it, but appears to have nice bokeh, with lovely vintage character. Perhaps because of it's lack of premium attributes, was never very popular? Easy to see why it was replaced by the legendary 35-70. Hard to recommend unless you're looking for a classic (though flawed) AE zoom with character (my gut tells me it flares like crazy, esp the very old ones).


70-210 3.3 ($??? new, $1,250 today/used)
This AE telephoto zoom is a conundrum - it remains outrageously expensive, though the 80-200 is arguably better for 1/4 the price. However, in it's hayday the 70-210 was almost certainly commendable. It was fast at 3.3 and provided a tad more range than traditional 80-200's. Also blessed with gorgeous macro close focusing. Never spectacularly sharp, its hefty price may have been a tough sell. Was eventually supplanted by the more modern and affordable 80-200 MM, and also by the spectacular 100-300. For the price, hard to recommend (unless you are specifically looking for a vintage AE tele zoom).



OTHER PRIMES


45 2.8 ($585 new, $350 today/used)
This pocket sized Tessar is tiny - but also hard to work with on set. However for specialty applications where a truly tiny medium prime is needed, this Tessar certainly fits the bill Proffessional wide open, sharp stopped down, and with minimal distortion, this micro prime is commendable. However hard to pick over the faster, better and more affordable 50 1.7. Designed with even more plastic than the 1.7, the build quality is also below normal Contax standards.


60 2.8 C Macro ($??? new, $450 today/used)
Allegedly the same optical design as it's bigger brother (the 1:1 "S") this smaller, lighter "C" can only focus down to 1:2. Some believe the "S" is superior across the board, but the MTFs suggest the "C" is also a fine lens. That said, hard to recommend when the prized "S" is only modestly more $$$.


200 3.5 ($??? new, $350 today/used)
Expensive in its day, and only marginally cheaper than the faster 180 2.8, this Tessar must have struggled to emerge from under the Sonnar's shadow. A poor seller, it was eventually replaced by the smaller and cheaper 200 f4 (a more true "budget" tele). Suffering from CA wide open, this vintage tele is not demandingly sharp. However its older coatings, ninja star, and classic design give it a unique render thats worth a second look. Terrific build quality too. I personally kind of like it.


200 f4 ($??? new, $350 today/used)
An updated, budget version of the 200 3.5, the f4 is smaller, making it better suited for travel. The MTFs suggest it's a fine lens. Though for the $$$ you're likely far better off getting the 180 2.8 or 80-200 f4 (depending on your needs).

 

[Nick Morrison]

"EXOTIC" PRIMES
I have personally never used any of these lenses listed below. But I will try and quickly sketch what I know:


15 3.5 ($11,000 new, $2,000 today/used)
Jaw droppingly expensive brand new, this design was allegedly liscenced to Leica as well (for the R line). When it was introduced, this non fisheye full frame 15mm must have been a revelation, a technical feat (Leica's interest in the design is understandable). Professional wide open, and sharp stopped down, the MTFs nonetheless suggest its woefully outclassed by Zeiss' new mastepiece...the 15mm 2.8. Nevertheless, for a vintage fullframe 15mm...you'd be hard pressed to find anything better. But...considering how expensive this lens remains, its hard to recommend wholeheartedly...esp when the 15 2.8 is similarly priced. Im a shameless supporter of vintage glass, but only when the cost/performance ratio makes sense. This collector's item borders on almost not being worth it, IMHO.


55 1.2 60th ($??? new, $5,000 today/used)
One of the legendary Jahare lenses released to commemorate Contax's 60th Anniversary, this 1.2 Super Speed remains extravegantly priced. Designed for big spending collectors, this lens was considered a masterpiece when released. Famous to this today for its beautiful bokeh, this lens has a small but passionate fan base. I have to admit - Id love to see it on Vista Vision Weapon!


85 1.2 60th ($??? new, $8,000 today/used)
From what I can tell, everything about the 55...applies to the 85 - except it's even more expensive!


135 f2 60th ($??? new, $3,000 today/used)
Another Jaher, this lens allegedly has the exact same design as the standard 135 f2, except now made with modern/improved materials. From one test I saw, the new version may indeed be a smidge sharper. Not sure it's worth the extravegant cost though.


200 f2 ($15,000 new, $5,000 today/used)
Outrageously expensive brand new, still extravegantly priced today, this rare telephoto allegedly has minimal CA wide open, though also believed to have "harsh" bokeh at faster stops. One thing's for sure - according to the MTFs, this lens is screamingly sharp. However for the price, hard to justify when the superb Nikkor AIS 200 f2 costs many times less.


300 2.8 ($30,000 new, $10,000 today/used)
I know very little about this lens, except it remains outrageously expensive. I assume much of whats true about the 200 f2, may also apply to the 300 2.8. Again, for the price...hard to justify when the superb Nikkor AIS 300 3.8 is many times less.

I remember once seeing a original PL mount version of this on ebay, so it appers Zeiss made some of these for cine specifically.


500 f8 Mirror ($??? new, $2,000 today/used)
This iconic lens is regarded by some as the best 500mm mirror ever made. The MTFs certainly suggest its very sharp, esp for a mirror lens. The biggest advantage of a 500 mirror is of course its size - its not much bigger than an 85mm prime! Though slow, its ideal outdoors. The signature "donut" bokeh can be great, or distracting. Still very expensive, it's hard to justify for the price...especially when its main rival, the Rokkor 500 f8 (rebadged by Leica) is so much more affordable.


500 4.5 Mirror ($36,000 new, $??? today/used)
This lens is sort of an urban legend. I saw one on ebay once for almost $20k! Its the size of a Howitzer. Impractical for filmmaking. For the price, you'd almost need to be delusional to get this (esp with so many great 400mm primes available). A collector's item only.


1000 5.6 Mirror ($80,000 new, $??? today/used)
Same as above. Except even larger and more expensive! Probably as much as a set of Super Speeds!! This lens is insanely rare. An absolute collector's item. Have to admit - would love to see it on a Weapon Vista Vision! If you can find one!!

 

[Tom_Gaudet]

Buy them now!

Buy them now!

I have one thing to say about Nick writing an update to the thread; If you are still buying Contax lenses, hurry up. You know how the second hand market prices went up last time he did this!

Seriously, thanks Nick! We appreciate how willing you are to share what you have learned.

 

[Brandon Kelly]

Damn, thanks Nick! Always excited to get more info and input, love these lenses!

 

[Uli Plank]

@ Janis:
What about Sigma 18-35? It's not too far off in color too and really good value for the money.

@ Nick:
Thanks for all the work! You confirmed all of my buying decisions (and the passes too)!

 

[Uli Plank]

Found me a marvel, albeit not Zeiss:
Sorry for posting this here, but among vintage lovers, you may understand my enthusiasm: I got me a Minolta/Sony 135mm 2,8 STF (actually T 4.5).
This unique construction must be the ultimate bokeh machine. I only wish Sony, who is holding the patents now, would make a 85mm version, since 135 is a bit long on S-35.
This lens is not like a Varisoft Rokkor or a Nikon DC (Defocus control), but it has an apodization optical element to produce the smoothest bokeh ever. Even the Contax 85mm 1.4 can be harsh in some backlight situations, but this one never is. No problem to adapt to my A7R, but I don't know if you can put it on a RED.

Photos soon, but you can read about it here: http://www.the135stf.net

 

[Miko Meloni]

Thanks Nick for the Guide!

 

[Chris McKechnie]

As always, thanks Nick. Your dedication not only to us redusers but to the Contax line of lenses is unsurpassed. You're the reason I switched to Contax. Thanks for making images I capture so much better. :thumbup:

 

[Ted Parkes]

Nick .. just logged in for the first time in a week or so. Wow! Thank you for the amazing amount of work you put in to the update and continue to put into this thread.

 

[Moc Nguyen]

I have a collection of:

- Contax 25mm f2.8
- Contax 28mm f2
- Contax 28mm f2.8
- Contax 50mm f1.4
- Contax 85mm f2.8
- Contax 100m f2.0
- Contax 135 f2.0
- Contax 35-70 f3.4

All on sale right now... Pick up at Singapore, Thailand or Vietnam (I'm Vietnam). Check out the picture here