Contax 139 Quartz – Camera Review

Contax 139 Quartz Review (8 of 11)

I recently found myself the reluctant owner of a Contax 139 Quartz 35mm SLR, a camera about which I knew little and for which I cared even less. After all, if this rebranded, electronic Yashica were anything worthwhile I’d have heard about it from my friends at the camera shop, or spied one scrolling by in my Instagram feed. Yes, surely if the 139Q mattered I’d have known about it. Still, it was being sold with a fairly legendary Zeiss lens attached, so I bought the whole kit and awaited its arrival. Getting hands on this beautiful glass would be a big win for anyone, no matter what substandard camera so lecherously clung to it.

Luckily, this uncharacteristic bout of arrogant self-assurance was not much more than a 24-hour bug. When the camera arrived and I pulled it from its packaging my pompous windbaggery was justifiably and firmly checked. I held the Contax, flicked its controls, squeezed off a few shutter releases, and decided my next action should be to insert into my gaping opinion hole the proverbial sock.

Just over a month later the Contax has become a constant companion. While it’s not a perfect camera, it’s surely one of the best I’ve ever shot. With objectivity (and humility) happily renewed, here’s the great, the good, and the bad about Contax’s electric wonder.

Contax 139 Quartz Review (6 of 11)

I hinted that this camera is what pedantic photo geeks would describe as being “not really a Contax.” Why would they say this? Because they’re annoying, for sure, but also because it’s technically true.

But before we get too far here, we should clear up some history and set the record for readers who may not be up to speed on their Contax. Here, then, is our (outrageously) condensed Contax timeline.

Many eons ago, when Dinosaurs stalked minor mammals through the ferny underbrush and Contax was a new company, Leica was the most lauded camera maker in the world. Their rangefinder system was top shelf stuff. Dresden-based optics maker Zeiss wanted a piece of the pie, so they created a camera to best Leica’s model in every way. This machine was to be known as the Contax, and it was in many ways superior to Leica’s rangefinder.

Less than a decade later, someone in Europe started a little war. This turned into a larger war, and then a really big, globe-sized war. Things were pretty ugly for a while, and eventually the guy that started the war died. As a result of their nation’s loss, many German companies were forced to surrender patents, dissolve entirely, or split into smaller companies. This included Zeiss.

Some other things happened in Europe that made everyone suspicious of everyone else. People built a wall between two Zeiss plants, and Zeiss split into multiple diminished entities. Economic and political pressures from home and abroad further stressed the camera maker on both sides of the wall, with the Zeiss on the western side concluding that a partnership was needed if the company was to survive these pressures, and the increasing dominance of Japanese camera makers.

Unable to work with the jerks on the eastern side of the wall because some people across the Atlantic Ocean didn’t like that idea, they partnered with a Japanese optics company called Yashica, who were well-respected in the field of lens-making. This partnership quickly bore fruit; a camera born from a top secret project. Internal documents referenced the charmingly quaint nomenclature “Top Secret Project 130.” So sneaky, it hurts. As a result, 1975 saw release of the now-legendary Contax RTS SLR camera.

Following the success of the professional-level RTS, Yashica and Zeiss were eager to introduce a camera more suited to the burgeoning advanced amateur photographer market. Smaller, lighter, and yet nearly as capable as the RTS that preceded it, 1979’s Contax 139 Quartz would be a camera that many photographers found to be nearly perfect. All later Contax cameras would be developed by Yashica, which was later bought by Kyocera, which stopped camera production in 2005 and subsequently sold the Yashica brand to a Hong Kong-based marketing group whose portfolio of businesses includes commercial distributors of fancy cars and beer.

So you see, the Contax 139Q is really a Yashica. Simple stuff, really.

But Yashica made really great cameras, as it turns out. So none of that matters, right? Right! So let’s not worry about the last five-hundred words and instead get to the good stuff. What’s the Contax 139 Quartz all about, how does it handle, and where does it stumble?

Contax 139 Quartz Review (9 of 11)

Aesthetically, the 139Q is a thing of absolute beauty. It’s streamlined in a way that many cameras with a comparable feature set are not. There are no bulbous grips protruding, no new-fangled ergonomics, and no superfluous stylistic flourishes. Controls are spread intelligently over the entirety of the frame, and many are combined with one another in order that they remain usable without overcrowding any one area of the body.

In many ways, it’s a camera that looks both modern and classic at the same time. This is most exemplified in its perfectly vertical lens mount surround, which carries upward in an unbroken plane directly to the pentaprism housing above. There is a frugality of style here that is uncommonly and deceptively simple. The 139Q presents a pure and succinct design, and while not everyone will appreciate, I certainly do. This camera is, to my eye, perfect.

Specifications of the 139Q are impressive in any light. This camera is an electronic wonder, with some rather incredible technology tightly wadded into a tiny package. Indeed, as we look at the spec sheet we start to realize that this is a camera that seems to draw on the strengths of countless cameras before it, and one that combines many often exclusive features into one inclusive machine. This 35mm film SLR offers essentially everything any photographer could ask for. The short list? We’ve got dual exposure modes (aperture priority auto-exposure plus meter-assisted full manual modes), an incredibly advanced shutter, through-the-lens wide-open metering, exposure compensation dial, auto-exposure lock, TTL flash capability, depth-of-field preview button, a massive selection of superlative lenses, and countless incidental features.

When the camera was first released, the centerpiece of its technical achievements was certainly the much-lauded “quartz crystal heart.” This crystal, paired with the camera’s electronic shutter, was quite loudly predicted to revolutionize photography in the same way that quartz had revolutionized modern timekeeping. Rather than relying on gears and springs the way other mechanical cameras of its day did, the 139Q uses electricity and a quartz crystal. The uniform high-frequency pulses of quartz help to control all time-related functions within the camera to an incredible accuracy.

Contax 139 Quartz Review (1 of 2)-2

But what did this mean for the camera’s contemporary photographers? And what does it mean today? Well, it’s tough to say, but I suspect it meant little back then and means even less today. The implementation of such a method of time-keeping for shutter-speeds is worthy of applause, in that it shows a level of thought existed within the design team that’s truly commendable. But practically speaking, even in 1975 there existed a good number of electronically-controlled shutters inside many cameras that operated very well. The heavy promotion of the camera’s quartz system seems, then, to be more of a marketing attempt toward differentiating the Contax from its competitors’ systems (which is natural, and perfectly acceptable).

There are certainly people out there who will love the idea of their camera containing a quartz crystal, and these folk are likely to be eager to talk about it to anyone who will listen. That’s also fine! Whatever makes your heart sing. But for those of us who aren’t so easily wooed by technical factoids, the only takeaway is that the shutter works well.

Capable of speeds from 1/1000th of a second down to 1 second in manual mode, and with continuously variable speeds from 1/1000th of a second down to 11 seconds in automatic mode, the shutter can handle nearly any exposure situation. Bulb mode is also included, and the flash sync speed is 1/100th of a second. Naturally, we photo geeks always want more and better, so an improved top end speed of, say, 1/2000th of a second and a faster flash sync speed would have been nice. But in frankness, the available speeds will handle all but the most demanding applications.

The construction of the shutter is exceptional. The vertical-travel, metal-bladed mechanism is bearing-mounted, and this fact is immediately felt when we advance the film. Operation of the film advance lever is smooth, and quiet, and the shutter release button actuates with a feather-light touch. This is made possible through the use of an incredibly advanced electromagnetic shutter release button (the same used in the RTS). The result is a satisfying and subtle mechanical action every time the shutter is advanced and released.

The next most important aspect of the camera must certainly be its metering system. Through-the-lens, wide-open aperture metering is implemented via a silicon photo diode cell that uses a center-weighted metering pattern. The system works extremely well, even in complicated lighting situations. Shooting in aperture-priority mode yields consistently superb exposures. An AE lock button and an exposure compensation dial capable of +/-2 EV help the shooter immediately adjust for tricky lighting.


Ergonomically the camera has very few failings, though there are some uncommon controls that may cause issue for some shooters. For the most part, buttons, knobs, switches, and levers are all positioned intelligently in locations that photo geeks will expect. The shutter release button is very comfortable, being large and recessed in the center of the combined ASA adjuster and exposure compensation dial. The self-timer activation switch is where one would expect it to be, on the front of the camera, and just above this is a very well-placed and intelligently contoured button that combines AE exposure preview, meter activation, and AE lock. On the same side of the camera and below these two mentioned controls we find the depth-of-field preview selector.

It’s interesting that so many controls would be positioned where one’s right hand would fall, and this feels completely natural to seasoned shooters. It’s strange, then, that we would find the shutter speed selector where we do. In most cases, this selector is near or surrounding the shutter release button. This is a natural fit. On the Contax, however, it is positioned on the left hand side of the top plate. This is strange, as when shooting in manual mode we’re forced to use the same hand to alternately focus and change shutter speeds. It feels odd, though not criminally so, and when shooting in aperture-priority mode (in which this knob remains locked in the “Auto” setting) it becomes a non-issue.

Similarly unusual is the fact that the shutter release button forgoes the typical half-press used by nearly every camera to activate the metering system and corresponding viewfinder display. Typically we would press the shutter release halfway and expect the LEDs inside the viewfinder to illuminate, showing us what our scene’s light reading would be. Here, we have to use the AE preview button mentioned earlier. Again, this isn’t a deal-breaking design choice, it’s just something different to get used to.

Contax 139 Quartz Review (1 of 1)

As for secondary and tertiary controls, things are a mixed bag. While the most commonly-used controls are very well-implemented, some of the less often used ones are finicky. Specifically irksome is the exposure compensation dial lock, which is slightly annoying for two reasons. The first is that I detest dial locks. They get in the way, slow down the process, and assume in the photographer a certain level of incognizance that most photo geeks never display.

The second annoyance perpetrated by this little lever is a result of it also acting as the camera’s multiple exposure lever. By nudging this lever upwards (the same motion used to set exposure compensation) and advancing the film lever at the same time, the film take-up spool is disengaged while the shutter is cocked. This makes double exposures very easy, but also makes accidental double exposures quite common, as to push the locking lever upward to adjust exposure compensation one has to nudge the film advance lever out of the way, which can often disengage the take up spool.

Aside from these mentioned peculiarities, the Contax is a joy to use. It’s astoundingly small; at 135 x 85.5 x 50 mm, it’s two millimeters smaller than Olympus’ OM1, a camera which built its reputation on compactness. It’s also ten grams lighter than that machine, a fact that’s simply incredible. But in contrast to this diminutive frame, the camera is exceedingly robust. Made of an advanced, machined aluminum chassis, it’s an amazingly strong machine. There’s no flex, squeaks, or rattles, and the whole thing just screams quality.

Contax 139 Quartz Review (11 of 11)

Contax 139Q • Zeiss Planar 50mm F/1.4 • Ilford HP5 Plus • Double Exposure

Contax 139 Quartz Review (3 of 11)

Contax 139 Quartz Review (4 of 11)

A few reliability issues do plague the camera. The most obvious is the tendency for the camera’s leatherette covering to deteriorate. This soft-touch material just doesn’t display the durability found in other cameras, the result being that many 139Qs require replacement of the covering. Luckily, this is an incredibly easy fix. Choosing leather or synthetic leather replacement from a vendor, such as Aki-Asahi, allows us to not only replace the worn out stuff, but even customize the camera for a cost of less than $30.00. One of my examples was reskinned in blue leather, and it’s simply stunning.

Other more serious issues can sometimes come up, such as the complicated electromagnetic shutter release failing. This is caused by dirty or corroded contacts, often the product of long periods of disuse. Cameras suffering from this can be easily fixed if one has the bravery to try, or sent to one of a number of reasonably-priced service techs.

The viewfinder is among the more informative examples from the era. It is a large, fixed prism finder with a horizontal split-image and micro-prism focusing screen showing 95% of the actual picture area at .86X magnification. This combination makes for a bright VF that facilitates effortless focusing. Information comes via both analog displays and LEDs. An aperture readout window appears in the upper portion of the viewfinder, showing the selected lens aperture. A big, bright LED array on the right of the frame indicates exposure settings in both automatic and manual modes. Flash indicators, over- and under-exposure warning lights, AE lock indicator, and a low battery warning light round out the list of available information.

The comprehensive inclusion of all pertinent details within the viewfinder helps the photographer focus on the task at hand. There’s never a need to pull ones eye away from the scene. This is something sorely lacking in numerous cameras of the era, and something I appreciate greatly in the Contax.

Contax 139 Quartz Review (2 of 2)

Contax 139 Quartz Review (10 of 11)

Contax 139 Quartz Review (5 of 11)

And of course, when we talk about a Zeiss camera system we can’t ignore the lenses. The Contax SLR system offers some of the best optics in the world. This camera naturally utilized the earlier RTS’s C/Y lens mount, meaning all Contax and Yashica mount lenses will natively mount to this machine. This includes a truly world-class and full-fledged range of Zeiss T-star lenses. For those not in the know, T-star lenses feature Zeiss’ top shelf optical coatings. We won’t get into the marketing speeches or pretend we know the importance of “ultra-flat transmission of light,” or say that we’ve bothered to waste our time staring at MTF inspection charts. But we will tell you that the eye test shows nearly unbeatable image quality and an almost complete mitigation of optical aberrations.

Couple the simply stunning image quality with the fact that Zeiss’ lenses just feel amazing and what we’re looking at is a camera system with zero optical compromises. Interestingly, Zeiss launched alongside the 139Q a new Tessar type 45mm F/2.8 pancake lens that’s noteworthy for it’s impeccable build and incredible compactness. The 139Q coupled with this 45mm lens creates one of the tiniest and most capable SLR and lens combinations I’ve ever used, and one I’ll likely use forever. It’s that good.

Beyond this standard focal length, we’ve got the ability to fit everything from a 15mm ultra-wide Distagon to the ridiculously tele 1000mm Mirotar. Macro lenses, macro extension tubes, portrait lenses, and a Vario zoom with a fixed maximum aperture complement the more typical lenses, and create an ecosystem that’s criminally overlooked by shooters today. This is especially true when one considers that all of these amazing lenses can be adapted to today’s mirror-less and digital cameras via a twenty-dollar adapter.

Oh, and I didn’t even mention the fact that Yashica’s respected ML lenses offer exceptional performance at a fractional cost.

Contax 139 Quartz Review (1 of 11)

The 139Q is capable of using dedicated and capable flashes in the form of the TLA20 and TLA 30 units, nearly every accessory made for the RTS, and its own range of unique accessories. These include the 139 Power Winder which offers burst shooting and a portrait orientation shutter release button, and the 139 Data Back. Yes, the 139Q is a fully equipped system camera, lacking in nothing. It’s the kind of camera that will handle anything thrown at it. Straight out of the box it’s ready to go, and as one’s needs and abilities increase, so too can the capabilities of the 139.

These cameras are inexpensive at the moment, but don’t expect them to remain so. As we’ve seen with numerous other lesser-known makes and models, forgotten quality eventually comes to be rediscovered. As more and more people realize the existence of amazing film cameras that aren’t named Leica and Rollei, the prices of these cameras will climb. If you like what you’ve heard about the Contax 139 Quartz, go buy two; one for today and one for the future. That’s what I did.

Want your own Contax 139 Quartz?

Get it on eBay

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  • Reply
    Aaron S
    February 22, 2016 at 8:10 pm

    Haha this is absolutely crazy. I read a few articles on this site a few months ago, caught a bad case of G.A.S. and then bought myself a 139Q with 50 1.7 and 85 2.8. I come back and bam! Review plus home developing guide :P.

    It is a fun little camera, though I may swap the 50 1.7 for the 45 pancake at some point to make it a even more compact. Great review!

    • Reply
      February 22, 2016 at 8:15 pm

      Thanks pal! I appreciate the kind words and I’m happy you’ve scored another sweet machine!

      • Reply
        Aaron S
        February 25, 2016 at 6:46 pm

        I had my fixed up by the owner of; perfect condition and just love the crispness of the shutter compared to my Rolleiflex SL35E. Proof is in the pudding though so interested to see the results when I finish the first roll this weekend hopefully…

        • Reply
          February 25, 2016 at 7:38 pm

          That’s beautiful. I love that there’s a site dedicated to that camera. Share your shots with me on IG or Facebook or wherever.

  • Reply
    Randle P. McMurphy
    March 29, 2016 at 11:37 am

    The Carl Zeiss Planar 1,4/50 standard lens is on of the best lens ever build.
    Sharper than the Leica M lenses and belive me I tested them all in the “good old days” !

    • Reply
      April 16, 2016 at 9:17 pm

      So far it’s been great. Can’t wait to put it up against some of my other favorite 50/1.4s in a shootout!

  • Reply
    Steve A
    May 2, 2016 at 11:58 pm

    Wow! To think that only an hour ago I was THIS close to kicking our ~1980 Contax 139Q to the curb. I only recall never being as happy with our photos as we had expected (whatever that means!). I guess I need to take another look at it.

    Thank you for a very interesting article!

    • Reply
      May 3, 2016 at 12:06 am

      Let me know how it goes!

  • Reply
    May 6, 2016 at 1:44 am

    Hi, great review and site. Just one observation: T* is the multicoating technology propietary of Zeiss (like SMC for Pentax), not the designation of a top lens line. More info here:

    • Reply
      May 6, 2016 at 1:48 am

      Yes sir! I can see that I didn’t word that very well, so I’ve updated the article to be more clear. Thanks for keeping me on my toes, my friend! Happy shooting to you!

  • Reply
    May 18, 2016 at 7:42 pm

    Flash metering off the film plane too with the (cheap) dedicated flashes and ttl cables.

    • Reply
      May 18, 2016 at 7:51 pm

      Absolutely. A great system, overall!

  • Reply
    May 26, 2016 at 3:25 pm

    I think this post cured my desire to pick up a Nikon F2! A few years ago I got the film bug and picked up a Contax 167MT and then the 139Q. Now I have both the Zeiss 1.4 and 1.7 50’s and a 28/2.8 Distagon. I’ve been trolling around thinking of picking up an F2 with a non-metering head because I had this camera as a kid. I pulled out my 139Q and marveled again at what a sweet little camera this is along with some nice Zeiss glass. I’m pledging to run a roll of film though it this month!

    If Aaron S sees my comment, do you have contact info for That site has gone 404.

    Thanks for the review!

    • Reply
      May 26, 2016 at 3:27 pm

      I’m surprised is unresponsive. I’ll look into that and see what happened.

      I’m glad you’re liking the camera though! Happy shooting bud!

  • Reply
    Curt Meinecke
    July 13, 2016 at 2:09 pm

    I enjoyed your article! I recently came upon my late dad’s old Contax 139s (he had 2) and his Rollei 35 LED. The better-kept 139 unit has the Carl Zeiss 50 f/1.7. The 139s are covered in leather from one of my dad’s old wallets — I remember him doing this after the very soft plastic coating rubbed off. It looks great, and actually has some sentimental value as well. I remember him down there in the basement cutting, gluing….he did a rather nice job.
    After a trip to the drug store, I was somewhat (but not overly) surprised that both cameras functioned perfectly, after being stored for decades. What lovely cameras. I learned photography in the digital age — sure I took pics with my old Yaschica camera when I was a teen( I think my mom sold that camera with a bunch of camera equipment when dad died), but I really had no idea what I was doing. I learned aperture, exposure, DOF in my middle age using a Canon DSLR. My teenage son wants to learn photography now, and what better way to teach this than with these “real” cameras. After all, the idea of stops becomes very obvious when shooting with these machines. In fact, I think that taking a good picture with the Rollei 35 LED is a final exam for Understanding Exposure (shout out to Bryon Peterson for his wonderful book).
    I have shot one roll with the Rollei and they came out great! Perfect exposure and great clarity. Funny story: the first picture I took with the Rollei was of the Raleigh bike my dad gave me when I was a student. I didn’t even think of the connection until I developed the film — dad’s Raleigh shot with dad’s Rollei. Today I am off to the zoo with the Contax 139 and the Rollei with my son for a lesson on exposure. I bet the pictures from the 139 look as great today as they did decades ago.
    Over the last 2 years I assembled an exceptional lens collection for a state of the art DSLR FF camera kit. And after finding these cameras, I think I am becoming an old SLR film camera buff. Bad timing indeed, but these cameras are truly intriguing. I’m going to take them with me to Spain on an upcoming trip, at least the tiny Rollei. And my son is as intrigued with them as I am. So they will get some good use. Dad would be happy I’m sure.

    • Reply
      July 13, 2016 at 5:55 pm

      What a fantastic comment to read. Thanks for sharing that. I love hearing about family connections with cameras; that’s what it’s all about. Enjoy your new old cameras and let me know if we can see your travel shots anywhere. Happy shooting!

  • Reply
    curt meinecke
    July 14, 2016 at 1:35 pm

    Thanks for your site and your kind reply. I must share this funny story: our trip to the zoo the try out the new camera was less than optimal when I got a call from the drug store that the film had no pictures on it. Well, as it ends up, I was using BW “lomography” film that I bought on Amazon. That requires special processing. So just in case anybody reading this is a clueless as I was — DON’T buy BW lomography film unless you know how to develop it! Apparently color lomography film can be developed anywhere but the BW lomography film requires special processing.

  • Reply
    July 21, 2016 at 3:16 am

    The review is spot on , and I love it!
    I have a Contax 139 with the 50mm 1.4 Planar Lens! The leather outer skin has come off. Need to have it redone!
    I had also purchased a Vivitar 28mm 2.8 and 75-205 mm zoom and a Tamron 350mm Mirror Lens to work with my Contax! A beautiful piece!

  • Reply
    The Other James
    August 15, 2016 at 7:53 am

    Hugo Studio does top notch works. I have one of their covers on my 139. I always wanted to play with the Zeiss lenses and crossed that off my list when I got an 80mm Planar for my medium format folder. Then this offer came for a Planar 50mm 1.7 that came attached to a non-working 139. When I got it, the Contax worked just fine. I re-wrapped the leather and after a few rolls, started to get really stupid. I got the winder, then locally ran into a guy selling off all his C/Y Zeiss lenses. So I have the trifecta of a 28mm 2.8 Distagon, the 135mm 2.8 Sonnar to go with the Planar. Just to complete the collection I found the 2x Mutar which is surprisingly good. This is the golden time for film enthusiast to be acquiring stuff. I don’t think these low prices are going to hold for very ling.

  • Reply
    August 18, 2016 at 6:20 pm

    Loved the review. I collect 35mm…I mean these days who wouldn’t? Cameras that we could not afford now going for nothing and new buisnesses offering custom developement. I pay £5 for a roll of 36 exposure slides in the UK…send them from france. Anyways…I bought a Contax 139 new in 1980. I was a student and it and lens (Zeiss) cost me an entire summers wages!! I could not afford more lenses and only used the camera sparingly. Fast foward to 2015…….pulled it out of a box, cleaned it up, had a problem with the shutter button not creating a contact……tiny bit of contact cleaner took care of that…..loaded slide film in it and off I went. FANTASTIC……….and ever since I use it regularly. Put a nice zoom by Kino 28 -100 on it and bought a Yashica 75-200 and results are TOP. I had forgotten how good this camera is. I own maybe 50 others and it is by far the best of all…..even like it better than my RTS or any of my Zeiss Ikons!! Thanks for the write up!!!

  • Reply
    August 21, 2016 at 9:02 am

    Comprehensive, detailed review. Thanx for sharing it.

  • Reply
    August 23, 2016 at 3:42 am

    Its always great to read reviews about Contax cameras. Love the review!

    Everytime I shoot with my C/Y gears be it on film or adapting the glasses to mirrorless, they never fail to impress. I have build up quite a collection of C/Y SLRs and glasses over the years and I’m sure I won’t be selling them!

  • Reply
    September 17, 2016 at 5:56 am

    Thank you for this article. I just bought my Contax 139Q with a Zeiss 50mm 1.7 lens from an older European fellow from Czech republic (I’m in Canada). Bought black leather from Hugo to replace the faded worn out material.
    Loaded it with Fujifilm Superia 200 ISO and man am I happy.

  • Reply
    Samuel Tang
    October 6, 2016 at 10:08 am


    As a 139 user as well I can certainly understand your new-found enthusiam in the camera. However, the historical back-story in the article is not quite accurate.

    Zeiss was not one huge corporation. It started as Carl Zeiss Optical in Jena, the firm was inherited by the designer Ernst Abbe after Zeiss’s death. He set up Carl Zeiss Foundation to acquire and manage the firm, and the Foundation later acquired four camera manufacturers – two in Dresden, one in Berlin, and one in Stuttgart – and merged them as Zeiss-Ikon, based in Dresden. And it was in Dresden that the rangefinder Contax were built, along with most Zeiss-Ikon equipment, and of course using Jena-made lenses.

    The design, engineering and production skills of both Zeiss Optical and Zeiss-Ikon were highly respected. During the War the Americans wanted to acquire all that Zeiss had, but except the Stuttgart branch of Zeiss-Ikon, everything was located in the area to be allocated to Soviet-occupation. Operation Paperclip was put into action: just before handing Jena and Dresden to the Soviets, the Americans took as much assets as possible – including key staff members – and transported to what was to be the US Zone. There, the new Zeiss Foundation, Zeiss Optical were formed in Oberkochen, and the old Stuttgart works became the new HQ of the new Zeiss-Ikon.

    THe original firms in Jena and Dresden took little time to get back into production, so there existed a duplicate of all the Zeiss operations across the political railroad track.

    While Stuttgart produced a wide variety of cameras – including simplified versions of the Contax rangefinders – over the years, in the early 1970s they realized that without cooperation with a Japanese manufacturer they would not be competitive. Pentax was first contacted and they went as far as designing a common lens mount which became the K-mount, but things did not work out. Yashica was then approached, and we are all familiar with what followed.

    • Reply
      James - Founder/Editor
      October 6, 2016 at 11:52 am

      Great info there. I had a difficult time distilling it down into an entertaining and quick format for the article. I’ll revisit it and see if there are egregious inaccuracies and correct them if so. Thanks Samuel!

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