Review of the Zeiss Ikon Contaflex Super B Film Camera

      Zeiss Ikon Contaflex Super B. The Zeiss Ikon Contaflex Super B is a distinctive yet robust camera, equipped with a sharp, expressive lens. Unlike many models, the Contaflex lacks an instant-return mirror, and its lens mount design is reminiscent of early folding rangefinders with interchangeable element groups, such as the Retina IIIC. The Super B is substantial in weight, operates slowly, and has a viewfinder experience that can make focusing feel like a new challenge, even for seasoned SLR users. However, the exceptional image quality produced by the Zeiss Ikon Contaflex Super B makes the extra weight worthwhile, and its price range ($25~$100) indicates that this camera remains an undiscovered treasure. Additionally, Zeiss Ikon Contaflex cameras are among the few 35mm film cameras that feature interchangeable film backs!

      In this review: Technical specifications, build quality, the unique design and ergonomics of the Zeiss Ikon Contaflex Super B, image quality of the Carl Zeiss Tessar 50mm 𝒇2.8, and where to find your Zeiss Ikon Contaflex Super B. Support this blog and enjoy premium features with GOLD memberships!

      The Zeiss Ikon Contaflex Super B paired with Cinema Shorts 50D demonstrates light leaks caused by my careless film loading. Negative inverted with film Q.

      Technical specifications. Released in 1963, this 35mm manual focus SLR is among the final models in the series, featuring a selenium meter-powered (battery-free) shutter-priority mode as well as a fully manual mode with uncoupled meter assistance. The selenium meter bears “ZEISS IKON” lettering on its cell window — a unique and appealing design. The standard lens for this camera is the Carl Zeiss 50mm 𝒇2.8 Tessar (4 elements, 3 groups). Everything discussed in this article, excluding product images, has been taken with this lens.

      The camera has a lens mount with a built-in 1s - 1/500s leaf shutter and focusing mechanism (which includes its own optical glass elements), compatible with several lenses: Pro-Tessar 35 mm 𝒇3.2, Pro-Tessar 85 mm 𝒇4, Pro-Tessar 85 mm 𝒇3.2, Pro-Tessar 115 mm 𝒇4, Monocular 8×30B (400mm telephoto), Pro-Tessar M 1:1 50 mm 𝒇5.6 (for macro photography), and various Steritar versions (for stereo photography!). This Contaflex also supports interchangeable film backs for 35mm film (which is quite rare for this format). While I have not yet had the opportunity to test one, I will update this review upon trying it.

      The camera weighs 712g/25oz with the 50mm 𝒇2.8 Tessar lens and has dimensions of 134mm × 88mm × 76mm (5.3” × 3.5” × 3”).

      Build quality. This camera is bulky and won’t fit in a pocket, constructed mainly of metal, giving it a remarkably solid feel. Some components have sharp appearances, a reflection of the metal shaping technology and design philosophy of its era. It is evident that this was a premium camera, showcasing impeccable attention to detail throughout: from the light meter indicator on the top plate to the in-viewfinder light meter and shutter speed scale. All dials, plates, and connections align perfectly.

      The only part that seems out of sync with the rest of the camera is the lens barrel/mount with controls. While the design is typical for the time (and well-crafted), it has a different finish that appears somewhat awkward, especially compared to the Nikon F1, a modern-looking SLR.

      The distinct design and ergonomics of the Zeiss Ikon Contaflex Super B. The lens mount, which also acts as a shutter, focus, and aperture housing, is not the sole feature that makes this camera unique.

      Focusing with this SLR differs from any others I've tried. The entire viewfinder remains in focus (similar to a rangefinder), with only a portion of the center ring appearing blurry in parts of the scene that are out of focus. This contrasts with most SLRs, where the entire view becomes unfocused when not correctly set, although the middle circle might assist with focusing.

      Initially, using this viewfinder felt unusual, but it quickly became familiar. Conversely, adapting to the absence of an automatic mirror return took some adjustment. As one of the early SLRs available, the complex mechanics of this camera did not yet enable the reflex mirror to rise immediately after a photograph is taken. Consequently, the viewfinder is entirely black

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