CONTAX/Yashica 35mm SLR System (Manual Focus)

CONTAX ST w/ P-7 AA-battery holder (1992) and the Yashica FX-D Quartz (1980)

    Yes, it's been a long time in coming, but we will now resume our "Choosing a Vintage SLR System" series. Previous articles delved into the Big 5's (Canon, Minolta, Nikon, Olympus, and Pentax) manual focus (MF) 35mm SLR ecosystems, breaking them down into five main sections: 1) Lenses, 2) Bodies, 3) Flash, 4) Accessories, 5) Reliability & Servicing. We will now start digging into a series of smaller Japanese manufacturers that, while perhaps not as well-known nor heralded, were certainly influential in the industry and can offer interesting alternatives to the Big 5 in your search for an SLR system. We (re)start with CONTAX/Yashica, a collaboration between Zeiss and Yashica. As before, we will confine our consideration to the MF system, which is where C/Y made their greatest mark (their Auto Focus or AF system, unfortunately, never amounted to much, in spite of a promising R&D program in the early-'80s).  

  Crisis Leads to Collaboration

    A partnership with a Japanese camera company would have been far from Zeiss' mind prior to the early-1970s. They had not taken kindly in the 1950s to a proclamation in the New York Times stating that lenses from Nippon Kogaku (later Nikon Corp.) were now capable of superior performance to the previously unchallenged German hegemony in 35mm optics. Both Zeiss and Leitz (the makers of Leica), the dominant German 35mm manufacturers, paid dearly for their underestimation of the Japanese, particularly when it came to the refinement of the SLR into the premier tool for photojournalism and enthusiast 35mm photography from the late-'50s onward. They were rewarded with the near-collapse of their photographic divisions a decade and a half later. During the 1960s, Leitz had been a bit more successful than Zeiss in SLR design with their Leicaflexes (Zeiss' Contaflexes were overly complicated in design and archaic in their controls), but neither of them could match the rapid maturation of Japanese SLRs. Soon, the Japanese were not just refining the pioneering efforts of Zeiss in SLRs, but innovating themselves, particularly when it came to automation. Further automation of the SLR was going to require electronics, and by the early-'70s no one was more advanced in commercial electronics than the Japanese. Among camera manufacturers, Yashica had taken an early lead in applying electronics to 35mm cameras in general, and SLRs in particular. In 1968 they had released the first successful electronically-controlled focal-plane shutter SLR in the form of the TL Electro-X. This may have provided the first inkling for Zeiss that Yashica could be a good future partner as the TL Electro-X soundly thrashed the Zeiss-Ikon Contaflex SE (introduced a few months earlier) in operation and sales (300,000 vs. 3,000) and basically precipitated the withdrawal of Zeiss-Ikon (located in then-West Germany) from the SLR market completely by 1972. After a failed attempt to establish a long-term agreement with Asahi Optical Co. (aka Pentax), negotiations with Yashica began in June 1973. The partnership with Yashica was officially announced on Sept. 18, 1974.

  Lenses

    Reflexively, when most photographers think of CONTAX/Yashica, the first thing that comes to their mind is ZEISS glass (can you see the halo and beams of light ;-)). And that is understandable, as the Carl Zeiss lenses produced for the C/Y mount were some of the finest optics of their generation. What often gets lost in the shuffle was that the majority of Zeiss-badged glass for C/Y was actually built in Yashica's Tomioka lens facility alongside the Yashica-branded glass for the system. Long before Zeiss came along, the Tomioka plant had a well-deserved reputation for producing high-quality optics, not just for 35mm, but also other formats. There were two Yashica series of lenses for C/Y: 1) the budget DSB/YUS single-coated line (comparable to Minolta Celtic and Nikon Series E lenses), and 2) the Multi-Layer/MC multicoated family (comparable to the standard lens lines of the Big 5). Befitting their premium status, the Carl Zeiss-branded lenses received Zeiss' proprietary T* multicoating, thus creating a three-tiered system. The ML/MC lenses stand up to concurrent Big 5 glass any day of the week. Truth be told, they come closer to their premium siblings than most Zeissphiles would care to admit ;-).

    On the Zeiss side, there were two main generations of lenses, the original AE (Auto Exposure) versions for Aperture-priority exposure and the later MM (Multi Mode versions enabling Program and Shutter-priority as well. The easiest way to distinguish between AE and MM lenses is via the minimum aperture number on the aperture ring: it is white like the others on AE lenses, while it is green on the MMs (CONTAX/Yashica basically "borrowed" Minolta's MD system, including the lightened aperture blades, green minimum aperture number, and its aperture ring-mounted tab and body-mounted lever, just clocked 180-degrees from Minolta's configuration to satisfy the patent lawyers ;-)). MM lenses are fully backwards compatible, but AE lenses cannot be used in Program or Shutter-priority modes on cameras so-equipped (they function normally in Aperture-priority and Manual modes). A few AE lenses never did receive the MM upgrade (including the 16/2.8 F-Distagon, 15/3.5 Distagon, 300/2.8 Tele-Apotessar, 60/2.8 Makro-Planar 1:1, and the 100/2.8 Makro-Planar). Another commonly-used delineation is the application of "G" to signify German production and "J" for Japanese production:

• AEG = Auto Exposure lens made in Germany
• AEJ = Auto Exposure lens made in Japan
• MMG = MM lens made in Germany
• MMJ = MM lens made in Japan

​
   "G"-suffix lenses almost always carry a higher price tag than equivalent "J"-suffixed versions, a result of the myth of Zeiss having higher quality standards in Germany than the Japanese were capable of. This holdover from Zeiss' attitude in the 1950s provides the opportunity for informed buyers to score better deals on AEJ and MMJ lenses that are every bit as good as their German counterparts :-). 

    Noteworthy Lenses. The easy way out with Zeiss is to say: "all of them" ;-). Of course, things are a bit more nuanced than that. Safe to say however, you have to look long and hard to find a dud among them. About the worst you could say is that a C/Y Zeiss lens would be just "average". When the typical 50/1.7 will run you $150 - $200 USD and the others go up from there, it can make things a bit of a challenge for a person constrained by budget. However, that can also help to keep one's lens menagerie at a manageable size ;-). Cine-modders have shown a predilection for Zeiss C/Y glass and that has only served to keep values strong. But, you can find some relative bargains among the moderate aperture primes such as the 28/2.8, 35/2.8, 85/2.8, 100/3.5, and 200/4, and even more so among the zooms, which offer class-leading performance for the era, at the cost of weight. If you have the pockets for them, the 28/2, 35/1.4, 85/1.4, and 100/2 primes were all premier optics and the 85/1.2 is a light-sucking monster of a portrait lens ;-). Speaking of deep pockets, the 55/1.2 100-Jahre Planar is among the rarest of C-Y lenses and they sell for $5,000 USD and up, with virtually all of them living on collectors' shelves. The 60/2.8 and 100/2.8 Makro-Planars are also impressive and are actually within reach, financially. One other trait shared by many of these lenses (mostly AE-Series) are their short aperture blades that produce a "sawtooth" or "ninja-star" effect when stopped-down from wide-open until they get to f/8. This can create interesting bokeh effects that you may love or hate ;-).  Standard filter sizes were 55mm and 67mm, with a few specialty lenses utilizing 72, 77, 82, and 86mm. The pancake 45/2.8 Tessar took a 49mm filter, but CONTAX listed it with a 49/55mm step-up ring to simplify matters. 

    Construction is beyond reproach in nearly every respect, apart from the curious (trying to save weight or, more likely, cost) decision to originally make the lens mount flanges and seats for many of the Carl Zeiss C/Y lenses out of anodized aluminum. This was in contrast to almost all other MF lenses of the period, which used either one-piece chromed brass or stainless steel mount flanges. This was duly noted by Popular Photography in their testing of the RTS II and the 28/2.8, 50/1.4, and 100/2 AE lenses in Feb. 1983. The problem with the anodized layer on the aluminum is that, while it is very hard, it is also very thin and is not appropriate for surfaces that move against one another. When subjected to the friction of frequent mounting and dismounting lenses, the anodized surface quickly wore away, leaving the soft aluminum underneath defenseless to the harder metals (generally stainless steel) found in the locking mechanisms of the lens bayonet mounts on the SLRs. Accelerated wear and the resulting slop between the mating surfaces ensued. Popular Photography also noted that the screws securing the lens mount seat to the barrel were somewhat undersized compared to other manufacturers (particularly the smaller heads of the screws). This turned out to be a very minor to non-existent issue in practice, unless severe physical abuse was involved. 

    The two-piece anodized mounts did eventually became enough of a problem that Zeiss was forced to resort to stainless steel flanges (or one-piece chromed brass mounts for heavier/longer lenses) by the late-'80s. Somewhat ironically, the smaller, lighter, and thus more-affordable lenses (the f/2.8 "slow" primes, the 50mms, the short "slow" telephotos, and the newer zooms) had more frequent production runs than their illustrious "fast" siblings and so received the improved mounts first ;-). Some of the lower-production lenses (including the 16/2.8 F-Distagon, 15/3.5 Distagon, 18/4 Distagon, 35/1.4 Distagon, 35/2.5 PC-Distagon,) had to wait until the mid-'90s to be upgraded. The easiest way to tell if a flange is the anodized type is by its black color right out to the edge and on the perimeter when viewed from the side. Stainless steel flanges are silver-colored on the outer half (and the edge when viewed from the side) that engages the bayonet on the camera (somewhat resembling Minolta MDs).     

Anodized aluminum flange on Zeiss 100/3.5 AEJ

Stainless steel flange on Zeiss 100/3.5 MMJ

    After addressing the lenses' mount material situation, CONTAX also beefed up the lens mounts on the cameras to a six-screw (using M2 x 5mm screws) pattern from the original four-screw (using M2 x 3mm screws) pattern, starting with the RTS III in 1990 (serious overkill, but it sure doesn't hurt anything :-)). Unless you are using the heaviest of Zeiss lenses (and there are a few ;-)) while swinging your camera around with Cirque de Soleil aspirations, the four-screw-mount SLRs will be just fine. Minolta used a very similar M2 x 3.5mm x 4-screw layout in their SR-mount for over 45 years, and Olympus used an M2 x 4mm x 3-screw pattern in the OM-mount for 35 years, both very successfully. ​

6-screw lens mount of the ST vs. 4-screw lens mount of the FX-D

    
    When it comes to the Yashicas, the ML/MC lenses are very well-made (they retained aluminum-on-brass focusing helicoids just as the Carl Zeiss line did, when virtually everyone else had gone to aluminum-on-aluminum or even aluminum-on-plastic) and perform beautifully for their relative "budget" status compared to their more-celebrated counterparts. Even the cheap and cheerful 42-75/3.5-4.5 kit zoom has better build quality than it has a right to, with beautiful smoothness and positivity. Interestingly, Yashica did not resort to the two-piece anodized aluminum lens mount on their own lenses, opting for monolithic chromed brass from the get-go, making potential bayonet wear and weakness a non-issue. Prices versus the Big 5 are comparable for the common 24, 28, 35, 50, 135, and 200mm moderate-aperture focal lengths, but many ML lenses tend toward the higher end simply due to their rarity (the 15/2.8 fisheye, 21/3.5, 55/1.2, the 28-50/3.5 & 35-70/4 zooms, and the 55/2.8 & 100/3.5 Macros among them) and overall quality. It is very telling that Yashica produced no fast aperture wide-angles, nor any 85 or 100mm ML non-macro lenses that might potentially have stolen the thunder of their Zeiss brethren ;-). Filter sizes for the MLs were 52, 55, 58, 62, and 72mm with 52mm being the most common. ​

  Cameras

    Just as with the lenses, the CONTAX bodies get more notoriety for their Zeissgeist than do their Yashica-labelled counterparts, but when taken together they provided one of the most complete MF SLR systems of the last quarter of the 20th century (approximate month/year of introduction to market in parentheses):

• CONTAX RTS (Nov. 1975) - The RTS kicked off the C/Y partnership with a bang at Photokina in September 1974. As only the second auto exposure SLR aimed squarely at professionals (the Minolta XK/X-1 of 1973 being the first), it generated major interest as it was promoted to be the most technologically-advanced pro model of the day paired with the desirability of modern Zeiss-designed glass. Introducing both infrared and radio-controlled wireless transmitters and other electronic geegaws, the RTS set the stage for the next generation of professional SLRs from the rest of the industry, which to that point remained wedded to mechanical-shutters and manual exposure. While the RTS definitely did not become an instant benchmark for pros (failing to displace the all-conquering Nikon F2) it certainly got the attention of Nikon's engineers, who would take a few cues for the F3 from the CONTAX. Certain bodies have SCIENTIFIC/MEDICAL embossed into the bottom plate. These "Fundus" models are also distinguished from standard RTS bodies by their recessed shutter release button and a push button shutter speed dial lock release on the front left side of the camera. There were a small number of gold-plated, snake-skin limited editions of the RTS (with matching 50/1.4 Planar lenses) issued over its lifespan. Powered by a single 544/4SR44/PX28L battery. Weight: 700 grams/24.7 oz.
• Yashica FX-1 (June 1975) - Carrying over much the form factor and styling of Yashica's previous TL Electro series of M42 mount SLRs, the FX-1 was a definite notch below an RTS; it stood atop Yashica's enthusiast lineup as their first C/Y mount body as they finished moving out the remnants of their M42 system. Seeing as it was only going to be excelled in the lineup by the RTS, the FX-1 was still a very well-equipped camera with: aperture-priority (AUTO) & manual exposure modes, an electronically-controlled (of course) shutter with a speed range of 2 - 1/1000 sec in Auto and 1 - 1/1000 + Bulb in Manual, a bright viewfinder displaying both the set aperture (in green) and meter-recommended shutter speed (via needle) along with an "M" LED to notify the user when in Manual mode, ISO range of 12 - 3200, +/- 2-stops of exposure compensation, depth-of-field (DOF) preview, and self-timer. It could definitely hold its own against such competitors of the day as the Minolta XE(-7), Pentax ES II, and Nikkor/Nikomat EL. Also powered via a single 544/PX28L cell. Weight: 695 grams/24.5 oz.
• Yashica FX-2 (June 1976) - With most of the backlog of the M42 mount TL-series cleared by 1976, the C/Y lineup was top-heavy with the RTS and FX-1. So the next move was to offer a stripped-down model designated FX-2. Downgrades from the FX-1 included: manual exposure only, a simple +/- match needle viewfinder display, ISO range of 12 - 1600, and no combined frame-counter illuminator/battery check LED. Still a very solid, well-built camera. Along with the FX-2, Yashica introduced its budget DSB/YUS lens line. Powered by the now-obsolete 675 mercury cell. Weight: 690 grams/24.3 oz.
• Yashica FR (Feb. 1977) - For the first time in a C/Y Yashica, we start to see some trickle-down from the CONTAX RTS, with the basic chassis now being shared with its plebeian cousin. The FR also freshened the early-'70s styling of the FX-1, which it replaced, into something cleaner and more contemporary. The FR would inherit the viewfinder specifications of 92% coverage @ 0.87x magnification, the electromagnetic ("Feather-Touch" in Yashicaspeak) shutter release, and the Motor Drive connection from the RTS. Not wanting potential RTS buyers to feel possibly inclined to the much less-expensive Yashicas, there was plenty of room still being kept between the FR and RTS ;-): manual exposure only (no aperture priority Auto setting), no interchangeable focusing screens, a less-responsive and -sensitive CdS (Cadmium Sulfide) metering cell versus the modern silicon photo diode (SPD) of the RTS, and a less-precise LED viewfinder readout (but still very good). The FR also got a long-overdue focusing-aid update from the dated microprism patch of the FX-1 (also used in the RTS' standard focusing screen) with its combination diagonal split-image rangefinder with microprism collar. Powered identically to the RTS. Weight: 650 grams/22.9 oz. As a mid-market body the FR came standard in a chrome finish, but could be upgraded to black for the customary fee. In late-1977, with the RTS w/ 50/1.4 Carl Zeiss Planar retailing for $2,395 USD (inflation-corrected to 2023, as are all prices in this article) and the FX-2 w/ 50/1.9 DSB at $865 USD, the FR w/ 50/1.4 ML slid in at $1,015 USD. That drop off from the RTS to the FR still left a sizeable gap in the market, which resulted in the...
• Yashica FR I (April 1978) - Closer...closer...closer...ok, stop. The trickle-down from the RTS became a stream with the FR I (that's eff-are-one, not eff-are-eye ;-)). Aperture-priority along with manual exposure, exposure compensation, SPD metering, and black-only finish (just like the "pro" RTS ;-)) all found their way into the FR I. About the only things that it didn't get were: interchangeable focusing screens and mirror lock-up (MLU), both of which were decidedly pro-oriented features by the late-'70s. In its May 1978 Test Report on the FR-1, Modern Photography stated, "It provides the precision, automation, and flexibility of the CONTAX RTS at a vast saving in money." In other words, the FR-1 was the RTS Lite. That statement obviously stuck with Zeiss, causing a major re-evaluation of the relationship between the CONTAX and Yashica brands. Never again would a lowly Yashica be allowed to approach so close to the feet of the exalted CONTAX ;-). All FRs were powered identically to the RTS. Weight: 660 grams/23.3 oz.
• Yashica FR II (April 1978) - Following the pattern of the FX-1 & -2, the FR II was a somewhat de-contented FR I (it weighed all of 10 grams less ;-)). It steered further into automation by deleting the manual exposure capability of its sibling, along with a simplified viewfinder that no longer displayed the set aperture, and removed DOF preview...and that's all. Befitting its "lower" status, it was only available in chrome finish. If you didn't feel the need for manual exposure, the FR II was basically the same internally as the FR I...which was very similar internally to the RTS. That made the FRs seriously good value for the money. Can you see what's coming?  
• CONTAX 139 Quartz (April 1979) - As only the second CONTAX model (introduced four years after the RTS, at the 1978 Photokina), the 139 Quartz broke new ground on a few fronts. First, it was the first SLR to offer quartz-regulated timing functions (thus the name), which promised greater precision and long-term accuracy. It was also the first CONTAX to adopt compact SLR dimensions and weight along with TTL flash metering (think Olympus OM-2 :-)). It was also the first CONTAX with a vertical-travel metal shutter (think Nikon FE :-)). It had a larger viewfinder than the RTS & FRs (95% @0.86x vs 92% @ 0.87x). Spec-wise it was a very close match to the Yashica FR I. The 139 provided the basic chassis for the forthcoming Yashicas, as the RTS had for the FRs. It would prove to be a best-seller and one of the most reliable CONTAX bodies, ever. Powered by 2 - SR44/357 button cells. Weight: 500 grams/17.6 oz.
• Yashica FX-3/FX-7 (Oct. 1979/1980) - Demand for a cheap, basic SLR to compete with the Pentax K1000 induced Yashica to follow the lead of many other smaller SLR manufacturers and sub-contract badge-engineered body that was designated the FX-3. This was a simple matter of economics, as the sub-contractor amortized the development costs of the basic chassis by manufacturing versions for multiple brands (and dozens of models) over time. That saved Yashica a bundle on tooling and development for a low-margin market segment. The FX-3 was a basic mechanical-shuttered SLR, styled and laid out according to Yashica's specifications (such as an SPD metering cell and a separate metering check button on the back of the camera) with their C/Y lens mount. The FX-7 was simply an FX-3 with a chrome finish. Powered by 2 - 357/SR44s. Weight: 450 grams/15.9 oz.
• CONTAX 137 MD Quartz (May 1980) - The 137 MD Quartz was only the second 35mm SLR to feature internal motorized film advance (the Konica FS-1 of 1979 being the first) providing 2.5 frames per second (fps). It was a clear attempt to appeal to users desiring automation over all else in an SLR. Similar to the FR II, the 137 MD had a single aperture-priority AUTO exposure mode. The viewfinder display was very comprehensive with the metered shutter speed, aperture setting, exposure compensation and flash-ready LEDs, and a frame counter (another industry-first) all present and accounted for. Strangely, CONTAX retained the horizontal-travel shutter type of the RTS/FRs, rather than the 139's vertical shutter with stainless steel blades (the 137 MD's direct competitor, the Konica FS-1, also used a vertical-travel, metal-bladed shutter), although it adopted the viewfinder and TTL flash metering of the 139. Cost-savings was likely the motivation for this. Power was supplied by 4 - AA (LR6) batteries. Weight: 665 grams/23.5 oz.
• Yashica FX-D (Sept. 1980) - The first of the 139's progeny. The FX-D replaced the FR-1 atop the Yashica lineup, but with more space between it and the 139 than had existed between the FR I and RTS. Feature deletions from the 139 included: no TTL flash metering, no aperture setting displayed in the viewfinder, no ball-bearings in the film advance mechanism, no mirror damper, no DOF preview, no multiple exposure capability, no interchangeable back, a smaller ISO range of 25-1600 vs. 12-3200, and a glass-reinforced polymer top plate versus metal. However, the guts of the two cameras were otherwise virtually identical. The FX-D also shaved off nearly 10% of the mass of the 139, with a slightly-shorter film-winding stroke. Identical power requirements to the 139. Weight: 460 grams/16.2 oz.
• CONTAX RTS II Quartz (July 1982) - Released on the 50th anniversary of the Contax brand. Although looking like an evolution of the original RTS, the II was a virtually new camera underneath its plainly-derivative exterior. Imagine a 139 Quartz and RTS squashed together with the addition of a titanium-foil horizontal shutter (clearly taking a cue from the Nikon F3 :-)), an even more responsive (some would argue hair-trigger ;-)) shutter release, a massively-improved, brighter viewfinder over the RTS (try 97% coverage @ 0.87x, with a new set of FS-type interchangeable focusing screens to match), an AE lock, and an eyepiece shutter. More cues from the Nikon F3 included: the use of seven ball bearings for the film winding shafts and CONTAX figured the F3's four-ball-bearing shutter mechanism could be improved upon with the addition of two more ball bearings for a total of six. Improved accessory backs and motor drives also accompanied the RTS II. Smoother operation and reliability over the original RTS were the driving forces in the development of the II. Yashica claimed over 30 improvements in construction versus its progenitor. The shutter was rated for 100,000 exposures (versus 150,000 for the F3, for context). Battery was the same 544/4SR44/PX28L as the original RTS. Weight: 735 grams (25.9 oz).
• CONTAX 137 MA Quartz (Sept. 1982) - An update to the 137 MD Quartz. It received three basic upgrades: 1) a Manual exposure mode, 2) improved 3 fps frame advance (a 50% increase), 3) the film advance clutch disengagement system from the RTS line for increased smoothness and durability. There was also a revised manual rewind crank that was a clear improvement over the original's. The viewfinder display also now automatically shut off after 10 sec. of inactivity, with only a gentle touch of the shutter release required to re-awaken it. The film advance indicator was also made more visible, now being a solid white bar versus the star of the 137 MD. Otherwise identical to its predecessor. Lifespan of 4 - alkaline AAs continued to be rated at 50 rolls of 36-exp. film even with the higher advance speed. Weight: 610 grams/21.5 oz.
• Yashica FX-70 (August 1983) - The final model introduced before the acquisition of Yashica by Kyocera in October 1983. Similar to the FR I & FR II situation, the FX-70 was a simplified (aperture-priority-only) FX-D, only to a greater degree. It ditched the RTS-style divorced exposure meter/shutter release system and had no provision for attaching a film winder or motor drive. It did retain a basic AE lock (instead of locking the EV, as in previous models, it locked only the shutter speed) and self-timer. The FX-70 was the most basic auto exposure Yashica body available at the time and slotted between the FX-D and the bottom rung FX-3. Two 357/SR44 button cells for power. Weight: 435 grams/15.3 oz.
• Yashica FX-3 Super/FX-7 Super (Aug. 1984/July 1985) - The first models released after the buyout and thus the first to sport a small Kyocera badge on their bodies. A mild update of the FX-3/FX-7 duo with a small handgrip, a flash-ready indicator in the viewfinder display, and incorporating the previously-separate metering check switch into the shutter release. Otherwise identical in operation and equipment to the prior version. Weight: 445 grams/15.7 oz.
• CONTAX 159 MM (Mar. 1985) - Replacement for the 139 Quartz and another model of "firsts" for CONTAX: their first shutter with 1/4000 sec. and 1/250 sec. flash sync. speeds courtesy of lightweight aluminum blades, their first Program modes (low-LP, normal-P, and high-HP), their first non-professional model with dealer-interchangeable focusing screens (FT-type), first "long"-eyepoint (aka "high"-eyepoint for Nikon users) 95% @ 0.82x viewfinder, their first accessory winder (W-7) with an additional vertical shutter release that was backwards-compatible with the 139 and FX-D, and their first rubber-armored body. The MM referred to the new Multi Mode series of Zeiss lenses that were required for the Program modes to function on this and all subsequent CONTAXes so-equipped. The viewfinder display was basically identical to the RTS II's with the addition of "P" and "4000" LEDs. In 1984-85, a metallic blue/gray finish was applied to a special limited run of 159 MMs to commemorate 10 years since the reintroduction of the CONTAX nameplate (Serial numbers began with the number "8" for the commemorative edition 159 MMs). Powered by 2 - 357/SR44 cells. Weight: 520 grams/18.3 oz.
• Yashica FX-103 Program (April/May 1985) - This was basically an updated FX-D with the addition of two Program modes (Normal & High), TTL flash metering, and a small handgrip. Unlike the 159MM, it did not require MM lenses for Program to function; standard Yashica and Carl Zeiss AE lenses were fine. The top plate shape was altered slightly with the ISO/Exposure Compensation dial half-nested into it rather than sitting on top. Following the lead of the FX-70 and FX-3/-7 Super, the meter switch was now integrated with the shutter release. This eliminated the front-mounted meter switch and the control collar that surrounded it on the FX-D, along with the AE lock (Booo!). The self-timer control/battery-check was very similar to the RTS II's. The viewfinder display was almost identical to the FX-D's, with one addition (the P symbol for Program modes) and two deletions: the 2 -sec. & LT (Long-Time) LED indicators. Same batteries as the FX-D and identical weight.
• FX-3 Super 2000 (Sept. 1986) - Identical to the FX-3 Super apart from a new top shutter speed of 1/2000 sec., thus the name change :-). Ironically, it would outlast all other Yashica SLR models in this form, selling into the new millennium as the budget entry to the C/Y MF system, well over a decade after the other FXes were discontinued.
• CONTAX 167 MT (Feb. 1987) - As the replacement for the 137 MA and 159MM all rolled into one, the 167 MT broke more new ground for CONTAX: the first SLR to offer built-in autobracketing (no accessory multifunction back required), their first model with all four exposure modes (Program, Shutter-priority, Aperture-priority, and Manual), their first LCD top plate display with Mode & ISO buttons and a toggle instead of traditional shutter speed and ISO dials, their first LCD viewfinder display (showing frame count, shutter speed, aperture setting, exposure compensation, flash, and exposure mode), their first built-in spot metering option, DX film coding from ISO 25-5000, and manual settings from 6-6400. It shared its viewfinder specs with the 159 MM as well as requiring MM lenses for Program (P) and Shutter-priority (Tv) operation. It also adopted the rubber-armor grip and styling of the 159 MM. Four FU-Series interchangeable focusing screens were available. From 1987 to 1990, this was the only CONTAX SLR in production as Kyocera reeled under the auto focus (AF) onslaught before regrouping in the early-'90s. Powered by 4 - AAA (LR03) batteries with rated lifespan of 50 rolls of 24-exp. film for alkalines. Weight: 620 grams/21.9 oz.
• CONTAX RTS III (Oct. 1990) - The final generation of the RTS series and the first SLR ever produced that incorporated magnesium in its construction (in this case, the top plate). A completely clean-sheet design, including all of the major technical advancements of the previous decade bar one: AF. The influence of the Nikon F4 is evident in the build and features of the RTS III: 1/8000 sec. top shutter speed, all four exposure modes, internal motor drive (5 fps on High), spot metering, and a 100%-coverage viewfinder. CONTAX focused most of their marketing on the vacuum-backed ceramic film pressure plate that they said provided the best film flatness in the industry. While that statement was true, there was virtually no practical advantage to be seen in the vast majority of images. Also, the first CONTAX with the 6-screw lens mount vs. the original 4-screw version. All subsequent models would follow suit. Powered by 6 AA/LR6 cells or a single 2CR5 lithium cell. Weight: 1150 grams/40.1 oz.
• CONTAX S2 (Oct. 1992) - CONTAX went retro for their 60th Anniversary. Another first for an in-house CONTAX: a fully mechanical shutter (1/4000 - 1 sec. + Bulb). A spotmeter was the only means of light measurement. Four FU-series interchangeable focusing screens were available (same series as the 167 MT). The S2 was specifically intended as a mechanical backup body for RTS III-wielding pros (in much the same manner as many a Nikon F4 shooter had an FM2N as a backup). The basic chassis was derived from the manual-winding 159 MM's. But, this being CONTAX, there had to be some gussying-up, so the S2 also received titanium top and bottom plates along with the bezel surrounding the lens-mount. The S2 certainly got Nikon's attention as they replied with a titanium-sheathed FM2N, aptly designated FM2/T, just a year later and selling for nearly 40% less ;-). A couple of curious omissions for the S2 were: 1) an aperture setting readout in the viewfinder (inexcusable in an SLR costing well over $2,500 USD with a 50/1.4 lens, and 2) a centerweighted metering option; the second of which would be addressed in 1994. Weight 565 grams/20 oz.
• CONTAX ST (Oct. 1992) - An RTS III Lite if you will ;-). A half-stop slower top shutter speed of 1/6000 sec. in Program and Aperture-priority modes (1/4000 sec. in Shutter-priority & Manual), X-sync. at 1/200 sec., 3 fps max. frame rate, no vacuum film-flattening system (but it still retained the ceramic pressure plate), 4 - AAA (LR03) batteries (vs. 6 - AA/LR6). The optional 4-AA battery holder (P-7) with an additional vertical-oriented shutter release extended battery life over the standard 4-AAAs by 2 1/2 times (125 rolls of 24-exp. film vs. 50). It also had the benefit of re-centering the tripod socket versus the offset socket in the ST's standard baseplate. Control layout was a blend of RTS III and 167 MT, leaning slightly closer to the pro model (locking exposure mode selector, shutter speed & exposure compensation dials, and round viewfinder eyepiece), but retaining the OFF/ON/Metering mode/AE Lock switch, push buttons, film rewind button & slider, and the strap lugs of the 167 MT. Weight was 800 grams/28.2 oz (a sizeable 30% reduction from Herr RTS III). 
• CONTAX S2b (Oct. 1993) - Enough people complained about the lack of a centerweighted meter in the standard S2 that CONTAX acquiesced and released the S2b a year later. To make for easy distinction between the two models, the S2b was finished in a gunmetal grey versus the champagne-tinged original S2. Other than those two changes, they were identical.
• CONTAX RX (Apr. 1994) - Over a decade after the rest of the industry experimented with electronic rangefinding aids (Canon AL-1, Minolta X-600, Olympus OM30/OM G, and the Pentax ME F) for focus assistance on their way to full-on AF, CONTAX steered harder into their MF lens system with the RX and its Digital Focus Indicator (DFI). While undeniably a more sophisticated implementation than those earlier efforts (it also displayed DOF), the RX still found itself in nowhere-land. Too modern and automated to satisfy the few MF holdouts (it was also the first CONTAX with built-in Custom Functions), and still well short of a proper AF SLR (which was the overwhelming standard amongst pros and amateurs by the mid-'90s), RX sales were somewhat brisker than the ST's (which it closely resembled, minus the fancy ceramic pressure plate, the round viewfinder eyepiece, the 1/6000 sec. shutter, and accordingly priced about 20% lower), but remained relatively small. Control layout was even closer to the RTS III than the ST, with a dial instead of push buttons for Drive mode settings. The RX was also the first CONTAX to utilize the 5-pin flash connection for enhanced communication and capability with the TLA 360 unit. In 2000, a special run of RXes made to order in the customer's choice of seven colors, three script colors, and three script fonts was made to commemorate the turn of the millennium. One 2CR5 lithium battery required. Weight of 810 grams/28.6 oz. 
• CONTAX AX (June 1996) - AF comes to CONTAX with MF lenses!? In another case of reinventing the wheel, the engineers came up with an SLR that moved the film plane to achieve focus versus the moving lens element AF systems the rest of the manufacturers used. The reason? The Zeiss optical engineers felt that adapting their MF lens designs to AF would compromise optical performance and overall ruggedness. So the Kyocera engineers were forced to "lower the water instead of raising the bridge" to paraphrase Herbert Keppler in his SLR column of May 1996 ;-). This required practically fitting a body within another body making for a bulkier-than-RX-type of form factor (+11mm W x +19mm H x +13mm D and 280 grams/9.9 oz heavier). Again utilizing Kyocera's (Kyoto Ceramics) expertise in high-performance ceramics, the CONTAX engineering team developed a precision ceramic rail & ring system with tolerances of 0.002mm, requiring super lubricants to operate. If that doesn't sound like a classic case of engineering-for-engineerings' sake, I am at a loss to find a better example ;-). Controls are a mix of RTS III, ST, & RX, with a few new AF controls added. Round "pro" viewfinder eyepiece like the RTS III and ST. Powered by a single 2CR5 cell. Weight of 1,080 grams/38 oz.
• CONTAX Aria (May 1998) - The final all-new MF CONTAX body to be introduced and the last to remain in production. As the replacement for the long-running 167 MT, the Aria was perhaps the closest thing to a perfect blend of CONTAX and Yashica, in stark contrast to the other '90s-era CONTAXES, with their every-increasing complexity and their sometimes-gimmicky features. It packed in all of the 167 MT's specifications (and a bit more, here and there :-)) in to an FX-D-sized body, no small feat. The control layout was highly-derivative of the ST's. The Aria was far more approachable in price than nearly any other C/Y body of the day, with only the long-serving, badge-engineered FX-3 Super 2000 costing less. Additions over the 167 MT included: the first evaluative (5-segment) metering pattern in a C/Y body, and rear-curtain flash sync. In 2002, a limited run of champagne-colored Arias was made with matching 45/2.8 Tessar lenses to commemorate 70 years of the Contax brand. Powered by two CR2 batteries. Weight 460 grams/16 oz.
• CONTAX RX II (Nov. 2002) - With the RX discontinued in 2001, CONTAX looked to move a little downscale to try and grab a few more sales as the film era entered its denouement. The Digital Focus Indicator (electronic rangefinder) was eliminated, along with three accompanying Custom Functions. This resulted in a 20% increase in viewfinder brightness, a worthwhile tradeoff for some users. A 2-second self-timer setting option was also added as an alternative to the existing 10-second setting. MSRP dropped by almost 20% versus the original RX. Weight remained the same.

    Recommendations. On the whole, potential CONTAX/Yashica buyers have things a bit easier when it comes to deciding between mechanical models than with most other brands. This was simply because the whole C/Y enterprise was embarked upon firmly in the electronic camp, with the adoption of their first mechanical body (the FX-3/FX-7 and their later iterations) basically forced on them by the entry-level market, and the second (the CONTAX S2/S2b) by a desire to cash in on the high-end mechanical market in the early-1990s. So there are very few factors to weigh if you want a mechanical C/Y model. You have value versus posh (with a bit more shutter capability and a stronger 6-screw lens mount on the posh side), with nothing in between. If you can't afford the CONTAX S2 siblings (anywhere from 5 to 10 times the cost of the Yashicas, on average) then you are living with the FX-3 (black) or FX-7 (chrome), which is really not that bad at all if simply getting great results is your primary photographic motivation :-). The early FX-3/FX-7 versions have the separate metering switch, versus the Super & Super 2000, with the latter also obviously having the additional 1/2000 sec. shutter speed. That's basically all you have to mull over, mechanically.

    When it comes to electronic models, there are many more hairs to split and/or pull out ;-). The first major consideration will be your preferred method of film advance:

• Manual advance CONTAX models: Original RTS, 139 Quartz, RTS II, 159MM
• Manual advance Yashicas: FX-1, FX-2, FR, FR I, FR II, FX-D Quartz, FX-70, FX-103 Program
• Automatic, internal advance CONTAX models: 137 MD, 137 MA, 167 MT, RTS III, ST, RX, AX, Aria, RX II

​
    If you value discretion above all else, a manual-winding model will have more appeal than one with internally-powered winding. Aside: it is possible to add an external winder or motor drive to most of the above manual-winding bodies (excluding the FX-1, FX-2, and FX-70 Yashicas), should you desire both options. 
      
    Among the manual-winding electronic CONTAXes, the 139 Quartz and 159 MM both offer better viewfinders, shutters, TTL flash metering, battery life and availability (2 x 357/SR44), along with 25 - 30% less weight than the original RTS. The 159 MM, in turn, gives you two extra steps of shutter speed over the 139 Quartz, along with Program exposure modes and interchangeable focusing screens. It was also the first CONTAX body to use rubber grip armoring after the biodegradable leatherette debacle (more on that later ;-)) of the early-'80s. The RTS II sports the best viewfinder of any of the 1975-1985 manual advance bodies but is the heaviest (by only 4% over the original RTS :-)). It does offer TTL flash metering, the best accessory motor drive performance, MLU, and interchangeable focusing screens. The 139 Quartz is the simplest design of these four and has a good track record for reliability (look for serial numbers above 110000 for shutter release magnets that are shrouded for improved protection against oil/dirt-fouling, and above 150000 for an improved transfer switch); the 159 MM offers the most features and ergonomic shape; the RTS II is a notable improvement in terms of internal build-quality and reliability over the original RTS. You certainly can use an original RTS to good effect if one finds you, but if you are starting from scratch, the newer models in this category offer more refinement and capability, for very little, if any, more cost.

    Speaking of value, if you are drawn to the RTS-era SLRs for their feel, size, and weight you may find the Yashica FR I a compelling option. 45 grams lighter than the RTS, it offers almost every feature (except MLU, 1/2000 sec., and the interchangeable focusing screens) that its ancestor does, including the same external winder, if desired. Busted frame counters are common to the FR-series, but this otherwise does not affect the operation of the cameras. Likewise, the FX-D Quartz offers most of the capability of the 139 Quartz, but lacks a few refinements such as: the inertial mirror damper, TTL flash, aperture display in the viewfinder, and a slightly smaller ISO range (still plenty for most people today :-).

    Moving on to the internal advance models, the 137 MA is probably as far back as you would want to go, seeing as it is an improved 137 MD, while offering more features (manual exposure mode, a much better film rewind crank, and improved internals, with no drawbacks versus the older version. The 167 MT is simply more than the 137 MA in almost all areas: a faster, higher-quality shutter, all four standard exposure modes, interchangeable screens, built-in autobracketing and a high-eyepoint viewfinder. It does, however, sport a mid-'80s LCD-centric control layout, which many vintage enthusiasts do not exactly appreciate ;-). Both the 137 MA and 167 MT can be had for bargain prices, nowadays, for $150 USD for premium-condition copies, and often far less. The big thing as far as the internal-advance bodies go, is that the newer they get, the more refined they become and the feature-sets only improve. The RTS III set the pattern for the final decade and a half of CONTAX SLRs: plenty of external controls, and very good to excellent ergonomics. And bodies like the ST and RX can be had for quite reasonable prices currently, with excellent-condition copies often available for well-under $200 USD (versus $300 - $500 USD for the RTS III and AX). They do extract a marked weight penalty for their solid construction and feature-set, however. The RTS III runs 1,200-1,300 grams/42-46 oz depending on battery configuration, the AX 1,120 grams/40 oz, and the ST and RX both sit well above 800 grams/28 oz, all with batteries installed. The Aria is the only real lightweight option amongst the internal-winders, and while its construction is very good, it is not up to the levels of the ST/RX/AX trio and certainly not the RTS III. Somewhat ironically, the simplified RX II now generally sells for an extra $100 USD over the original RX. In summary, for the auto-winders: if you are looking for the simplest...137 MA; the cheapest...the 167 MT; the lightest...the Aria; the best bang for the buck...the ST; the geekiest...the AX; pull out all the stops (who cares about the weight or the money ;-))...the RTS III.

  Flash

   For a system with a three-decade lifespan, there were relatively few flash units produced for the C/Y-mount SLRs. There were five in total, with four of them offering TTL (through-the-lens) metering capability with appropriately-equipped CONTAX and Yashica bodies.

• TLA 20 (1979-80) - Originally designed for the 139 Quartz and 137 MD Quartz SLRs. A very basic fixed-head, TTL unit with a Guide Number (GN) of 20/65 (meters/feet) at ISO 100. Coverage for a 35mm lens' field of view (FOV), which was expanded to 24mm FOV with a clip-on Wide Panel (this also reduced the GN). There was also a HI/LO power setting in Manual mode with the LO for use with motor winders up to 2 fps, which also reduced the GN to 2.8 meters or roughly 1/32 of full power (to reduce recycling times). ISO coupling range of 25-800.
• TLA 30 (1979-80) - The TLA 30 was a pumped-up TLA 20. Larger size (over 20% bigger and 60% heavier). 50% more power (GN 30/100 @ ISO 100). Three power settings in Manual mode (Full, 1/4, 1/16). And the flash head was tilt-capable up to 90 degrees for bounce flash (there were also click-stops at 60 and 75 degrees, respectively) and down to -15 degrees for close-ups. Wide Panel coverage remained at 24mm. Same coupling range as the TLA 20.
• TLA 280 (1990) - CONTAX flash technology was nearly stagnant for roughly a decade. Not until the release of the RTS III in 1990 did they appreciably update their flash system. While this obviously was necessary and new features debuted, there was a cost: limited compatibility with the earliest TTL bodies (the 139 Quartz and the 137 MD/MA duo; and the RTS II, to a lesser degree). The newer units will still synchronize, but they will not communicate aperture and other settings from the camera like the older units do, and the two information contacts do not physically line up, as well. If you are using pre-159 MM body, stick with the TLA 20 or 30 for best results. ISO actually dropped to ISO 25-400 and the GN fell to 28/92 from the TLA 30. The tilting head had click-stops at 60, 70, 80, and 90 degrees. Unfortunately, the -15 degree tilt down setting of the TLA 30 was not retained. Most noticeable was the addition of a manual zooming head function that covered focal lengths of 28 (GN 21), 35 (GN 25), 50 (GN 27), and 85mm (GN 30). An small auxiliary flash (GN 12) was added to the body to complement the main head when it was being used in bounce positions (Nikon would copy this on their SB-26 of 1994). Manual flash power setting options remained the same as the TLA 30. Slow-speed sync and rear-curtain sync capabilities (when the camera body used was also so-equipped) were introduced on a CONTAX flash unit for the first time. The TLA 280 was about 30% larger than the TLA 30, but weight was 10% less.
• TLA 360 (1994) - As far as capability and features go, the final CONTAX TTL flash unit released was the ultimate. A new 5-pin contact layout debuted which allowed for more sophisticated communication between it and the RX, AX, Aria, and RX II models. A modern digital interface, internal power zooming, outright power, swivel capabilities (0-180 degrees left and 0-90 degrees right) in addition to tilt. Zoom coverage now included 24mm, downward tilt returned (-7 degrees), and a stroboscopic mode was introduced (up to 8 flashes at as little as 0.1 sec at a GN of 9).

    The final models we will consider include the first flash unit provided with the original RTS (the RTF 540) and its late successor: the TLA 480. Both were professional-targeted and sported the "potato-masher" bracket/grip layout. 

• ​RTF 540 (1975) - The "40" in the model designation signified a GN of 40 meters (131') making this the most powerful CONTAX flash unit until the TLA 480 came along. Its versatility was impressive, with a plethora of add-on accessories (a wide panel with coverage down to 24mm, slaves, multi-flash extension cables for multiple off-camera units, external battery packs, color filters, and more), the most important of which was the 3-pin TLA adapter module (introduced with the RTS II) and cable which added TTL capability for all CONTAX bodies subsequent to the original RTS (which did not support TTL). It also sported a handy integral shutter release button that was conveniently situated in the flash unit grip. There were also multiple power settings (full, 1/2, 1/8, and 1/16) to enable higher burst rates with winders and motor drives (at reduced distances, of course :-)). It was the only CONTAX flash unit to offer both bounce and swivel capability until the TLA 360 came along. The price for all of that versatility was weight and bulk, making it superfluous for most current CONTAX users.
• TLA 480 (1994) - The biggest and baddest CONTAX flash ever made. Basically, it was a restyled RTF 540 updated for use with the RTS III-and-later bodies. Rear-curtain sync was now included for bodies that supported it, along with a noticeable upgrade in GN to 48m (157'). 3-pin TLA II adapter.      

  Accessories

    CONTAX pushed the entire industry forward when it came to accessories in the mid-to-late '70s with the RTS system. They offered the first wireless infrared (IR) and radio transmitters for remote shutter release that many of their competitors adopted in short order. They were also the first to eschew a mechanical remote cable release for an electronic version (Cable Switch S for the original RTS to 159 MM; Cable Switch L for the 167 MT to RX II models; these were available in various lengths and there were also adapters to allow for use on the older CONTAX models), much to the chagrin of many a vintage SLR enthusiast. Interchangeable focusing screens were standard on all of the RTS and quite a few of the enthusiast models (the Yashicas were notably left out here to maintain that market separation ;-)). Here is a short list of screen-series, the models they are tied to, and the number of options available, in chronological order:

• Original CONTAX: RTS-only; 4 different screens, initially. 3 more added later.
• FS-Series: RTS II-only; 5 different screens
• FT-Series: 159 MM; 5 different screens
• FU-Series: 167 MT, S2/S2b, Aria; 4 different screens
• FV-Series: RTS III; 5 different screens
• FW-Series: ST, RX/RX II, AX; 5 different screens

  Reliability & Servicing

    As with any vintage SLR system, C/Y has its share of foibles, ranging from minor to more serious for potential buyers. The most noticeable, and something relatively easy to rectify, is the cheap leatherette used on all models from the the 139 Quartz to the FX-103 Program introduced from 1979 to 1985. If the cameras have seen any kind of use over the last 40 years, the soft outer layer has simply crumbled and flaked away, leaving the inner cloth mesh/adhesive layer behind. I recently found an FX-D virtually untouched in its "never-ready" case and it sported the nicest leatherette I had ever seen on a C-Y body...until I touched it :-). It immediately began to disintegrate. Nothing an order to hugostudio.com couldn't fix, however ;-). Indeed, there is an entire cottage industry of camera re-covering suppliers that have found their niche: offering a multitude of colors and textures of both synthetic and genuine leather coverings, notably for Leica rangefinders, Minolta XDs, and the C/Y family of the early-'80s (among plenty of others and many newer digitals, to boot). A relatively easy fix, all told, and an opportunity to customize your camera a bit, if you wish.

    A second, more serious issue, that can crop up on any C/Y model is what has been termed "mirror slip". This describes a situation where the adhesive securing the reflex mirror to its frame lets go and the mirror slides down or "slips" in the frame thus producing focus errors at a minimum, and physical interference within the mirror box or the rear of the mounted lens, at worst. Refitting the mirror is a fairly involved process, including removing all of the old adhesive and duplicating as closely as possible its original thickness (about 0.1mm or 0.004") with new double-sided tape or an appropriate glue, replacing the mirror, and then recalibrating focus using the adjustments within the mirror box. Not an operation for the faint-hearted, but doable with patience and an eye for precision, and a service manual, if possible. Although this condition can potentially crop up at any time, inspecting the operation of the mirror very closely before purchasing a new-to-you body can at least prevent you from laying down your hard-earned money for one already suffering from this malady. How to check for it? Probably the easiest way is to set the shutter speed to "B" and hold the shutter open with the release while looking at the potential projecting of the mirror in it's UP position, with no lens mounted. The front edge of the mirror should be flush with or even slightly shy of the mirror bumper strip in the lens mount mouth. If it is sticking out by two or more millimeters, the mirror has already definitely slipped and you would best move on in your search for an appropriate body.  

   In the ever-present echo chamber of the Internet, it can be very easy to get the impression that CONTAX and Yashica electronic SLRs are fragile, temperamental beasts. This is not unique to these brands or even cameras in general, as we always hear the horror stories about any product repeated again and again, while we hear virtually nothing about any of the units that continue to function normally. All too often, we make the assumption that all copies of a given camera behave exactly like the one or two (or maybe even more) that we have owned or used: whether for good or bad. Forums abound with this type or reasoning: "I never had a problem with mine for xx-many years so this must be the greatest camera ever made, and anybody that says otherwise is..." or "Mine didn't last three weeks before it broke, so it must be the worst camera of all time..." ;-). So is it possible for us to draw any rational conclusions about the overall reliability and durability of C/Y SLRs?  

   In my limited experience, I would say that C/Y sits squarely in the middle of the Japanese electronic SLR pack regarding reliability and durability, never quite matching Nikon's or Canon's level in professional models, while on par with Canon, Minolta, Pentax, and Olympus in the consumer to enthusiast categories. I have noted several Popular Photography Lab Report Stripdowns of CONTAX and Yashica SLRs from the early-'80s that consistently described the quality of soldered joints as only "Fair" compared to the industry as a whole. That may explain to a certain extent the amount of electrical failures reported over the years. With the financially tenuous position of Yashica in the early-'80s until the buyout by Kyocera, it is not implausible that quality control was lacking a bit during that time. By the time the 167MT came along, it seems like things were getting back on track a bit as far as QC went. The stuff from the '90s-'00s seems to be at least on par with the rest of the industry. LCD bleed is better than average compared to other brands (average = Minolta = more common; above average = Nikon = less common), but should be something you watch for when inspecting any model from the 167 MT onward.

    Obviously, factory service is long gone (as with any other MF film SLRs), so your only options are the few remaining independent repair outfits that are willing to tackle C/Y equipment or DIY. There is a very good selection of Repair Manuals and Assembly Charts available as PDF for much of the CONTAX/Yashica SLR lineup at learncamerarepair.com for very reasonable prices.     

  Conclusion

   Undeniably, the major draw for many photographers to the C/Y system is Zeiss glass...end of story. And that is a good enough reason on its own. But it does come at a cost...literally ;-). While not stupidly-priced like Leica R-mount optics, there is a certain price premium to be extracted for Zeiss privileges, particularly when compared to the Big 5 and the other smaller Japanese manufacturers. But if you are willing to sample some of the smaller-aperture (f/2.8-3.5) Carl Zeiss lenses or the Yashica MLs, you will likely be pleasantly surprised at how much value for your dollar you can get. The camera bodies, on the other hand, whether CONTAX or Yashica-labelled, are often (but not always, looking at you S2/S2b ;-)) a bargain, particularly if you are not afraid of electronically-controlled SLRs, which made up the vast majority of production over the 30-year history of the marque. Not to be forgotten is the marvelous opportunity to do a little customization with the early-'80s bodies and their pitiful, peeling pelts if that perks you up ;-). The ability to mix and match between both brands is a definite plus, and you can dial in as much value or extravagance as you like. Lens compatibility is virtually a non-issue, with MM lenses being required for Program or Shutter-Priority operation with bodies so-equipped being about the only thing to watch for. Cee/You later!   

  References: 

    CONTAX/Yashica Documents @ www.pacificrimcamera.com
    CONTAX/Yashica Manuals & Brochures @ www.panchromatique.ch
    Contax & Yashica Manuals @ https://butkus.org/chinon/index.html
    Numerous Issues of Popular Photography 1981-2006
​    Contax 139 Resource @ https://www.contax139.co.uk/home
    Contax Resources by cdegroot.com @ https://cdegroot.com/photo-contax/
    C/Y Lens Datasheets @ https://www.zeiss.com/consumer-products/int/service