Zeiss Ikon Contina II 524/24
(owing to the forum's 10240 character post size limit, this is in 2 parts. Part II, Using the Contina II, will follow up in this thread and be linked if I can do the edit in time!)



History

After the Second World War, Zeiss Ikon were struggling to get back on their
feet. Their rivals Kodak AG (Formerly Nagel)had managed to get their very
successful Retina folding 35mm camera range back into production remarkably
quickly, and Zeiss felt that they needed to compete in this market sector as
well as all the other main types of cameras. So Hubert Nerwin, the designer of
many of the great Zeiss Ikon cameras, created the Ikonta 35, which was
launched in 1948. This was a basic folding 35mm camera, and if it looked
reminiscent of the medium format Ikontas and Nettars, that was perhaps in part
because it was designed to be built on the same manufacturing equipment.

Initially in two versions, with either a 45mm f/4.5 (later f/3.5) Rodenstock
made Novar lens in a 4 speed flash synchronised Pronto Shutter, or an up market
version with the Schneider Kreuznach Xenar 45mm f/2.8 (later replaced with Zeiss's own
Tessar when that became available from the new Zeiss lens factory at Oberkochen)
in a 9 speed (1s - 1/500s) Compur Rapid shutter, it was a fairly basic folding
viewfinder camera, with a depth of field scale on the front focussing element of
the lens as the only aid to focussing. At least double exposure prevention and
blank exposure prevention interlocks were provided (you couldn't fire the
shutter if you hadn't wound on from the previous frame, and you couldn't wind on
again until the shutter had been fired), but the shutter still had to be
tensioned separately to winding on by means of a small lever on top of the
shutter housing, which you had to avoid catching your fingers on when it flew
back as the shutter was released.

Following their success with the Ikonta 35 (renamed Contina for some export
markets), Zeiss Ikon felt that they needed to broaden their range of 35mm
folding cameras, to better compete with the prodigious range of Retina models
from Kodak. So in 1950 they introduced the Contessa, which used the basic body
design of the Ikonta 35, but added various features, such as a built in selenium
exposure meter (not seen in a Kodak Retina until the Retina IIIc four years
later), and a coupled rangefinder (see my review of the Contessa).

However, the Contessa, though an excellent and very usable camera, was a bit on
the pricy side for many people, so in 1952, Zeiss decided to fill out the
range, with a model in between the basic Ikonta 35 / Contina and the high end
Contessa. This was the Contina II, model no. 524/24, and anyone with a passing
familiarity with the model numbers of the Zeiss medium format cameras would
recognise the connection with the uncoupled rangefinder Mess Ikonta models
524/2 (8 6x9 cm frames on a 120 film) and 524/16 (12 6x6 cm frames on 120).
(Mess being the German abbreviation for the German word entfernungsmesser,
literally "distance meter", or rangefinder.) Indeed, a first glance would show
that the resemblance was not just in the numbers - the Contina II (never
officially called Mess Ikonta 35) does indeed feature a rangefinder mounted in
a rectangular housing in the top plate, like a scaled down medium format Mess
Ikonta.



The Novar 45mm f/3.5 in Prontor SV shutter version

First impressions

Even before unfolding the camera, the most striking feature is the raised
box-like centre part of the top plate, with three rectangular windows at the
front, a large one (for the viewfinder) in the centre, and two smaller ones (for
the rangefinder) either side. Since the rangefinder is not hidden behind the
front door, like on the Contessa, it's possible to start preparing to take your
picture even before you've unfolded the camera (probably just as well, given
the additional time consuming operations required in using an uncoupled
rangefinder). The rangefinder hump is flanked by two circular knobs - the
rangefinder reading knob on the right and a film reminder dial on the left.

As one looks below the top plate, the word "unconventional" comes to mind,
especially to people who may be more familiar with the SLRs and compact
cameras of the last 50 odd years. Being a folding camera, the lens is
completely hidden at first, and as it has a leaf shutter in which the lens is
mounted, all shutter controls are also not immediately apparent. What is
visible is the front door, with a small catch at the top, and a tripod bush,
sealed with a capping screw (actually present on my example! ) at the
bottom. However, unlike the Contessa, the tripod bush is not in line
with the entry pupil of the lens, so parallax would be an issue when taking
panoramas, unless you used a special panoramic tripod head. Being set further
back towards the centre of gravity of the camera, balance is a bit better.

The way that the case is secured to the camera body is distinctly unusual. At
first glance, there appears to be a large tripod bush / case securing screw on
the bottom at the left side. However, closer inspection reveals that there is
no tripod thread, and it's marked with an anticlockwise pointing arrow. This is
in fact the film advance (wind on) knob, which couples to the knob on the base
of the camera body via two small prongs which engage in corresponding holes -
care needs to be taken when fitting the camera into its case to ensure that
these align. At least this means it's possible to wind the film on without
having to remove the camera from the case!




Top view of the Novar 45mm f/3.5 in Prontor SV shutter version


In use

Still, the case really only needs to be removed for changing film - or if you
want to sit the camera level on a flat surface. Undoing the flap at the back
allows you to let the top of the case dangle, and then dropping the front door
gives access to the lens and shutter controls. The rangefinder can be used
without even opening the door, though the separate eyepieces for the
rangefinder and viewfinder are slightly less convenient than those rangefinders
that are fully integrated into the viewfinder. However, it does enable the
rangefinder to have a slightly greater magnification (approx 1:1, compared to
the approx 0.6x for the viewfinder). The rangefinder view does only cover less
than a quarter of the image area, though.

The front door (lensboard) is opened by sliding down the small catch in the
centre of the top edge of the door, and then pushing the door downwards until
it locks firmly in place with a click. This is one of the areas that the
engineering quality of Zeiss Ikon cameras is apparent - with the lensboard
locked in place, the whole lens and shutter housing is very rigidly fixed to
the body of the camera, essential for high quality results - you can't get good
sharp pictures if the lens is wobbling about relative to the film, as
unfortunately sometimes tends to happen with some folding cameras, particularly
after more than half a century of wear and tear! To fold the camera up again,
simply squeeze together both side panels at the body end of the door and fold
the door upward until it clicks into place.

Model Variations


The Opton-Tessar 45mm f/2.8 in Synchro Compur shutter version

It's only with the front door open that the differences between the models
becomes apparent. The high end version is fitted with a 4-element Zeiss-Opton
Tessar 45mm f/2.8 lens in a Synchro Compur shutter, with speeds 1s to 1/500s,
and full MX flash synchronisation, but no delayed action (self timer). The lower
spec version has a 3 element Rodenstock made Novar 45mm f/3.5 optic in a Prontor
SV shutter, speeds 1s to only 1/300s, but still with full XM sync, and also with
delayed action (though only X sync can be used with D/A - not likely to be much
of an issue these days!)

Although the Tessar version is theoretically more capable, and indeed it does
appear slightly sharper at wide to mid apertures, by the time you've stopped
down to f/8 or smaller I can't see a lot in it - there's probably more in the
sample variation between individual lenses. Certainly the Novar lens is
perfectly adequate, and the top speed of the Synchro Compur is less than a stop
faster (as the Tessar is less than a stop faster than the Novar), so while the
Tessar / Synchro Compur combination is slightly better for getting shallow
Depth of Field shots (both types have 10 bladed diaphragms, and seem to give
reasonable bokeh), there isn't really that much in it. What is perhaps more
significant is the usability - I find that the Synchro Compur, which is
tensioned by pushing the lever up and towards the middle, is more awkward to
use than the Prontor SVS , where the lever is pushed downwards, leaving the
forefinger conveniently adjacent to the shutter release. Also, the focus
throw of the Tessar is only 90 degrees, compared with the 160 degree movement
of the Novar, making precise focus setting easier with the "cheaper" lens.

Link to Part II - Using the Contina II: http://www.amateurphotographer.co.u...History-amp-Description&p=1234546#post1234546

 

Re: Zeiss Ikon Contina II 524/24 - Part II Using the Contina II

Zeiss ContinaII 524/24 Part II - Using

Loading



Loading is fairly straightforward, once the camera is removed from the case.
The back door opens wide, giving good access, and the take-up spool secures the film leader via a spring clip and a small hook. This isn't quite as secure as
some other vintage 35mm cameras, so it's advisable to pre-tension the cassette
by means of the rewind knob before closing the back. With the frame counter
set to the loading mark (diamond shaped marker), turning the advance (wind)
knob until is stops ensures that the film is ready for frame 1, and by checking
the rewind knob moves, you can be sure that the film hasn't detached from the
take-up spool - if that happens, the advance knob would never stop, since the
winding stop is controlled by the film position sense sprockets, which are only
moved by the physical movement of the film. If the leader does become
detached, it's a simple matter to reopen the back and reattach the leader.


The frame counter setting when loading

When the camera has been replaced in the case, you can't see the rewind knob
moving any more, but in practice, once the initial wind on to frame 1 is
complete, film transport is positive, and frame spacing is good. At the start
of the roll, the advance knob needs to be turned a little further to get to the
next frame than is comfortable with a single movement of the fingers, but
as you get further through the roll, the increasing diameter on the take-up
spool means you don't need to turn it through as great an angle, and it can be
done in a single quick movement. This also gives a rough indication by feel as
to how many frames are left on the roll, and for a precise check, the frame
counter (numbered every 5 frames) is clearly visible though the cut-out in the
base of the case. Unlike some types of 35mm cameras, such as the later Retinas,
the camera doesn't lock up at 36 frames - you can just carry on to 37 or 38 if
the roll is long enough - I find Fuji seem to be slightly longer than Kodak!

Shooting

Shooting with the Contina II is generally not a particularly rapid process.
Using the uncouple rangefinder takes time, then the distance reading has to be
transferred to the lens focus scale. After that, the exposure has to be set on
both the aperture and shutter speed scales, and the shutter tensioned (with
leaf shutters, although most of the time it doesn't matter if you tension the
shutter before or after setting the speed, in some circumstances, e.g with the
fastest speed on a Compur rapid, you can cause damage if you change the speed
after the shutter is cocked. Note this is the other way round to some focal
plane shutters).

However, for a restricted range of situations, you can speed things up. You
can use the depth of field scale to set a zone of focus to cover expected
subjects, and preset the exposure if the light is fairly constant. And, unlike
some other folding 35mm cameras, the Contina doesn't need the focus to be reset to infinity when the camera is closed, so you can save the zone focus set,
fold the camera up, then quickly take it out and unfold it, cock the shutter
and snap a quick shot. There's also the vaunted Zeiss "Red dot" guide for
hyperfocal focussing - red dots on the focus and aperture scales (at around 17'
and f/8) indicate the appropriate settings to get most medium distance shots
(from about 8' to infinity) in focus.


Red dot focus on the Novar 45mm f/3.5 in Prontor SV shutter model


Red dot focus on the Tessar 45mm f/2.8 in Synchro Compur shutter model

Reaching the end of the roll is found by the advance knob not turning as far as
you expect before coming to a stop - unfortunately there's no easy way of
telling the difference between the auto frame spacing stop and the end of the
film, so sometimes you can think you've got to another frame, only to find that
the shutter won't release because it's inhibited by the double exposure
interlock, because the film hasn't advanced quite far enough. This can be
slightly annoying, but you get used to checking the frame counter carefully
towards the end of the roll.

Unloading

Rewinding and unloading is straightforward. Remove the case, hold down the
rewind release in the centre of the advance knob, and keep turning the rewind
knob until the frame counter stops moving - curiously, it continues to count
UP. The upside to the slightly uncertain attachment of the film leader to the
take-up spool is that it will usually wind straight off the spool and back into
the cassette, which can slightly speed up changing rolls. However, by the the
time you've finished rewinding a 36 exposure roll, you'll realise why rewind
cranks were invented! If you had re-cocked the shutter before you realised
you'd reached the end of the roll, and you're not immediately going to reload
and carry on shooting, it's a good idea to release the shutter before putting
the camera away - rewinding will have reset the double exposure interlock, and
it's best not to leave the shutter spring tensioned for long periods.

Flash

The Contina II can be used quite easily with many modern electronic flashguns,
which will synchronise at all shutter speeds when set to "X" synchronisation.
So called Auto type flashes are probably most convenient - the flashgun has a
built in photocell which measures the light reflected from the subject, and
cuts off the flash when correct exposure is achieved. You just have to set the
film speed and aperture used on the scales on the flashgun. This makes fill
flash very easy, and you can easily use wide apertures in bright light with fast
shutter speeds, unlike with the focal plane shutters used in many modern
cameras. The Metz Mecablitx 36 C-2 is one modern electronic flashgun that I've
use very successfully with vintage cameras. Do note that some modern flash guns
are designed to work in conjunction with the camera's built in TTL metering
system, and these won't work so well unless you can switch them to a
compatibility mode.

Conclusion

Overall, the Contina II is quite a pleasant little camera to use. It folds up
into a conveniently pocket sized package, or can be carried in its case as a
bundle only slightly larger - the case isn't strictly necessary, since the
most fragile components are well protected when the camera is folded up,
however, it's quickly unfolded ready for use. Presetting focus and exposure can
make it fairly quick to use for many snap shot situations, but there's the
convenience of the built in rangefinder when you have the time and need to set
focus precisely. They seem to turn up on eBay 2 or 3 times a month, and
typically go for £20-50, depending on condition. Fortunately Zeiss built to
last, and problems such as pinholes; in the bellows and wobbly lens standards
seem to be comparatively rare compared with some other makes of similar age.
The main vintage camera dealers seem to have them in stock occasionally.
Beware of the later non folding Zeiss Icon 35mm camera with selenium meter but
no rangefinder also officially called Contina II, model 527/24, though often
unofficially referred to as Contina IIa.

Sample Photos

Agfa Vista 200 Dev & scan by Boots Minor tweaking in Gimp


The Novar 45mm f/3.5 shows good resistance to flare!


Reasonable corner sharpness and depth of fiels at f/11 (Novar)


Readers of the Trusted Reviews Digital camera reviews a few years ago may
recognise this as one of Cliff Smith's standard test shots!

 

Schneider, Rodenstock and Zeiss in a single breath.

 

Got one of these somewhere gathering dust. Mine having that unreliable "now not then" Prontor shutter. Once they start to fail no chance of getting going, except a CLA will cure! Did the higher end versions have the more durable Compur shutter?

 

DOH! just answered my own question they have a Syncro-Compur with Tessar! Got one gathering dust sold the one in photo on ebay.

 

For me, it's actually my Prontor SV / Novar 3.5 version that's working better. The Synchro Compur / Tessar 2.8 is the one with problems - though it's actually a wobbly lens panel (unusual for Zeiss!), rather than the shutter, which still runs sweet as a nut from 1s up to 1/500s!

I've generally found Prontor shutters to be reasonably reliable, at least on the faster speeds - I do notice that 1/25 & slower often become sluggish. Compurs, particularly in the larger medium format size 0, do seem remarkable in their durability. I've an early 1930s Agfa Billy Compur 6x9cm that I acquired covered in a layer of crud, with the focus seized, but the shutter still ran smoothly on all speeds 1-1/250s.

I must say that I do prefer using the Contessa to the Contina II, but I think that's mostly down to the coupled rangefinder, rather than the Synchro Compur or lightmeter (which is only working intermittently on mine anyway ).

You'll have to dig your Contina out and give it an airing - I look forward to seeing the results, suitably distressed, of course!

 

Yeh! I have a Contessa as well. Sweet little camera to use but really my interest are the folding Kodak Retina and Retinettes. Also got one of those Voigtlander 35mm folders with the pole sticking out of the top and the barn doors. Had it CLA as it was a beautiful beast! The name escapes me for now

 

YAY ! - I was given one by a former Lady Mayor of Brentwood whose Deceased Husband was a member of Brentwood Photographic Club and it has the Synchro-Compur but NOT an 'Opton Tessar' just a ' Carl Zeiss' Tessar -- it came in a brown leather case and with an Instruction leaflet for Kodachrome 10 ASA !
I have done some good B&W in the Philippines and got some 16x12" sharp B&W darkroom prints -- when I go to Cebu Images Camera Club all the members gather round to see my '1950's CONTINA' --- !!

http://www.flickr.com/photos/25850987@N03/3344237864/
Contina http://www.flickr.com/photos/25850987@N03/3344237864/ by pentaxpete http://www.flickr.com/people/25850987@N03/, on Flickr
Cebu Images Camera Club taken on outdated FP4+ with my CONTINA


http://www.flickr.com/photos/25850987@N03/6139486391/
Images Club http://www.flickr.com/photos/25850987@N03/6139486391/ by pentaxpete http://www.flickr.com/people/25850987@N03/, on Flickr

Nuat Thai Massage (?) taken from moving truck at 1/500th

http://www.flickr.com/photos/25850987@N03/6139486397/
Massage http://www.flickr.com/photos/25850987@N03/6139486397/ by pentaxpete http://www.flickr.com/people/25850987@N03/, on Flickr

 

Sounds like you're thinking of the Vitessa? It was supposed to be fast to use with the plunger transport action, but I found it to be awkward compared with a lever wind. Possibly mine at 60 odd years old wasn't quite up to the original design spec. They came in several versions, with and without selenium exposure meters, and the non-folding but interchangeable lens Vitessa T. Another camera to which I could apply my favourite description "unconventional"...

Curiously, I found it was the Contessa that got me in to other 35mm folders such as the Retinas, and then the non folding Retina & Retinettes - just got my first roll from the Retinette IB with the rather uncommon Xenar 45/2.8, which looks noticeably sharper than the Reomar, even on a 6x4" print! I must post some when time allows...

 

I believe the "Opton" name was used after the war by the West German Zeiss Ikon to distinguish their lenses made in Oberkochen from those produced in Jena by the East German Carl Zeiss. Then after a long drawn out international legal dispute, the East Germans were required to stop using all the Zeiss names and trademarks, so the West Germans dropped the Opton prefix. I've just tried looking up the details of this in Barringer & Small's "Zeiss Compendium", but details are a bit unclear, with a note inviting anyone who knows more to contact the authors!

 

Interesting post here that confirms your thinking. Also about possible quality problems?
http://photo.net/classic-cameras-forum/00NPhF

 

I have discussed this with Charlie Barringer and (mostly) Marc James Small in the past; it's not quite that simple, because the East Germans retained the right to the Carl Zeiss Jena brand in some markets, and not just behind the Iron Curtain - that's why some East German lenses has the full Carl Zeiss Jena brand, others are simply branded "Aus Jena".
Stepping back a little, immediately post-war, Zeiss considered the company both sides of the border to still be effectively part of the Carl Zeiss Foundation, and originally orders might be filled from either Jena or Oberkochen - it was a gradual separation, finalised by the nationalisation of CZJ that started the battles.

 

Thanks for the additional info, Nick. I knew the phrase "It's not quite that simple" would come in somewhere!

Perhaps it's possible that PeteE's Contina II is fitted with a Jena made Tessar? Or had Zeiss Ikon Stuttgart ceased all use of Jena produced lenses by the time the Contina II appeared in 1952?

Thanks for the link, Kamepa. Interesting. Of course, the relative merits of the Jena and Oberkochen Tessar designs really only apply to the Contax, where you have a choice, and ISTR that Jena used softer aluminium mounts, which are subject to wear, so a better optical design doesn't necessarily help if the mount is wobbly!

 

Then to add to the Story -- I bought a lens for £10-00 in a Car Boot Sale, 24mm f2.8 Pentax 'KA'fit marked : ' lens made in JAPAN under Licence from VEB Carl Zeiss Jena' -------

 

I believe the Zeiss brand name has been licenced to several Japanese manufacturers since the demise of Zeiss Ikon. I think that currently Sony are using it on their top of the range lenses.

There is also the current Zeiss Ikon 35mm rangefinder, I believe actually made by Cosina in Japan, who also make a slightly lower spec camera under the name Voigtlander Bessa.

As well as the current top-notch Zeiss manual focus lenses in various SLR mounts. Not sure who actually makes them, but Nick or Roger probably know!

 

Those Japanese lenses weren't really all that marvellous - mostly Cosina, I think one or two others as well, probably Sigma, all budget lenses anyway and not up to the standard of the East German ones.

 

here is a full aperture sample of my 24mm f2.8 Carl Zeiss Jena in Brentwood Town Hall, available light, on my Pentax K10D -- it resolves all the carpet details

Mayor-Making Brentwood by pentaxpete, on Flickr

 

Not bad. Perhaps I'm just too snotty about such things - many Cosina lenses were very good. And still are...