Background

By the mid-1990s, autofocusing tech was in full swing. Canon, Nikon, and Minolta had been integrating it into their 35mm cameras since the early '80s, and by now, pretty much every brand was chasing faster, smarter lenses that could focus themselves.

Autofocus works by using an electronic motor to shift specific internal glass elements, adjusting the plane of focus. Simple in theory, but it changes everything about how a lens is designed and built.

This posed a real problem for Contax. How do you move forward with autofocus without abandoning the lineup of beautifully built, manual-focus Zeiss lenses people already loved?

To zoom out for a second: Zeiss, the German optics giant, had sold the Contax brand to Kyocera, a Japanese company looking to modernize the system. Kyocera wanted full-blown autofocus, but Zeiss wasn’t ready to ditch their Contax/Yashica-mount lenses, or the loyal user base that came with them. They feared the potential backlash if they suddenly made all that legacy glass obsolete.

So what did they do? They devised a workaround that was so wild and beautifully overengineered that it became one of the most fascinating film cameras ever made.

Instead of putting autofocus functionality in the lenses, they added it to the camera body.

Released in 1996, the Contax AX remains the only film camera ever made that can autofocus manual lenses. While most manufacturers introduced entirely new autofocus lens systems, Contax chose to keep their existing Zeiss lens lineup compatible by building the autofocus mechanism into the camera body.

The AX achieves this by physically moving the entire film plane and mirror box assembly back and forth to shift the plane of focus, leaving the lens itself completely untouched. This clever workaround allows full autofocus functionality without changing the optical design of the lenses. Contax dubbed this technology the Automatic Back Focusing System.

The result is a camera body that’s noticeably large, closer in size to a medium format system than a typical 35mm SLR.

Specs

Camera: Contax AX
Release Date: April 1996
Type: 35mm Film SLR
Mount: Contax/Yashica (C/Y)
Focus: Automatic Back Focusing
System: Electronic
Shutter Speeds: 4s - 1/4000s Manual + AV & P Modes: 4s - 1/6000s + Bulb
Motor Drive: Automatic Film Advance
Metering: Center-weighted Average + Spot Metering
Film Speeds: DX Code: ISO 25 - 5000; Manual ISO: 6 - 6400
Exposure Modes:
- (AV) Aperture Priority
- (TV) Shutter Priority
- (P) Auto
- (M) Manual
- (X) Flash
- (B) Bulb
Weight: 1123g (With Battery)
Power: (1) 2CR5 Battery
Weather Sealing: None
Price: $200 - $300 USD Used (Initially released at $2795 USD in 1996, $5730 today)

Body

By the 1990s, the Contax SLR system was firmly established. Earlier cameras like the Contax RTS, 137 MD, 159MM, and the Yashica FX-3 had earned a solid reputation for being both reliable and well-designed. The Contax/Yashica lineup stood out as a thoughtful collaboration between German and Japanese engineering: Yashica (and later Kyocera) handled the electronics, Zeiss supplied the optics and overall engineering, and the camera designs themselves were styled by Porsche. It was a rare blend of technical performance and beautiful aesthetics.

While the initial Contax cameras of the 1980s were minimal and sleek, the cameras in the latter years of the Contax SLR system were becoming larger and larger, with added technology such as an integrated motor drive for automatic film advancing.

The Contax AX looks like an absolute behemoth compared to its predecessors.

There’s a lot to cover in terms of the functions and capabilities of the Contax AX’s camera body.

Let’s start with the top plate…

Starting on the left side of the top plate, you’ll notice the shutter speed dial, unlike most 35mm SLRs, where it’s typically on the right, Contax places it on the left. The AX offers a full range of shutter speeds from Bulb, 4 seconds, all the way up to 1/4000s. In Aperture Priority or full Program modes, it even extends to 1/6000s.

Just to the left of the shutter dial is a mode selector. You’ll need to press a small button below the “ISO” label to unlock and rotate this switch. The available modes are:

AV – Aperture Priority
TV – Shutter Priority
P – Program/Auto
M – Manual
X – Flash Sync
B – Bulb

Continue turning the switch past the shooting modes, and you’ll land on ISO. Here you can set your ISO manually, from 6 to 6400. The AX also includes a DX code reader to automatically detect ISO from most standard film canisters, but if you're using bulk-rolled film or non-coded third-party stocks, manual ISO control is easy to access.

In addition to the ISO setting, there’s also a “CF” option on the dial—short for Custom Functions. I’ll go into more detail about those further down, but for now, let’s move over to the right side of the top plate, where most of the camera’s controls live.

At the top right corner, you’ll find the main power switch, which also includes an AEL (Auto Exposure Lock) function to lock your exposure. Left to that is the Exposure Compensation dial, allowing for adjustments in ±2-stop increments. Attached to it is a small lever called ABC (Auto Bracketing Control), which lets you shoot three frames in a row with either ±0.5 or ±1-stop exposure differences. This is especially useful for landscape work or situations where you want to make sure you nail exposure, something common in modern digital bodies, but relatively advanced for film cameras in the '90s.

Below the Exposure Compensation dial on the right is the shutter speed and drive mode dial. Pulling up on the dial lets you switch between different shooting modes: Double Exposure, Single Shot, Continuous Low (3 fps), Continuous High (5 fps), 2-second self-timer, and 10-second self-timer. While it’s not quite as fast as a Nikon F5, the 5 fps option is still capable for sports or action.

A small switch for adjusting the focus mode is built into the same dial. Your options are CAF (Continuous Autofocus), SAF (Single Autofocus), MF (Manual Focus), and a unique Macro mode. This Macro mode takes advantage of the AX’s internal focusing mechanism, which physically shifts the film plane forward, essentially acting like a built-in extension tube. You lose autofocus in this mode, but thanks to the bright, clear viewfinder, manual focus is still very usable for close-up photography.

Lastly, on the lower left side of the top plate, there’s a small digital display showing your frame count, ISO, and a few other basic readouts.

Now, back to the Custom Function (CF) setting mentioned earlier. This lets you tweak deeper settings, though it’s not the most intuitive system. When you enter CF mode, the camera displays a pair of numbers: one from 1 to 8 (representing the function), and one from 0 to 1 (to toggle that function on or off). Here’s a breakdown of what those settings control:

As you can see, the Custom Function settings offer a fair amount of flexibility. Personally, I only make a few adjustments: I disable auto film rewind (6-0), turn off the AF assist lamp (7-1), and mute the autofocus confirmation beep (8-1). I appreciate that Contax gave users the option to toggle these features off. The viewfinder provides clear focus confirmation, so there’s really no need for an audible beep or a glowing assist light, both of which can be distracting, especially when shooting in quiet or low-light environments.

The rear of the Contax AX is much simpler than the top plate, with fewer buttons but all the essentials in the right places. On the left side, you’ll find the button used to adjust the left dial—this needs to be held down when switching between exposure modes.

At the center is the viewfinder, which is easily one of the best I’ve used on an SLR. It’s bright, clear, and includes a built-in diopter adjustment. Just to the left of the eyepiece is a viewfinder blind switch, useful for preventing light leaks during long exposures.

To the right of the viewfinder is the film rewind lever. You’ll need to press a small button first before toggling the lever. This is something I really appreciate, since it prevents accidental rewinds mid-roll.

Further to the right is the autofocus control button. It’s paired with a surrounding dial that lets you choose between standard autofocus or AF lock, which is helpful when you want to recompose your shot without shifting focus.

Looking through the viewfinder, you’ll see an LED information bar along the bottom that displays everything you need while shooting.

On the far left is the frame counter showing your current position on the roll. Next to it is the metering mode indicator. In the center is the Automatic Back Focusing scale, which shows how much the internal mirror box is shifting to achieve focus. On the far right, you’ll see your exposure readout indicating aperture and shutter speed values, so you can quickly confirm your settings without taking your eye away.

The left side of the camera gives you access to the film compartment. When you open the back, you’ll see the Automatic Back Focusing system reset, and the mirror box slides back to its default position to make room for loading.

Loading film is straightforward. Just drop in the film cassette, pull the leader across to the green marker, and close the back. The camera takes care of the rest, automatically advancing the film to the first frame.

The bottom plate of the camera is easily removable using a simple plastic locking tab. Unlike the rest of the camera’s solid, metal construction, the plate itself is made from thin plastic and feels noticeably more delicate. It also covers the battery compartment, so it’s worth being careful not to misplace it.

Not sure if this is present on every Contax AX, but my version also has a plastic film with the table displaying all the Custom Function information.

The front of the camera is fairly minimal. There’s a modest grip, a prominent AF assist lamp, and a few essential controls: an exposure check button, a lens release button, and an aperture stop-down button. Everything is cleanly laid out and easy to access without cluttering the design.

Just opposite the lens mount is a small but important metering lever. It lets you switch between Center-Weighted Average and Spot Metering. It’s easy to overlook, so it’s worth checking regularly to make sure you’re metering the way you intend.

All things considered, there’s a lot happening on the Contax AX body, but after spending time with it, everything becomes second nature. If you’re used to working with button-heavy systems like cinema cameras or modern pro mirrorless bodies, you’ll probably find the layout pretty intuitive.

The biggest challenge with the AX is its sheer weight and somewhat awkward ergonomics. It’s not the most uncomfortable camera I’ve used, but the sharp edges and bulk make it tough to handhold for extended periods. A solid camera strap is a must if you plan to carry it around for a full day.

For context, it weighs about the same as a medium format Mamiya 7.

Let’s move onto the lens options for the Contax AX…

Lenses

Click to expand images.

One of the biggest reasons to invest in the Contax AX and the Contax/Yashica SLR system is the incredible lineup of Zeiss and Yashica lenses available.

The Contax Zeiss glass, in particular, ranks among the best SLR lenses ever made. These lenses remain popular today, whether photographers adapt them to modern mirrorless cameras or videographers seek lenses with unique character. The Zeiss Planar 50mm f/1.4, for example, is a favorite for adapting to digital bodies. These lenses share heritage with the legendary Zeiss Super Speed cinema lenses used on iconic films like The Shining, The Terminator, Full Metal Jacket, and Lost in Translation.

Here’s a full database of Contax/Yashica lenses for reference.

You’ll notice some lenses are marked AE (Auto Exposure) or MM (Multi Mode), usually you’ll see them followed by a third letter indicating manufacturer origin, (J) Japan or (G) Germany. AE lenses were the original Zeiss offerings for the system. They don’t have a mechanical link to the camera body and are known for a distinctive “Ninja Star” bokeh, caused by aperture blades that don’t form a perfect circle, creating unique out-of-focus highlights.

MM lenses came later and include a mechanical connection that enables shutter priority and program auto-exposure modes. These lenses don’t have the Ninja Star bokeh, making them more popular with videographers. You can spot MM lenses by their green aperture markings. On the Contax AX, you’ll also see the shutter priority (TV) and program (P) modes marked in green, reminding you that MM lenses are required to use these modes.

While many say there’s no optical difference between AE and MM lenses, I’ve noticed the coatings and glue used in MM lenses are different, affecting their durability and image quality.

A couple of popular MM lenses, like the Contax 50mm f/1.4 Planar and the Contax 100-400mm zoom, are known to have lens fogging issues. If you come across a fogged lens on eBay, I recommend reaching out to a Taiwanese lens repair specialist I trust. He’s repaired two of my Contax lenses without any problems.

You can find him here: https://lens-cla.blogspot.com/ or contact him by email at lin0975165383@gmail.com.

Another great feature of the Contax AX is its ability to use a wide range of lenses beyond just the Contax Zeiss lineup. If you’re looking for a more budget-friendly option, the Yashica ML lenses are worth considering. These were the higher-end lenses from Yashica and offer surprisingly good image quality, often approaching that of the Contax Zeiss lenses. That said, they’re not built to the same standard. The ML lenses rely more on plastic and glue in their construction, so while the optics hold up well, the build feels noticeably cheaper. On the plus side, they’re much lighter, which can be a welcome relief given how heavy the Contax AX is.

Just a heads-up: avoid the Yashica DSB lenses. These were the lower-tier versions and are known for poor optical performance. Stick with the ML versions if you're looking for quality at a lower price.

In addition to Yashica ML lenses, the Contax AX can also mount and autofocus M42 screw-mount lenses with the right adapter. This opens up access to a huge library of classic lenses, including well-known options like the Helios 44 series and Carl Zeiss Jena lenses.

I’ve personally adapted my Helios, Biotar, and Carl Zeiss Jena lenses to the AX, and being able to autofocus with these vintage lenses is a real bonus. It’s one of the few ways to give old manual-focus glass modern autofocus functionality, without losing the character that makes those lenses special! In my opinion, this is the most beautiful benefit of shooting with the Contax AX. You can keep all of your Contax Zeiss lenses and M42 lenses on one film camera.

Images

Cinestill BwXX

Cinestill 800T

Kodak Gold 200

Kodak Pro Image 100

Kodak Gold 200

In order to autofocus with manual lenses on the Contax AX, you’ll need to first set the lens to infinity, then tap the AF button to let the camera do the work.

That said, autofocus on the AX is somewhat limited by today’s standards, with its one autofocus point. While it’s generally responsive, it doesn’t quite hold up to contemporaries like the Nikon F5 (released in 1996 with 5 autofocus points) or the Canon EOS 3 (1998, with 45 autofocus points and an innovative Eye-Control system that let you select focus points just by looking).

Still, the AX’s autofocus is perfectly usable if you’re comfortable working with a single focus point. In low-light or challenging situations, you can always let the AX get close by tapping the AF button, then fine-tune the focus manually. It’s a unique hybrid experience, but one that works surprisingly well once you get used to it.

Final Thoughts

Pros:

Unique Autofocus
Very customizable functions
3-5 FPS burst
Macro functionality
Ability to adapt C/Y and M42 lenses
Auto film advance and rewind
Aperture Priority, Shutter Priority, and Auto

Cons:

Incredibly heavy
New photographers may be overwhelmed with functionality
Custom Function system can be confusing
Over-engineered

At the end of the day, the Contax AX is the most over-engineered 35mm film camera I’ve ever used. It was designed as a bold solution to a problem Contax couldn’t fully avoid. Despite the AX’s attempt to preserve the legacy of manual Zeiss lenses, Kyocera eventually moved on to the Contax N system with dedicated autofocus lenses. Not long after, the Contax brand was shuttered in the early 2000s, and the name returned to Zeiss.

Another downside to owning a Contax AX, or really, most Contax SLRs, is their heavy reliance on electronics. If something goes wrong, repairs can be difficult, if not impossible. There are very few technicians who still work on these cameras, and parts are increasingly hard to come by.

My own Contax AX developed a mechanical issue with the lens mount ring, and I had to send it to Nippon Photo Clinic, the only certified Contax repair center in the U.S. Fortunately, they were able to fix it, but it’s a reminder that owning one of these cameras comes with some risk.

Rating: 4/5

While the AX is definitely a luxury 35mm film camera, its ability to autofocus with a wide range of manual lenses gives it a truly unique place in the market. It may not be as practical or battle-ready as something like the Nikon F5 or Canon 1V, but it’s still very usable and in my view, deserves recognition as one of the most unusual and ambitious film cameras ever made.

Function	0	1
1. Exposure Check Buttom	Display Exposure	Auto Exposure Lock (AV, TV, P Mode)
2. Multiple Exposure	2-9 Number of Exposures	Set multiple exposures according to drive dial
3. Shooting order of ABC	Standard -> Over -> Under	Over -> Standard -> Under
4. Stop-Down Buttom	Stopped down when button is pressed	Stopped down when button is pressed and aperture fully opens when pressed a second time
5. Film Leader	Film is completely rewound back into the cassettte	Film leader remains outside the cassette after rewind
6. Rewind	Rewinding with the rewind lever	Automatic rewind when film is finished
7. AF Assist Lamp	AF Assist Lamp On	Off
8. AF Sound	AF Beep when focus aquired	Off

Review: Contax AX