The Contax 645 is an autofocus medium format film camera produced by Kyocera in Japan from 1999-2005. It features automated film advance and an electronic shutter capable of a 1/4000 top speed. The camera body has full aperture- and shutter-priority modes as well as manual control and is compatible with a special vacuum back that pulls film to the film gate for absolute film flatness.
While the Contax 645 body has impressive specifications, the system’s pedigree rests on its full range of excellent Zeiss optics. Built by Kyocera under license, these lenses feature full metal construction, instant manual focus override in the standard AF mode, and stunning image quality. Most famous among these is the Zeiss 80mm f2 Planar, a lens renowned for its razor-thin depth of field and fine bokeh quality. The Contax 645’s 1/4000 top shutter speed gives the ability to shoot with this lens wide open even in daylight, making Contax 645 kits longtime favorites of professional wedding and portrait photographers.
The greatest downside to the Contax 645 system may be its own popularity. Low overall production combined with a lack of repair parts availability means that the cameras are rare and expensive. For a lucky few, this is one of the most unique and capable camera systems ever created.
Contax 645 Lens Portraits - Hartblei 45mm f3.5 Super Rotator
The Hartblei 45mm f3.5 Super Rotator is a tilt-shift lens built by Hartblei in Ukraine for the Contax 645 mount. Unlike its Zeiss autofocus siblings built by Kyocera, the 45mm f3.5 Super Rotator is a manual focus lens based on the optics of the Arsat 45mm f3.5 from the Kiev 88 system. The Super Rotator's defining features are its extensive tilt and shift adjustments, which allow the user to alter the orientation of the optics relative to the film plane. Shift is used extensively in architectural photography, where it gives the ability capture the tops of buildings without tilting the camera upwards, avoiding perspective distortion. In these sample images, we see the comparison between a "standard" image with the lens tilted upwards and a "shifted" image. Full vertical shift was used to keep the doorway upright in the frame with no converging parallels.