Replacing these ribbons was difficult but, contrary to modern cameras, made for a 400,000-cycle life. The interlocking slats were aligned by specially woven silk ribbons, which were very strong but subject to wear. The fact the shutter ran across the shorter dimension of the format area was a significant factor for achieving this technical feat. The Contax design allowed a higher maximum shutter speed: the top speed was 1/1000s, then increased to 1/1250s in the Contax II.
By contrast, the competitive Leica followed the established design of using rubberized fabric shutter curtains wound around rollers, moving horizontally. This complex shutter became the characteristic of the Contax camera and its Super-Nettel derivative. Using a die-cast alloy body it housed a vertically travelling metal focal-plane shutter reminiscent of the one used in Contessa-Nettel cameras, made out of interlocking blackened brass slats somewhat like a roll-up garage door. Made between 19, the original Contax, known as Contax I after later models were introduced, was markedly different from the corresponding Leica. Heinz Küppenbender was its chief designer. The name Contax was chosen after a poll among Zeiss employees. While the firm of Ernst Leitz of Wetzlar established the 24 mm × 36 mm negative format on perforated 35 mm movie film as a viable photographic system, Zeiss Ikon of Dresden decided to produce a competitor designed to be superior in every way.
6.3 Lenses for Yashica/Kyocera-built SLR models.6.2 Lenses for the Dresden-built SLR models.6.1 Lenses for the original rangefinder models.
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