In early 1990, the Contax RTS III was undoubtedly one of the most expensive 35mm SLR cameras on the market. It cost more than the Nikon F4 and Canon EOS-1n, despite lacking autofocus, a program exposure mode, or even the then-modern smart multi-pattern metering technology.
But what it did offer was truly exceptional and aimed squarely at discerning professionals and purist enthusiasts.
At the heart of the RTS III was a groundbreaking vacuum film transport system, paired with a ceramic pressure plate, that literally sucked the film flat against the film plane. This ensured unparalleled film flatness and, in turn, maximum sharpness—making it a dream tool for studio, landscape, and still-life photographers who demanded critical resolution.
Another standout feature was its TTL pre-flash metering system, a rare capability that allowed users to evaluate flash exposure with virtually any flash—ranging from small TTL strobes to large studio packs—not just proprietary dedicated units. This was a revolutionary level of flexibility in the early ’90s.
Like the Nikon F-series and Canon EOS-1 bodies, the RTS III offered 100% viewfinder coverage, a professional-grade feature typically reserved for only the most elite SLRs. Most other 35mm cameras of the time only provided 90–97% coverage, which could lead to unwanted elements creeping into the edges of a final frame.
Exposure modes included aperture priority AE, shutter priority AE, and full manual control, with both center-weighted and spot metering available. The RTS III also featured TTL flash metering with Contax TLA-series flashes, second curtain sync, auto bracketing, AE lock, and exposure compensation.
The electronically controlled shutter was highly capable, offering speeds from 32 seconds to 1/8000 sec (4 sec to 1/8000 in manual mode), plus Bulb, and an X-sync speed of 1/250 sec—very fast for its time. Continuous shooting was handled by a built-in motor drive capable of up to 5 frames per second, making it surprisingly fast for a camera without autofocus.
Other high-end features included:
- Built-in data imprinting system (between frames)
- Mirror lock-up, interchangeable focusing screens
- Diopter correction, eyepiece shutter, depth-of-field preview, and multiple exposure mode
- DX film coding with override
- Die-cast aluminum chassis with magnesium top plate and titanium base plate
All of this was paired with access to the exceptional Carl Zeiss T* lens lineup for the Contax/Yashica mount, widely considered among the sharpest and most beautifully rendering lenses available for 35mm film.
The RTS III wasn’t for everyone—and perhaps that was the point. It was a camera made for the patient and experienced photographer: someone who valued craftsmanship over convenience, and precision over automation. In an era increasingly dominated by autofocus and program modes, the RTS III stood apart as a deliberate and confident throwback to a more mechanical, tactile style of photography.
Its lack of autofocus may have pushed many users toward Canon and Nikon systems, which were rapidly advancing autofocus speed and accuracy. Later, Contax attempted to bridge the gap with the Contax AX, which introduced a unique body-integrated autofocus system that could move the film plane rather than the lens. Though clever, it couldn’t fully stem the tide.
Today, the Contax RTS III is revered as one of the last great manual-focus 35mm SLRs—an icon of precision engineering and optical excellence. For those willing to forgo autofocus, it remains a deeply satisfying photographic instrument with a build quality and feature set that few cameras have matched since.
