a blog by Matthew Duclos
Thypoch has announced the Simera-C 100mm T1.9, a new telephoto prime that completes the Simera-C lineup at seven focal lengths. Available in Leica M mount and Sony E mount, the 100mm extends the series from the ultra-wide 16mm all the way to a dedicated close-up lens, giving the set a true telephoto option for the first time. The new 100mm is available now.
Continue reading “Thypoch Introduces Simera-C 100mm T1.9 Cine Lens”
Cooke has announced the S4 FF/i series, a set of six full-frame prime lenses that brings the S4 name back in a new format. The set covers 18mm to 100mm at a constant T2.0, in PL or LPL mount, and is built around a 43.3mm image circle for full-frame cameras such as the ARRI Alexa LF, Sony VENICE, and RED V-Raptor VV. Each lens is priced at $15,000.
Continue reading “Cooke Introduces S4 FF/i Full-Frame Primes”
Leitz Cine has introduced the iD Mount, a replacement mount that adds Cooke /i metadata support to existing Summilux-C and Hugo lenses. Available in PL for Summilux-C and LPL for Hugo, it houses the electronics entirely within the mount, allowing these mechanical lenses to communicate their identity and optical data to compatible cameras without internal modification.
Continue reading “Leitz Cine Introduces iD Mount for Hugo and Summilux-C Lenses”
After finding success with the super fast Arles primes DZOFilm is back with a duet performance. Introducing the brand new 25-75mm & 65-180mm T2.6 Arles Zooms. First shown earlier this year, they are now available for pre-order. Built to slot in with the Arles ecosystem, they bring versatility and value for current and potential owner operators. The question is: will their lack of speed mean they will get left behind?
Continue reading “The DZOFilm Arles Zooms Preorders Open!”
SIGMA has been making cinema lenses for years, but the Aizu Prime Line represents a continued refinement of that experience. Introduced in 2025, the Aizu were designed not as tools, but as a commitment to filmmakers who seek beauty in imagery. They combine SIGMA’s renowned resolving power with delicate character and an image that feels at home in artistic, narrative filmmaking.
The result is a modern cinema lens set that prioritizes both performance and personality. If you were apprehensive about the sharpness in the previous cinema line, it’s still there, but massaged in with extra bits of loveliness that paint the image instead of capturing it. A sight to behold. Now, SIGMA is expanding the family with three new focal lengths: 21mm, 100mm, and 125mm.
Continue reading “SIGMA releases 3 new AIZU primes!”
Laowa has never been particularly interested in making the same lenses as everyone else. While most manufacturers compete over increasingly familiar variations of fast primes, standard zooms, and conventional macro lenses, Laowa tends to wander into the strange, neglected corners of optical design. This is the company that gave us the unusually long 24mm Probe Lens, followed it with a Periprobe that can effectively look around corners, and built an entire reputation around lenses that most companies would never consider commercially viable. So grab a cup of coffee, settle in, and enjoy this deep dive into what makes the Aksen series so unique.
Continue reading “Laowa Introduces the Aksen High-Magnification Macro Zooms”
Cooke Optics has announced native Nikon Z mount support for its SP3 spherical primes and AP3 anamorphic primes, further expanding the company’s mirrorless lens ecosystem.
Continue reading “Cooke Adds Z Mount to SP3 Primes”
P+S Technik has introduced the Hexamo Mount, a mounting system that makes Leitz Hektor prime lenses compatible with Arri Alexa cameras. The system consists of a replacement camera mount and a dedicated rear conversion for each Hektor lens, allowing the lenses to achieve the required flange depth for use on the Alexa platform.
Continue reading “P+S Technik Introduces Hexamo Mount for Leitz Hektor Lenses on Arri Alexa”
Fujifilm has announced the Fujinon GF 19-35mm T3.5 PZ OIS WR, complete with the alphabet soup of acronyms we’ve come to expect from modern photo lens naming conventions. Beneath the lengthy name, however, is the second native Power Zoom lens for Fujifilm’s growing GFX cinema ecosystem and an important companion to the existing GF 32-90mm. While the new lens is a welcome addition to Fujifilm’s expanding cinema lineup, it also represents something more significant. It reinforces the company’s commitment to building a complete large-format cinema platform around the GFX Eterna 55, even if questions remain about how widely that platform will ultimately be adopted.
Continue reading “Fujifilm Announces Fujinon GF 19-35mm T3.5 PZ OIS WR”
Kipon has announced its new PL Variable ND adapter, available in Sony E and Nikon Z mount versions. Designed for owner/operators looking to pair compact mirrorless cameras with professional PL mount cinema lenses, the adapter integrates a continuously variable neutral density system directly into the mount, offering a streamlined alternative to front-mounted filters and other external filtration solutions.
Continue reading “Kipon Announces Vari-ND PL Mount Adapter”
DZOFILM continues to expand its ecosystem of cinema tools with the introduction of two new accessories designed to improve flexibility across modern camera systems: the Marlin 1.4x Expander and the second-generation Octopus II PL-to-mirrorless adapter.
Built for filmmakers working across multiple formats and mounts, both accessories aim to simplify workflows while extending the life and versatility of your existing cinema lenses.
Continue reading “DZO Releases new Octopus Adapter and Marlin 1.4x Extender for PL Lenses”
Laowa is making a surprisingly aggressive move into the broadcast and live-production market with its new Ultima Zoom Series, a lineup of long-range parfocal cinema zooms built for sports, wildlife, and live-event production. Rather than chasing the crowded compact cine zoom market, Laowa appears to be leaning hard into extreme zoom ranges and operational flexibility instead.
Continue reading “Laowa Refocuses on Long-Range Cine Broadcast Zooms”
Zeiss has officially introduced the new Horizon Anamorphic lenses, a full-frame 2x anamorphic lens system that represents one of the company’s most ambitious cinema lens releases in years. While the anamorphic market has spent much of the past decade revisiting vintage imperfections and aggressively stylized optical character, Horizon appears focused on something different: intelligent integration, workflow efficiency, and adaptable imaging systems built for the realities of modern production.
Continue reading “Zeiss Introduces Horizon Anamorphic – Intelligent Anamorphics”
Zeiss has introduced Panoptes 65, a new family of cinema prime lenses designed specifically for 65mm format digital cinematography. The set launches with ten focal lengths ranging from 25mm to 180mm, all at T2.2, with a 59.9mm image circle intended to cover cameras such as the ARRI Alexa 265, Blackmagic Design URSA Cine 17K 65, and Fujifilm GFX ETERNA 55.
Continue reading “ZEISS Introduces Panoptes 65 – Large Format Primes”
Thypoch has announced the Simera-C 16mm T1.9, a new full-frame ultra-wide cinema prime that expands the company’s compact Simera-C lineup to six focal lengths: 16mm, 21mm, 28mm, 35mm, 50mm, and 75mm.
Continue reading “Thypoch Adds 16mm T1.9 to Simera-C Line”