Nikon has been around for over 100 years designing and building professional optics for photography, microscopes, binoculars, rifle scopes, and many other applications. For some reason their presence in the world of cinema optics has been very limited. It’s been decades since their C-Mount Cine-Nikkor super-16 lenses were being built (note: Nikkor is the name Nikon uses for almost all their photographic lenses, and Cine-Nikkor is the name used for their motion picture lenses). Over the years, some Nikon lenses originally made for still photography have made their way into cinema. Continue reading Noct Your Average 58mm Prime
A popular topic of discussion these days is whether or not certain lenses are worth their huge price tags. Moreover is there a justified correlation between a lens’ price and how “good” it is. It’s an apt time to continue this conversation since there are more lenses to choose from than ever. Also, there are some seriously high-performing cine lenses at price points that are within reach of so many filmmakers. The number of “affordable,” full frame, super speed, cinema lenses alone is incredible (Canon CN-E, Sigma Cine, Tokina Vista, Zeiss CP.2, Rokinon XEEN). It’s an exciting time to be a DP. It can also be an overwhelming time to be a DP especially if you are an aspiring cinematographer who is just scratching the surface of all the lens options out there. Continue reading How do we decide the value of a lens?
For many years now I have used 1.4x and 2x extenders with my still lenses for both photography and video, and I am familiar with their advantages as well as their shortcomings. Since PL mount lenses have really become my gear of choice lately, I was in the market for a good PL mount 2x extender. I am now the happy owner of the Duclos 2x Extender and I wanted to take a minute to share my first impressions of it. Continue reading Field Test – Duclos 2x Extender