a blog by Matthew Duclos
Cooke Optics announced on October 29, 2026 that David Hancock has stepped down as chief executive officer and that Rob Haycock has been appointed to succeed him. Hancock will remain on the board of directors as a non-executive director. I think that is good news for Cooke, and I will explain why below.
Continue reading “Cooke Optics Appoints Rob Haycock as Chief Executive Officer”
The headline, to me, is not just a new lens set. It is that TRIBE7 and IB/E Optics have finally put their partnership in public, and with it comes a new prime series built for a larger canvas: the K70 primes. The set is aimed squarely at 65mm capture, including Sony’s RIALTO 65, whose sensor diagonal measures 64.60mm. Five of the six K70 focal lengths cover more than 66mm, giving the set headroom beyond that sensor rather than just barely clearing it.
Continue reading “TRIBE7 Introduces K70 Primes for 65mm Capture”
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!”
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”
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”
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”
TLS has introduced their new Helix65 75mm T3.8 Macro 1:1, a dedicated large-format macro cinema lens designed to integrate with the company’s Vega65 prime series while offering true 1:1 reproduction and a compact mechanical design.
Continue reading “TLS Introduces Helix65 – a 75mm 1:1 Macro Prime”
Cooke Optics has officially announced the new AP3 anamorphic prime lenses, bringing the company’s anamorphic design philosophy into a significantly more compact and accessible format aimed squarely at modern mirrorless cinema workflows. Built around a lightweight interchangeable mount platform and clearly inspired by the success of the SP3 spherical primes, the AP3 series marks an important expansion for Cooke as the company continues moving beyond exclusively ultra-premium cinema optics.
Continue reading “Cooke Launches AP3 Anamorphic Primes”