Thorium-Induced Yellowing in Mid-Century Lenses – Cause, Effect, and Solutions

Thorium-Induced Yellowing in Mid-Century Lenses – Cause, Effect, and Solutions

Vintage camera lenses from the mid-20th century often develop a yellow or brown tint as they age. This “yellowing” results in a warm color cast and reduced light transmission, impacting image quality. At Duclos Lenses, our technicians frequently encounter this issue in classic optics across a wide variety of lens brands. This article endeavors to explain the technical causes of lens yellowing and outlines the process of de-yellowing – the restoration of clear glass – using ultraviolet (UV) light. We will delve into the physics behind the discoloration, the UV treatment procedure (sometimes called annealing or bleaching), as well as the associated effects, risks, and benefits. The intended audience is lens technicians and engineers, so we will prioritize scientifically grounded knowledge over speculative or anecdotal information.

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Sigma Launches AF Cine 28-45mm T2 FF Zoom

Sigma Launches AF Cine 28-45mm T2 FF Zoom

Sigma has officially pulled the curtain back on the 28-45mm T2 FF, the first release in its brand-new AF Cine Line. Launching November 6, 2025, this lens is more than just another short zoom; it’s Sigma’s declaration that autofocus has a place in professional cinema production. Available in L-Mount and Sony E, the 28-45mm arrives with cine-style mechanics, the optical pedigree of Sigma’s Art series, and a high-response linear actuator for fast, near-silent autofocus. For Sigma, this is both a technical showcase and a philosophical challenge to decades of manual-only cinema tradition.

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DZOFilm Vespid II Review: Speed, Metadata, and a Bold New Lineup

DZOFilm Vespid II Review: Speed, Metadata, and a Bold New Lineup

The Vespid II primes arrive with more than just a fresh coat of paint. DZOFilm has taken the core appeal of the original Vespid series and supercharged it with faster apertures, metadata support, and a refined lineup built for modern filmmaking. These lenses are not simply a sequel, they are a bold statement that DZOFilm is listening to creators and pushing their designs into territory once reserved for higher end cinema glass.

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Leitz Expands Hugo Line: Adds 40mm T1.5

Leitz Expands Hugo Line: Adds 40mm T1.5

Leitz Cine quietly expanded its HUGO series this week with the announcement of a brand new 40mm T1.5 lens. Revealed on August 25, the addition rounds the set out to a total of 14 focal lengths spanning 18mm through 135mm.

The HUGO series quickly grabbed attention among cinematographers for the pleasing rendering they impart on the image and as more robust build than the M 0.8 primes that they replaced. Much of the glass in the series comes from Leica M rangefinder optics, known for their signature character and natural falloff toward the edges. While Leica does not currently make a 40mm in their M line, this lens was developed with support from Leica Camera designers to ensure it matched the spirit of the series.

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NiSi Raises the Bar with New T1.4 Aureus Primes

NiSi Raises the Bar with New T1.4 Aureus Primes

NiSi is set to expand its footprint in the cinema lens market with the introduction of the new Aureus Prime series—full-frame, T1.4 cinema lenses designed for uncompromising image quality and professional workflows. The new line builds on the momentum of the Athena Primes, which launched in 2023 with focal lengths from 14mm to 85mm and later grew to include 18mm, 40mm, and 135mm options. That series quickly established NiSi as a serious player among filmmakers seeking sharp, consistent optics and solid mechanical design at a competitive price point.

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Canon VCM L Lenses for Filmmaking: A Complete Review for Hybrid Video Creators

Canon VCM L Lenses for Filmmaking: A Complete Review for Hybrid Video Creators

Canon has long been a trusted name in both photography and cinematography, but it’s been a while since we’ve highlighted any new releases from the brand. The last time we dove into their products, it was nearly two years ago, with the CN-E Flex Zoom lenses. Since then, Canon has been relatively quiet, especially as other brands have adapted to the mirrorless market. However, Canon recently launched the VCM L hybrid lenses, a series designed with promising features that could be particularly useful for video creators. The question is, how do they hold up for filmmaking, and more importantly, can they be Cine-Modded?

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The Bun-G-Ring: A New Way to Mount Filters?

The Bun-G-Ring: A New Way to Mount Filters?

In the fast-paced world of filmmaking, particularly on tight and chaotic sets, every second counts. That’s why the introduction of the Bun-G-Ring, a new filter-mounting system, could offer some relief—at least for those frustrated with the time-consuming task of taping filters in place. While not exactly a revolutionary new category of equipment, the Bun-G-Ring promises a more secure, faster, and reusable solution for mounting filters to your lens—no tape required. The question is, does the industry really need yet another filter system, or does the Bun-G-Ring offer something uniquely useful, particularly for documentary filmmakers?

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The Thypoch Simera-C: Now In M-Mount

The Thypoch Simera-C: Now In M-Mount

Rarely does a lens series come along that stays in my mind for long. When a new cine lens entry hits the market, and there have been many this year, I’m always excited. A spark of excitement and that deep “Lens Geek” obsession sets in. I don’t want anyone to think I’m not interested in the other releases this year, but as time passes, one set in particular has managed to live rent free in my head. Enter the Thypoch Simera-C primes.

Released in October in E-mount variants, these primes made a surprising splash, and now with the release of M-mount versions, their impact is set to grow even more. We’ve already covered the Simera-C on our social media and posted an article about the newly released 21mm T1.5 earlier this month. But this M-mount release presents the perfect opportunity to revisit them — and maybe ease their hold on my mind

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Laowa Introduces 1.5x Full Frame Anamorphic Primes

Laowa Introduces 1.5x Full Frame Anamorphic Primes

Laowa has unveiled its Nanomorph 1.5x LF Anamorphic series, designed to cater to filmmakers seeking full-frame anamorphic lenses at a competitive price point. Promising professional-grade optical performance, the Nanomorph LF lineup introduces compact, lightweight lenses with a consistent 1.5x squeeze ratio and customizable flare options. Here’s a detailed look at what these lenses bring to the table.

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The Sirui 40mm T1.8 1.33x is Anamorphic AF

The Sirui 40mm T1.8 1.33x is Anamorphic AF

Over the past year, a fresh batch of exciting lenses has emerged, adding new flavors to the ever-evolving lens industry. While these releases have certainly stirred the pot, as the saying goes, the technique you use can make all the difference in the final dish. Now, Sirui enters the scene with their bold campaign for the 40mm T1.8 1.33x AF Anamorphic Prime, leaving us to wonder: Will this new ingredient enhance the overall recipe, or will it be a flavor that fades into the background?

Don’t worry there are no more references to food going forward.

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Schneider Introduces Classic ND Filters: A Modern Solution

Schneider Introduces Classic ND Filters: A Modern Solution

Schneider has launched the Classic ND filter line, built to address some key needs in today’s digital cinema landscape. Available in the widely-used 4×5.650” size, the Classic ND filters are made with high-grade, multi-coated water white precision optical glass. Schneider claims this new lineup offers accurate color rendering across densities, effective IR pollution control, and a durable anti-reflection coating.

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TLS Brings Premium Leica R Rehousing Home

TLS Brings Premium Leica R Rehousing Home

The ever-popular Leica R primes have been modified and rehoused by many companies for several years but none so elegantly as Leicester, UK-based outfit, TLS. While a Leica R re-housing by TLS has been available for quite some time, this is the first time that TLS is offering a solution direct to customers without a middle-man. But what makes the Leica R lenses and the TLS housing such a great pairing? Let’s explore!

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Is the SIGMA 28-45mm Concept the Future of Cinema Lenses?

Is the SIGMA 28-45mm Concept the Future of Cinema Lenses?

Sigma’s 28-45mm T2 autofocus cine lens raises important questions about the future of cinema lenses, particularly in a world where traditional, manual-control zoom lenses have been the gold standard for decades. The introduction of autofocus in cinema lenses challenges a long-held belief: that manual control by a skilled focus puller is irreplaceable, especially in high-end narrative filmmaking.

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Cooke Adds 21mm T1.4 to S8/i Line

Cooke Adds 21mm T1.4 to S8/i Line

Cooke Optics has just expanded their acclaimed S8/i Full Frame (FF) lens range with the addition of the highly anticipated 21mm T1.4. This new focal length extends the versatility of the S8/i line, enabling cinematographers to capture stunning wide-angle shots while maintaining the signature look that Cooke is known for.

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