a blog by Matthew Duclos
True Lens Services has announced a new rehousing of the vintage Angénieux 45–90mm, translating a late-1960s optical design into a mechanically modern cinema tool.
Continue reading “Rehousing a Classic: TLS Modernizes the Angenieux 45–90mm”
The legend of the Angenieux 12x zoom is one that most cinematographers know by heart. Since the original 24-290mm T2.8 first landed on sets, it has been the gold standard for long-range cinema zooms. With the introduction of the Optimo Ultra 12x 65, Angenieux is expanding that legacy to the medium format market in more than one sense of the word with a truly impressive bit of optical engineering that packs a massive punch.
Continue reading “Angenieux Expands Line with Optimo Ultra 12x 65”
DZOFilm’s new Arcana series enters an increasingly crowded anamorphic market with a familiar promise: deliver cinematic character without the traditional tradeoffs. Compact, lightweight, and relatively affordable, Arcana positions itself as a practical alternative to larger, more demanding anamorphic systems. The real question is not what it claims to do, but how much of the anamorphic experience it actually preserves in the process.
Continue reading “DZOFilm Introduces Arcana Primes – A Hybrid Approach to Anamorphic”
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.
Continue reading “Thorium-Induced Yellowing in Mid-Century Lenses – Cause, Effect, and Solutions”
At Duclos Lenses, we have always had an eye for glass that goes beyond the look. There’s always more than meets the eyes when it comes to optics and we have an eye for spotting potential. Some might say we are optics experts. Canon’s newly announced CINE SERVO 11-55mm T2.95-3.95 PL and RF is reminiscent of a broadcast lens, but this servo is ready to rock cinema. With wide coverage, great resolving power, and suite of professional luxuries, this lens opens the door for creatives who need versatility with little compromise.
Continue reading “Canon CINE SERVO 11-55mm T2.95 – Built for Broadcast, Ready for Cinema”
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.
Continue reading “Sigma Launches AF Cine 28-45mm T2 FF Zoom”
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.
Continue reading “DZOFilm Vespid II Review: Speed, Metadata, and a Bold New Lineup”
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.
Continue reading “Leitz Expands Hugo Line: Adds 40mm T1.5”
It’s late in the afternoon and I am sitting at my desk casually culling images for upcoming posts when I suddenly get called out to the service room. I walk in to see Michelle and Paul Duclos standing around a plastic bag on the desk with strange looks on their faces and pointing at me to open it. As I pull the plastic off, I come to realize what has them taken aback. A sad sight. Placed in the bag was a Canon K35 zoom that was completely caked with mushy deteriorated foam the same texture and stickiness of a toasted marshmallow.
My first thought: This is going to make a great story. The second: I need gloves.
Continue reading “A Sticky Situation: How to Properly Store Cinema Lenses”
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?
Continue reading “Canon VCM L Lenses for Filmmaking: A Complete Review for Hybrid Video Creators”
After a five-year hiatus and a slew of rumors suggesting that ZEISS was bowing out of the still photography market, they’re back with a bang. Enter the Zeiss Otus ML line—a reimagining of the beloved Otus family that promises to shake up the mirrorless camera world. Today they are unveiling two focal lengths: 50mm f/1.4 and 85mm f/1.4.
The Otus ML lenses are intended to push optics in this new generation of mirrorless cameras. The original Otus primes to this day remain at the pinnacle of optics so the question is: Can the new iterations compare? Buckle up, this is going to be a long one.
Continue reading “ZEISS Otus ML: The Return of Legends, Now for the Mirrorless Generation”
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?
Continue reading “The Bun-G-Ring: A New Way to Mount Filters?”
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
Continue reading “The Thypoch Simera-C: Now In M-Mount”
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.
Continue reading “The Sirui 40mm T1.8 1.33x is Anamorphic AF”
2024 is coming to a close, the holidays are around the corner and Laowa is the lens manufacturer that just keeps giving. Just in time for gift giving season the Laowa Nanomorph 60mm Macro Anamorphic is a perfect stocking-stuffer for the special Lens Geek in your life.
The Nanormorph 60mm fits in so well with the rest of the line up and truly makes me wonder why it took so long for a macro addition like this to be added. Let’s dive in and get a close up look.