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.
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In a market full of PL-adapters why not add one more. And actually, NiSi might have a good reason to do just that. Introducing the NiSi ATHENA Drop-In Filter Adapter, a PL-to-mirrorless mount adapter that brings behind-the-lens filtration to the Athena prime user base. No more rear-clearance anxiety and for that reason alone, it might just be worth the investment.
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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.
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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.
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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.
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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.
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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.
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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.
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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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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”