a blog by Matthew Duclos
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.
Continue reading “NiSi Releases A Drop-in Filter Adapter”
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”
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”
DZOFILM continues to expand its ecosystem of cinema tools with the introduction of two new accessories designed to improve flexibility across modern camera systems: the Marlin 1.4x Expander and the second-generation Octopus II PL-to-mirrorless adapter.
Built for filmmakers working across multiple formats and mounts, both accessories aim to simplify workflows while extending the life and versatility of your existing cinema lenses.
Continue reading “DZO Releases new Octopus Adapter and Marlin 1.4x Extender for PL Lenses”
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”
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.
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The Obscura37 brings the oldest form of imaging to modern cinema cameras by integrating a laser-etched pinhole into a rugged PL mount body cap. While it offers a unique, infinite depth-of-field aesthetic, its utility in a professional environment is defined by its extreme simplicity and high light requirements.
Continue reading “Tribe7 Launches Obscura37 – A Pinhole Lens!”
Leitz Cine has introduced a Fujifilm G mount option for its Hektor prime lenses, opening the door to compatibility with Fujifilm’s GFX platform, including cameras like the Fujifilm GFX100 II and the Fujifilm GFX Eterna 55.
Continue reading “Leitz Cine Adds Fujifilm G Mount Option for Hektor Primes”
There’s a fine line between innovation and indulgence in the world of cinema optics. Every so often, a new “look” emerges – not from the meticulous engineering of glass and coatings, but from the collective mood of an industry chasing something intangible. Character. Texture. Imperfection. Or, as it’s now being called – vibe. This year, Duclos Lenses leans into that ambiguity with the introduction of a groundbreaking new product.
Continue reading “Duclos Lenses Develops New Synthetic Coating Technology”
Zeiss has announced the new Aatma Primes, a nine-lens full frame T1.5 cinema set that places the company squarely back into the conversation around vintage inspired optics. Covering focal lengths from 18mm through 135mm, Aatma is positioned as a more character forward option within Zeiss’ modern cinema lineup while retaining contemporary mechanics and workflow compatibility. In a market already dense with lenses aimed at nostalgia, Aatma presents an important consideration. Is this a meaningful refinement of Zeiss’ recent direction, or simply another option competing for attention?
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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”
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 is no stranger to high-speed glass. Their original Arles T1.4 primes offered a technically sharp, mechanically sound set of modern cine lenses that made few artistic claims but plenty of practical ones. Now, with the announcement of the Arles Lustre series, DZO takes a different tack—aiming straight for the hearts (and eyes) of cinematographers chasing mood, texture, and a brushstroke of nostalgia.
Continue reading “Impressionist Cinema: DZO Announces the Arles Lustre Primes”