ANAMORPHIC Anamorphic lenses or anamorphic lenses are those that began to be used in the 1950s in cinema in order to obtain a more panoramic image. When we speak of a more panoramic image, we refer to an image that has a greater angle of vision laterally. Anamorphic lenses are lenses that act in a very specific way to give that cinematic look. What they do is they horizontally compress the image, so it's much more square than it will be later, and then it uncompresses on edit (stretches horizontally). In this way, a much more stretched image is achieved than the one that would be obtained with spherical lenses. See lenses SPHERICAL Spherical lenses are a type of lens whose curvature is not part of a sphere, thus eliminating spherical aberrations from the lenses. The purpose of a spherical lens is to simplify the construction of an objective. Aspherical lenses are very useful on very bright lenses, wide angle lenses and high quality compact zoom lenses. A single spherical lens can replace multiple spherical lenses, which in turn leads to simplified lens design. See lenses

Canon introduces the first lens macro zoom lens in the world for 35mm cameras Focal distance 25-120 Return

Canon introduces the first lens macro zoom lens in the world for 35mm cameras Focal distance 25-120 Return

Zoom Angenieux 50-500 Return

Telephoto Century Return

GL Optics Leica R Return

Cooke S2 set Return

Set Cooke Panchro S2 The cream of the cream Regarding old optics, they are the Cooke Speed Panchro, a generic nomenclature that serves to accommodate both the series made up of Cooke S2 optics (with designs from the 1930s) and Cooke S3 (designs from the 1950s). And it is that many surviving games contain optics of both series, since of the S3 series only an 18mm and a 25mm were manufactured, so that all the focal lengths except these must be completed with the S2 series. Originally, the sets came with an Arri Standard mount, but the best way to use them today is using series rebuilt by Century Optics or Van Diemen, with PL mounts and mechanisms (focus rings and diaphragm) similar to those of modern optics. The images produced by these series can vary greatly depending on the different focal points that make them up, but in general one can expect enormous softness, warm colors and many spectacular sparkles, bearing in mind that there may be notable differences within a same game in terms of tonal reproduction, sharpness, resolution and contrast that affect the consistency of the images of a project. Of course, their aberrations and "flaws" are magnified at maximum aperture, where they can offer an image of distortions reminiscent of anamorphic. So for any project that needs high consistency or great image quality –a priori– they don't seem like the most suitable games; On the other hand, if you are looking for an organic, vintage or old-fashioned image, or even favor actors/actresses with lenses that offer a very natural diffusion or softness, the Speed Panchro is a more extreme version of the subsequent Cooke creations and could turn out wonderful. Movies shot with Cooke Speed Panchros Marie Antoinette (Marie Antoinette, dir. Sofia Coppola, DF. Lance Acord) An Education (Life Teaching, dir. Lone Scherfig, DF. John de Borman) Spartacus (Spartacus, dir. Stanley Kubrick, DF. Russel Metty) A Clockwork Orange (A Clockwork Orange, dir. S. Kubrick, DF. John Alcott) Midnight in Paris (Midnight in Paris, dir. Woody Allen, DF. Darius Khondji) 12 Monkeys (12 Monkeys, dir. Terry Gilliam, DF. Roger Pratt). Return

GL Optics Leica R Super Speed Base Lens: Leica R 19mm T2.8, 28mm T2.8, 35mm T1.4, 50mm T1.4, 80mm T1.4, 135mm T2.8 Extended 330 degree focus rotation accept 19mm Stainless steel PL mount All lenses cover 8K sensor Full frame, VV 95mm diameter of front Lens ring 77mm inner threading 6063 aluminum rehoused Lens body Re-designed Lens focus/aperture system 0.8module Gears Return

apogee Lens Design: Prime Optical format: spherical Image circle: FF Mounting: PL Diameter (ø): 95 Maximum aperture: F2.0 canon mount adapter included APOGEE 28 Focal Length: 28mm Aperture – F/2.0 Light transmission (45mm image diagonal) – T / 2.3 Closest Focus Distance: 0.15m / 0.5ft Elements / Groups – 12/7 Distortion – 14% (s35mm – 7%) Weight: 1.3kg APOGEE 38 Focal Length: 38mm Aperture – F/2.0 Light transmission (45mm image diagonal) – T / 2.3 Closest Focus Distance: 0.15m / 0.5ft Elements / Groups – 10/6 Distortion – 5% Weight – 1.0kg APOGEE 58 Focal Length: 58mm Aperture – F/2.0 Light transmission (45mm image diagonal) – T/2.2 Closest Focus Distance: 0.45m / 1.5ft Elements / Groups – 6/4 Distortion – N/A Weight: 0.75kg APOGEE 88 Focal Length: 88mm Aperture – F/2.0 Light transmission (45mm image diagonal) – T / 2.3 Closest Focus Distance: 0.65m / 2.1ft Elements / Groups – 11/7 Distortion – -4% Weight – 1.0kg APOGEE 38 mm Longitud focal: 38 mm Apertura – F / 2.0 Transmisión de luz (diagonal de imagen de 45 mm) – T / 2,3 Distancia mínima de enfoque: 0,15 m / 0,5 pies Elementos / Grupos – 10/6 Distorsión – 5% Peso – 1.0kg APOGEE 58 mm Longitud focal: 58 mm Apertura – F / 2.0 Transmisión de luz (diagonal de imagen de 45 mm) – T / 2.2 Distancia mínima de enfoque: 0,45 m / 1,5 pies Elementos / Grupos – 6/4 Distorsión – N / A Peso: 0,75 kg APOGEE 88 mm Longitud focal: 88 mm Apertura – F / 2.0 Transmisión de luz (diagonal de imagen de 45 mm) – T / 2,3 Distancia mínima de enfoque: 0,65 m / 2,1 pies Elementos / Grupos – 11/7 Distorsión – -4% Peso – 1.0kg Return

Canon introduces the first lens macro zoom lens in the world for 35mm cameras Focal distance 25-120 Opening T2.8-22 Weight | kg 5 minimum focus 30cm Size 25cm Diameter 114mm Return

Telephoto Century Return