BLACKWING7 lenses are one of the only modern lens option in years that offers real character and an original POV on glass. Designed by Neil Fathom and IBE Optics in collaboration with Bradford Young ASC, and drawing inspiration from 1950s and 1960s lenses, the lenses are offered in three tunings, S (for Straight), T (for Transient) and X (for Expressive). The SKIN effect is a warm amber hue, with gold and intense ruby red ghost flare characteristics, much warmer than the original coatings. With an excellent balance of performance (T1.9) and personality, all lenses cover Full frame and well beyond. This is a 7 lenses set which offers the 20.7mm Binary.
Leica R primes are famous for their quality and character. Definitely flattering on your subject , these lenses are considered the ultimate beauty photography machines. Leica Rs offer smooth bokeh, warm colors, beautiful flares and unmatched dimensionality. It is no secret that Panavision use a lot of Leica glass in their lenses. Dan Sasaki, the optical genius at Panavision even left Pana for a time and went on to design lenses from Leica sources when Dalsa had ambitions to rival Panavision. My set of 8 lenses has been completely rehoused by TLS in collaboration with Cinescope UK, and for those who know, most of the set is Leitz Canada based. Absolutely magnificent. Full Frame.
These are unique, vintage Kowa Full Frame lenses, beautifully rehoused by TLS. Not to be confused with Kowa Cine Prominar primes, these are Full Frame still photo lenses from the 1960s-1970s made for Kowa leaf shutter SLR cameras.
TLS replaced the original irises with matte finished 16-blade irises, and they greatly improved close focus on every focal length. And of course, they now have the quality and reliability of TLS housings, which feature 110mm fronts, uniform position of focus and iris gears, 330 degree focus throw with zero image shift, and zero backlash.
Amazing wide open, sharp but not clinical, low contrast, some barrel distortion on the wider lenses, beautiful pronounced flares, and soft pleasing bokeh. These lenses really shine on full frame cameras.
The work of Stephen Gelb from Lenswork Rental. Stephen managed to rehouse these Canon Rangefinders before pretty much anyone else could and produced a super limited batch of sets that he called the Type SK. Full Frame, 1960s hand picked Canon Serenar and LTMs in Modern Cinema Housings with a truly unique to SKs 25mm 1.6. This is a rare 8 lenses set with a unique 60mm as well. The Vintage coatings on these lenses provide low-con images with golden flares. Absolute gems giving you a depth, bokeh and fall off that’s impossible to replicate nowadays. The housings have 330 degree focus rotation, PL Mounts and matching gear positions. One of the best vintage pairing for the Sony Venice, and if you don’t believe it, check out the work Max Goldman has been putting out on these.
“Rokkor” refers to Mt. Rokko which could be seen from the Minolta factory in Japan. In the late 60’s and all through the 70’s, Minolta made some of the best glass in the world under the Rokkor label. Unlike most other manufacturers, Minolta had the capability of producing its own glass elements and coatings. Their reputation for innovation and quality was already firmly in place. The Rokkor line of lenses was one of the most complete sets on the market and we have chosen only the best versions for rehousing. This initial offering consists of 11 focal lengths from 21mm to 200mm. The rehousing is a highly customized GL MK V. Gorgeous Flares, a softness similar to FDs, definitely a new top game player.
Building on the popularity of the Leitz M 0.8 series, the Leitz HUGO lenses use the same Leica M optics, but feature a completely new housing design and build quality to match existing Leitz cinematography lenses. The Hugo 7-Lens Set includes a 21, 24, 28, 35, 50, 75, and 90mm T1.5. in a native LPL mount. Featuring a traditional cine orientation of focus and iris scales, expanded focus scales with a 270° rotation, and greatly increased close focus ability. They remain incredibly compact and lightweight starting at 1.78 lbs / .81 kg, and between 2.7 - 4.4” (68 - 112 mm) in length.
This set is based on the legendary Canon 50mm 0.95 Rangefinder lens. Released in 1961, it was a technical marvel that was unrivaled in speed for nearly fifty years. This icon is famous for its warm images, expressive flares and razor-thin depth-of-field, but it also exists within a family of striking 1960’s rangefinder lenses that share many of those same qualities. The entire set has single-layer amber coatings that lend a golden honey-hued tint and a unique bokeh and fall off to each frame, thus setting these lenses apart from the multi-coated FD’s and K35’s of the 1970’s, and from everything else from any era as a matter of fact. Currently offering TLS LPL Mount for optimal coverage in the following focal lengths : 19mm 25mm, 35mm, 40mm, 50mm, 58mm, 85mm & 100mm focal lengths.
FDs are not a well known secret anymore, the better versions have sky rocketed in prices and some lenses are now harder to source than truffles. It would be hard to distinguish an Aspherical FD from it’s K35 sibling. The set consists of the rare and sought after first Aspherical versions of the 24mm, 55mm and 85mm, with other SSC and SC lenses and some other lenses such as the beautiful Yashinon 45mm 1.5. It has been custom rehoused with all irises now 16 blades. 9 lenses in total that covers Full Frame from 14mm to 135mm. Beautiful, warm, prone to gorgeous flares and creamy skintones and an organic and painterly fall off.
This 2nd FD set has also been hand picked with lenses hunted for in Japan, it is also custom rehoused with all irises now 16 blades. The set also consists of some of the rare and sought after aspherical versions of the 24mm, 55mm and 85mm, offering 5 lenses in total that covers Full Frame from 20mm to 85mm. A great commercial oriented set. The 20mm is an original and unique offer, a Customized Canon Sumire, T1.5 matched to the other focal lengths. This set will be the base of a new expanded set I am building that will offer a consistant T1.5 through 9 focal lengths. Beautiful, warm, prone to gorgeous flares and creamy skintones and an organic and painterly fall off.
Well, it’s hard to write up anything more on Cooke Panchros. Those who’ve adopted them rarely stray away for long. Painterly smooth, these are the lenses that defined the famous Cooke Look. Flattering and warm, they render faces and skin like nothing else. Purchased from a Czech lens guru, they come in with a pedigree. Hand picked, matched, just absolutely beautiful. TLS rehoused with improved minimum focus. S35, Full Frame from 32/40mm up. A 100mm deep field Panchro is on the way too.
1970s, 1980s Russian cinema lenses, designed to cover the Super 35mm format. These were the highest performing lenses being made in the USSR, and their performance is still impressive today. Wide open they are low-contrast, flattering, they offer a unique bokeh and highlights bloom. Stop down slightly and contrast and sharpness increases dramatically. At T2.8 they are very sharp. They have an incredible organic personality, they flare easily and in a very beautiful way. This is possibly the largest, most complete rehoused set of Lomo Super Speeds in the world. They have reliable, repeatable mechanics. The focus throw is now 330 degrees and buttery smooth. Close focus has been greatly improved on all of the lenses. They all have matching 95mm fronts and matching gear positions. These lenses offer a unique vintage character. They also come in with a resume, being Zoe White ACS personal set for years. S35, Full Frame from 35mm up.
Based on the legendary vintage Russian 58mm Helios. Its beautiful swirling bokeh and pronounced lens flares have given the lens a cult status. Richard Gale used the 58mm as the base lens for the entire set, building a 28mm, 38mm, a 58mm and 88mm.
These 4 lenses maintain the Helios’ beautiful bokeh and flares across all focal lengths. Interchangeable rear adapters are avail, delivering even bigger flares, as well as oval aperture inserts to give your footage anamorphic bokeh, but with the ease of shooting spherical.
Richard Gale Optics has been developing this lens set for years, and the latest housings are excellent. Long, buttery smooth focus throw, true internal focus, 95mm fronts and PL mounts. We also have a custom modified Century Precision Optics .8x wide angle adapter that makes the 28mm f2 a 22mm with no stop loss. Full Frame.
Our Cineovision high speed set is one the most well matched out there. It went through substansive mechanical redesign and is ready for another 40 years of business. At the core of the set is a Canon K35 24mm and all other focal lengths look as exquisite as this one.
Zero Optik’s Olympus OM Primes are a set of rehoused still photography lenses designed by Yoshihisa Maitani in the 1970’s. At the height of its success, the OM system had the largest range of f/2 lenses of any camera manufacturer or system ever made before, including f/2 macros and telephoto primes up to 250mm. Our initial set will consist of 7 lenses, all matched and offering consistent performance. The OMs produce sharp images with warm smooth flares.
The C-Series are some of the first sets of Hawk lenses produced by Vantage back in the 90’s. They’re compact form factor makes them easier to work with than some anamorphic lenses. They’re softer than more modern anamorphics while still providing enough sharpness to render a scene and render beautiful skin tones. Their anamorphic focus effects and flares are particularly appealing, as they emulate much older anamorphic designs without the flaws inherent in vintage lenses.
The Optica Elites were produced in the late 20th century as a successor to Lomo anamorphic lenses. While they can be considered vintage in their coatings and look and certainly not dissimilar from Round fronts and Hawk C series, their housings are more modern in design. These lenses are well known for their extreme anamorphic flare effects, and mild distortion at the wider focal lengths, which give them a character unlike other anamorphic lenses on the market today. This set has been completely overhauled, and offers the unique 24.5mm.
WhilePoint Optics is taking a step towards anamorphic cinematography by putting together two iconic lenses. Lomo square front anamorphic and Leica-R as the taking lens make a beautiful modern cinema tool named LOMOCRON anamorphic 2x. The updated “mother” lens adds contrast, brings more resolution and makes the lens faster. The signature blue flares are given by the Lomo Squarefronts. The Lomocron is a special anamorphic lens with lots of character producing very pleasing cinematic images. The set consist of three lenses, with a potential addition of a longer fourth one in the coming year.
Introducing the New Atlas Mercury Series 1.5x Full-Frame Anamorphic Lenses. Mercury Series is a brand new family of anamorphic lenses, Atlas pushed the boundaries of the Mercury Series in optical and product design, balancing vintage character with modern sensor. This are lenses made for making movies, with an undeniably cinematic quality the second you attach it to a camera.
At the heart of Atlas Lens Co. Orion Series is a true Front Anamorphic Group. Orion lenses deliver beautiful bokeh and signature but controlled flare. These optical characteristics paired with awesome mechanical functionalities made the Orions a choice that won't leave you feeling confounded by compromise. Modern anamorphics that have a feeling. All 6 focal lengths available, LF expander and LPL adapter.
This series is compact and sharp. It is optimised for distortion correction, plus it offers gorgeous flares and character, lots for a modern anamorphic. One of the main features of the Apollo is the anti-mump system created in 1954 by Mr. Gottschalk from Panavision. With that system, whilst focusing from infinity to the close point, the image stretches only in a vertical direction (vertical breath), the horizontal axis stays locked. That’s the beauty of this focusing system. The optics are much smaller than a front variable diopters design system – which means – they are lighter weight, with less chromatic aberrations, and have better light transmission. The Apollo lenses are amazing for steadicams, gimbals, and handheld work. The original (Gottschalk) design means that the minimum focus point of the lens is closer than 1ft, eliminating the need of diopters. The Focus ring mechanics are a cam based design. They allow the focus ring to be really smooth, and feature a rotation of 270°. It features standard pitch module of 0.8. for both focus and aperture rings. All the lenses from Apollo series shares 14 round-blades circular apertures.
The Voigtländer Zoomar 36-82mm T3.1 is one of the best era zoom ever designed for commercial still photography for the 135 format (Full Frame 36x24mm). It was released in 1959, and was incredibly advanced for its time. This lens is parfocal, sharp on center, with subtle fall-off towards the corners. Low chromatic aberration for such an old lens are a rare thing, plus it has minimal focus breathing. The old single layer coatings deliver lower contrast images, and gorgeous lens flares. Bokeh has a unique texture to it, delivering results that make this lens a perfect match for some of our oldest lenses like the Canon Type SK, our upcoming set of TLS Rangefinders and our FDs/FDx/K35. The lens has a standard 136mm front. Focus and zoom mechanics are now internal and focus rotation has been expanded to 330 degrees as well as improved from 4’ 6” all the way to an impressive 2’ 9”, while maintaining full frame coverage. The lens also has a new, matte-finished 15 blade iris, for perfectly circular bokeh when stopped down.
Todd AOs lenses were Los Angeles made anamorphics. The company pioneered single camera Cinerama in the 1950-60s and invented widescreen S35 systems, it produced systems and lenses through the 70s and collapsed in the early 80s. Known for their incomparable violet anamorphic flares matched with a sharp yet distinct image, The Todd AOs provide a real alternative to Panavision glass if you want a classic vintage anamorphic look. Now this zoom is one of two ever made, a true unicorn in pristine condition. Rear anamorphic but beautifully expressive. A car commercial monster, made friendlier and prettier by Duclos. S35.
The Canon K35 25mm-120mm T2.8 MACRO Zoom was released in 1970, before the K35 primes. A pioneering feat with a revolutionary lens design, the Canon K35 zoom remains unchallenged to this day. It is the most pleasing zoom on the market, with beautiful warmth, and BIG, gorgeous flares. A rare and exquisite example, made friendlier and prettier by Duclos. Beauty jobs, car jobs, one lens jobs, this is the lens. S35.
This Cooke zoom offers a sharp, but smooth & flattering image and awesome wide-open performance. With an amazing minimum focus distance, this lens can get extreme close-ups. At wide focal lengths the lens has no breathing and at longer focal lengths it's extremely minimal.
This lens flares like no others, a great companion for textural car jobs. Also worth noting, it pairs really well with Speed Panchros, having similar color and contrast. This is the most current version of this classic lens, and it's in perfect optical and mechanical condition.
This lens is an excellent companion to many of the vintage primes out there. especially full frame primes, which until now didn’t have many options for complimentary vintage full frame zooms.
Much like FD primes, this lens performs very well wide open, but still has some beautiful character that most modern lenses just don’t have. Bokeh has some interesting texture, but still smooth. Flares are really beautiful, which isn’t always the case with lenses that cover this range.
On the technical side, the lens is parfocal, like all proper cinema zooms, and has zero ramping when zooming. Close focus has been greatly improved, and focus rotation is very generous, giving you excellent spacing of focus marks, even at the long end. The iris has been replaced with a new 15 blade circular iris, so no more 8-sided stop-sign shaped bokeh when stopped down. The lens now has a PL mount, and industry standard 0.8 gears. It has a standard 136mm front diameter, and is 4x5.65 matt box friendly.
Maison de Verre is a personal collection of unique lenses offered on the Canadian rental market via Cineground. Cherry picked by a cinematographer with an obsession for vintage and beautiful glass with the goal to provide fellow directors of photography the best possible optics out there to express the full potential of their projects.
Maison de Verre is devoted to supporting local cinematography talent and creativity.