Servo/Digital Cinema Zoom Lenses

Angenieux Optimo 24-290mm Zoom Lens T2.6

Angenieux Optimo 24-290mm Zoom Lens T2.6 (PL Mount)

Supporting 4K+ resolution on a 35mm Academy-sized sensor, the Angenieux 24-290mm Optimo Zoom Lens (PL Mount) features a 12x zoom range. Use a separately available 1.4x or 2x Optimo extender to increase the zoom’s sensor coverage to include Super 35. Consistent image quality across the zoom range enables you to use this zoom as a de facto set of variable primes. The 24-290mm Optimo zoom features internal focus design for a constant length as focus is changed and exhibits no signs of breathing during focus pulls. The focus ring rotates 327°, providing room for over 70 precise witness marks. This zoom lens incorporates industry standard zoom and focus gears for interfacing with optional zoom motors, follow focus units. The lens is adapted to extreme shooting environments with passive athermalization from -4 to 104°F (-20 to 40°C).

Angenieux Optimo 15-40mm Zoom Lens T2.6 (PL Mount)

The Angenieux 15-40mm Optimo Zoom T2.6 provides superb balance between quality and agility. One of the lightest and most compact series of cine style zoom lenses in the industry, this lens is perfectly suited for use with modern, lightweight digital cameras on Steadicam or hand-held.The focus ring on the 15-40mm has a 320° focus rotation with over 50 precise focus witness marks and minimal breathing. Manufactured with exquisite precision, they help you bring greater artistry and cinematic expression to your production in any format. The Optimo long lenses are unrivaled as the industry’s reference lenses for every type of production from feature films, commercials, TV series and video clips to major sports events and concerts.

Angenieux Optimo 28-76mm Zoom Lens T2.6 (PL Mount)

The Angenieux Optimo 28-76mm Zoom Lens T2.6 (PL Mount) is a standard, compact spherical zoom lens. It features a new optical design that eliminates breathing and ramping. In addition, it offers exceptional optical performance across its entire zoom range. This lens’s 4.4 lbs weight makes it one of the most compact and lightweight cine zoom lenses available. This lends it well to Steadicam or hand-held shooting. The Optimo 28-76 features a front diameter 114mm and close focus at 2′. Manufactured with exquisite precision, they help you bring greater artistry and cinematic expression to your production in any format. The Optimo long lenses are unrivaled as the industry’s reference lenses for every type of production from feature films, commercials, TV series and video clips to major sports events and concerts.

Angenieux Optimo 45-120mm Zoom Lens T2.8

Angenieux Optimo 45-120mm Zoom Lens T2.8 (PL Mount)

Exceptional optical quality enables the Optimo 45-120mm to rival the best prime lens series at equivalent focal distances. Perfect homogeneity of colorimetry, contrast and resolution. Focus scale with over 50 witness marks for precise focus position. Easy interchangeable scale between imperial and metric. Minimum image circle 31.4mm diagonal, perfect for Super 35  film and digital cameras. The Angenieux Optimo 45-120mm Zoom Lens T2.8 is the lightest and most compact series of cine zoom lenses in the industry and are perfectly suited for shootings requiring modern, lightweight and compact digital cameras and Steadicam work. The 45-120 has Superb image quality from T2.6 open aperture and is Compact and very light (1.9 kg / 4.2lbs). 

Canon CN7X17 KAS S Cine Servo 17-120mm T2.95 Zoom Lens

Canon CN7X17 KAS S Cine Servo 17-120mm T2.95 Zoom Lens (EF Mount)

The Cine-Servo 17-120mm T2.95 with EF mount from Canon is designed to combine the functionality and form factor of a broadcast, ENG-style motorized zoom lens with the optical precision of a cinema zoom. The lens is designed for use on cinema cameras with sensors up to Super 35mm (26.2 x 13.8mm) in size and is suitable for 4K acquisition. With a detachable drive mechanism and support for rod attachment, it is designed to be equally at home whether being used by a solo camera operator or a full production team. With a 17 to 120mm focal length, the lens features 7x zoom and has a maximum aperture of T 2.95 when set to 91mm or wider. Additionally, it features an 11 blade iris to create circular bokeh patterns as well as to reduce refraction. For ENG-style shooters the lens drive features servo motors powering zoom, focus, and iris. The lens can be connected to the camera either using a standard 12-pin connector or will communicate directly through the lens mount when attached to compatible cameras. Three 20-pin connectors below the servo housing allow many Canon and third-party zoom, focus, and iris controllers to be connected.

Canon CN7X17 KAS S Cine Servo 17-120mm T2.95 Zoom Lens

Canon CN7X17 KAS S Cine Servo 17-120mm T2.95 Zoom Lens (PL Mount)

The Cine-Servo 17-120mm T2.95 with PL mount from Canon is designed to combine the functionality and form factor of a broadcast, ENG-style motorized zoom lens with the optical precision of a cinema zoom. The lens is designed for use on cinema cameras with sensors up to Super 35mm (26.2 x 13.8mm) in size and is suitable for 4K acquisition. With a detachable drive mechanism and support for rod attachment, it is designed to be equally at home whether being used by a solo camera operator or a full production team. With a 17 to 120mm focal length, it features 7x zoom and a maximum aperture of T 2.95. For ENG-style shooters the lens drive features servo motors powering zoom, focus, and iris. The lens can be connected to the camera either using a standard 12-pin connector or will communicate directly through the lens mount.

Canon EF CN-E 18-80mm T4.4 Compact Servo

Canon CN-E 18-80mm T4.4 Compact Servo Lens (EF Mount)

The Canon CN-E 18-80mm T4.4 Compact-Servo Lens combines the functionality of Canon’s EF lenses with the features and performance of their CN-E lineup. Designed for use with EF-mount cameras featuring Super 35 or APS-C sized sensors, the lens covers an incredibly useful 18 to 80mm focal range while maintaining a constant T-stop of T4.4 (f/4) throughout. Measuring 7.2″ long and weighing only 2.65 lb, the lens presents itself as a compact, lightweight option suitable for a variety of productions, from narrative work to run-and-gun documentaries. Notably, the lens is Canon’s first cine-style option to incorporate image stabilization and auto focus functionality when paired with Cinema EOS cameras.

Canon CN-E 30-300mm T2.95-3.7 L SP Lens (PL Mount)

Canon CN-E 30-300mm T2.95-3.7 L S Lens (EF Mount)

The Cinema Zoom lens CN-E30-300mm T2.95-3.7 L SP (EF mount) rivals best-in-class zoom magnification and telephoto focal length for the Super 35mm format, and is engineered to offer unrivaled optical performance for demanding high-end productions, meeting and exceeding industry standards. Intended for the working professional, the CN-E30-300mm T2.95-3.7 L SP lens has markings on angled surfaces on both sides of the barrel, making it easy to read settings from behind, or from either side of the camera. This lens is equipped with control rings designed to maintain the proper amount of resistance with consistent operating torque, and a covered flange-back adjustment mechanism to meet numerous production application needs. Designed to fulfill contemporary 4K production standards, this phenomenal lens surpasses the performance requirements of any HD imaging system.

Canon CN-E 30-300mm T2.95-3.7 L SP Lens (PL Mount)

Canon CN-E 30-300mm T2.95-3.7 L SP Lens (PL Mount)

The Cinema Zoom lens CN-E30-300mm T2.95-3.7 L SP (PL mount) rivals best-in-class zoom magnification and telephoto focal length for the Super 35mm format, and is engineered to offer unrivaled optical performance for demanding high-end productions, meeting and exceeding industry standards. Intended for the working professional, the CN-E30-300mm T2.95-3.7 L SP lens has markings on angled surfaces on both sides of the barrel, making it easy to read settings from behind, or from either side of the camera. This lens is equipped with control rings designed to maintain the proper amount of resistance with consistent operating torque, and a covered flange-back adjustment mechanism to meet numerous production application needs. Designed to fulfill contemporary 4K production standards, this phenomenal lens surpasses the performance requirements of any HD imaging system. It features advanced optical design providing a sharp, consistent images throughout zoom range.

Canon CN-E 70-200mm T4.4 Compact-Servo Cine Zoom Lens

Canon CN-E 70-200mm T4.4 Compact-Servo Cine Zoom Lens (EF Mount)

The newest member of Canon’s Compact-Servo lens family has a focal range of 70–200mm. The Compact-Servo 70–200mm T4.4 EF lens combines high level 4K optical performance with a compact size of only 7.2 in. in length and a weight of only 2.76 lbs. provides outstanding mobility. Acknowledging the need to control zoom, focus and iris, Canon has developed this zoom lens with full external servo control. The optional ZSG-C10 Zoom Servo Grip can mount to the lens for handheld operation. Three levels of Image Stabilization and incorporated autofocus functions set the Compact-Servo 70–200mm T4.4 EF lens apart from traditional Super 35mm Cinema lenses. A 9-blade iris creates a rounded aperture so out-of-focus highlights appear circular. The lens also features a 2.8x zoom magnification, a focal length range of 70–200mm and a 130º smooth rotating focus ring. The 70–200mm T4.4 EF lens offers professional video functionality all at an affordable price.

Duclos 11-16mm T2.8mm Lens (PL Mount)

Duclos 11-16mm T2.8mm Lens (PL Mount)

The Duclos 11-16mm is an extremely versatile lens. While it’s wide-angle nature may be unique, it’s right at home on a variety of productions including ariel, underwater, landscape, action sports, and many more environments. The original 11-16mm cinema rehousing, the Duclos 11-16mm provides an operator friendly, robust cinema housing with 32-pitch zoom, focus, and iris gears. The aluminum body features an 80mm front ring with a 77mm filter thread complimented by a stainless steel Arri PL mount. More subtle yet most important is the activated manual aperture control. Lubricated, geared, and marked, the new aperture ring allows precise control for the user. The final product is a small, lightweight lens perfectly capable of holding it’s own against the likes of other motion picture optics.

Fujinon 14-35mm T2.9 PL Mount Cabrio Premier Lens

Fujinon 14-35mm T2.9 Cabrio Premier Lens (PL Mount)

The Fujinon 14-35mm T2.9 Cabrio Premier PL Lens is a wide to telephoto zoom lens for Super 35mm cameras. The focus, zoom, and iris barrels are geared with standard 0.8 film pitch, which provides an interface for the removable ENG-style digital drive unit. The rear PL mount features electrical contacts for sharing Arri LDS and Cooke /i Technology lens data with the camera. The detachable drive unit is an ENG-style hand grip with a zoom rocker switch, 16-bit encoding, and an interface for remote control via a wired or wireless controller. When the drive unit is attached to the lens, a digital auto-aligning system quickly and accurately calibrates it to the zoom, focus, and iris gears. Power is provided by either an external connector or the PL mount’s “hot shoe” interface.

Fujinon 19-90mm T2.9 Cabrio Compact Zoom Lens (PL Mount)

Fujinon 19-90mm T2.9 Cabrio Compact Zoom Lens (PL Mount)

The Fujinon ZK19-90mm T2.9 Cabrio Premier Lens is a wide to telephoto zoom lens for Super 35mm cameras, and it features a PL mount. The focus, zoom, and iris barrels are geared with standard 0.8 film pitch, which provides an interface for the removable ENG-style digital drive unit. The rear PL mount features electrical contacts for sharing ARRI LDS and Cooke /i Technology lens data with the camera. The detachable drive unit is an ENG-style hand grip with a zoom rocker switch, 16-bit encoding, and an interface for remote control via a wired or wireless controller from Fujinon or other compatible, third party manufacturers. When the drive unit is attached to the lens, a digital auto-aligning system quickly and accurately calibrates it to the zoom, focus, and iris gears. Power is provided by either an external connector or the PL mount’s “hot shoe” interface.

Fujinon 25-300mm T3.5 to T3.85 Cabrio Premier Lens (PL Mount)

Fujinon 25-300mm T3.5 to T3.85 Cabrio Premier Lens (PL Mount)

Spanning the Film and ENG worlds, and supporting 4K production, the Fujinon ZK25-300mm T3.5 to T3.85 Cabrio Premier Lens is a 12x zoom for super 35mm size single sensor cameras, and it features a PL mount. The long zoom range allows you to shoot medium wide to long shots without changing lenses, and it holds its maximum T3.5 aperture from 25 to 273mm, almost the entire length of the zoom, losing less than half a stop as it reaches 300mm. The focus ring features 280 degrees of rotation, providing for accurate focus adjustments, and the 120-degree zoom rotation is consistent with other lenses in the Cabrio line. The focus, zoom, and iris barrels are geared with standard 0.8 film pitch, which provides an interface for the optional removable ENG-style digital drive unit. The rear PL mount features electrical contacts for sharing Arri LDS and Cooke /i Technology lens data with the camera. 

Fujinon 85-300mm T2.9 PL Mount Cabrio Compact Zoom Lens

Fujinon 85-300mm T2.9 Cabrio Compact Zoom Lens (PL Mount)

The Fujinon 85-300mm Cabrio Compact Cinema Zoom T2.9 is similar in size and weight to the 19-90mm Cabrio, while its longer focal length makes it ideal for shooting documentaries, nature and wildlife, and car commercials, among other demanding production scenarios. The 85-300mm Cabrio offers a focal length of 85-218mm at T2.9 and 300mm at T4.0, with 200° focus rotation. Designed using the latest optical simulation technology, the 85-300mm Cabrio not only offers exceptional optical performance in the center of the image but in the corners of the frame as well. Like the highly acclaimed 19-90mm Cabrio, the 85-300mm is equipped with the same indispensable features including flange focal distance adjustment, a MOD of 3.94′ (1.2m), macro function for objects as close as 38″ (97cm), and coverage of 31.5mm diagonal sensor size.

Fujinon MK18-55mm T2.9 Lens (Sony E-Mount)

Fujinon MK18-55mm T2.9 Lens (Sony E-Mount)

The Fujinon MK18-55mm T2.9 Lens in E-Mount is a lightweight cine-style zoom lens for E-mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine -style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens incorporates a macro mode for close focusing capabilities and is color matched to other Fujinon lenses such as the HK, ZK, and XK series, which enables smooth intercutting between lenses. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.  

Fujinon MK50-135mm T2.9 Lens (Sony E-Mount)

Fujinon MK50-135mm T2.9 Lens (Sony E-Mount)

The Fujinon MK50-135mm T2.9 Lens in E-Mount is a lightweight cine-style zoom lens for E-mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine -style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens incorporates a macro mode for close focusing capabilities and is color matched to other Fujinon lenses such as the HK, ZK, and XK series, which enables smooth intercutting between lenses. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range. 

Zeiss 28-80mm T2.9 Compact Zoom CZ.2 Lens (EF Mount)

Zeiss 28-80mm T2.9 Compact Zoom CZ.2 Lens (EF Mount)

The Zeiss 28-80mm T2.9 Compact Zoom CZ.2 Lens with EF Mount is a standard zoom lens that is optimized for motion picture production. The lens offers full-frame (36 x 24 mm) coverage and exhibits no focus shift over the zoom range. The cine-style housing features calibrated focus scales and industry standard gearing for focus, iris and zoom. At 7.72″ long and with a weight of 5.5 lb, the 28-80mm is relatively compact and lightweight, which makes it ideal for handheld and Steadicam applications. Zeiss Compact Zooms utilize T* anti-reflex coating and internal light traps to suppress flare, and a circular iris renders attractive bokeh. Interchangeable lens mounts are available in PL, Canon EF, Nikon F, Micro 4/3, and Sony E, which means that users are not locked into a single camera system. 

Zeiss 70-200mm T2.9 Compact Zoom CZ.2 Lens (EF Mount)

Zeiss 70-200mm T2.9 Compact Zoom CZ.2 Lens (EF Mount)

The Zeiss 70-200mm T2.9 Compact Zoom CZ.2 Lens with EF Mount is a telephoto zoom lens that is optimized for motion picture production. The lens offers full-frame (36 x 24 mm) coverage and exhibits no focus shift over the zoom range. The cine-style housing features calibrated focus scales and industry standard gearing for focus, iris and zoom. At 9.84″ long and with a weight of 6.2 lb, the 70-200mm is relatively compact and lightweight, which makes it ideal for handheld and Steadicam applications. Zeiss Compact Zooms utilize T* anti-reflex coating and internal light traps to suppress flare, and a circular iris renders attractive bokeh. Interchangeable lens mounts are available in PL, Canon EF, Nikon F, Micro 4/3, and Sony E, which means that users are not locked into a single camera system. 

Digital Cinema Fixed Focal Length Lenses

Zeiss 16mm Ultra Prime Lens T1.9

Arri Zeiss 16mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 16mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

Zeiss 20mm Ultra Prime Lens T1.9

Arri Zeiss 20mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 20mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

ARRI:ZEISS 24MM T1.9 Ultra Prime Lens

Arri Zeiss 24mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 24mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

Arri Zeiss 28mm Ultra Prime Lens T1.9

Arri Zeiss 28mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 28mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

Zeiss 40mm Ultra Prime Lens T1.9

Arri Zeiss 40mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 40mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

arri_zeiss_ultra_prime

Arri Zeiss 50mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 50mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

Zeiss 85mm Ultra Prime Lens T1.9

Arri Zeiss 85mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 85mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

Zeiss 100mm Ultra Prime Lens T1.9

Arri Zeiss 100mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 100mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

Zeiss 135mm Ultra Prime Lens T1.9

Arri Zeiss 135mm Ultra Prime Lens T1.9

The Arri / Zeiss Ultra Prime 135mm T1.9 is a PL-mounted prime lens covers the Super-35 format, allowing it to maintain high contrast and resolution even at close focus.This Ultra Prime Lens has the widest focal range of prime lenses giving you the flexibility to get the coverage you want. This Ultra Prime lens is a lightweight standard speed lens that is optically matched to the high speed Arri / Zeiss Master Prime lenses and are compatible with both HD and film cameras. The Ultra Primes provide the optimal image quality, vivid colors, and skin tones for which both Arri and Zeiss are known. Each lens in the series features a T* XP lens coating for reduced glare and minimized reflections. Minimal focus breathing does not draw attention to focus pulls, preserving the viewer’s cinematic experience.

Canon CN-E 14mm T3.1 L Cine Lens EF

Canon CN-E 14mm T3.1 L Cine Lens (EF Mount)

The Cinema Prime CN-E14mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments.Intended for the working professional, the EF Cinema Prime CN-E14mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. Designed to fulfill contemporary 4K production standards, it features a full-frame imaging circle in a lightweight, compact design-this phenomenal lens is also perfect for any number of applications. It also features an 11-blade aperture diaphragm for beautiful background blur and innovative glass construction that counteracts barrel expansion and contraction to avoid temperature induced marking discrepancies.

Canon_Cn_24mm

Canon CN-E 24mm T1.5 L F Cine Lens (EF Mount)

The Cinema Prime CN-E24mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments.Intended for the working professional, the EF Cinema Prime CN-E24mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. Designed to fulfill contemporary 4K production standards, it features a full-frame imaging circle in a lightweight, compact design-this phenomenal lens is also perfect for any number of applications. It also features an 11-blade aperture diaphragm for beautiful background blur and innovative glass construction that counteracts barrel expansion and contraction to avoid temperature induced marking discrepancies.

Canon CN-E 35mm T1.5 L F Cine Lens (EF Mount)

Canon CN-E 35mm T1.5 L F Cine Lens (EF Mount)

The Cinema Prime CN-E35mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments.Intended for the working professional, the EF Cinema Prime CN-E35mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. Designed to fulfill contemporary 4K production standards, it features a full-frame imaging circle in a lightweight, compact design-this phenomenal lens is also perfect for any number of applications. It also features an 11-blade aperture diaphragm for beautiful background blur and innovative glass construction that counteracts barrel expansion and contraction to avoid temperature induced marking discrepancies.

Canon CN-E 50mm T1.3 L F Cine Lens (EF Mount)

Canon CN-E 50mm T1.3 L F Cine Lens (EF Mount)

The Cinema Prime CN-E50mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments.Intended for the working professional, the EF Cinema Prime CN-E50mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. Designed to fulfill contemporary 4K production standards, it features a full-frame imaging circle in a lightweight, compact design-this phenomenal lens is also perfect for any number of applications. It also features an 11-blade aperture diaphragm for beautiful background blur and innovative glass construction that counteracts barrel expansion and contraction to avoid temperature induced marking discrepancies.

Canon CN-E 85mm T1.3 L F Cine Lens (EF Mount)

Canon CN-E 85mm T1.3 L F Cine Lens (EF Mount)

The Cinema Prime CN-E85mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments.Intended for the working professional, the EF Cinema Prime CN-E85mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. Designed to fulfill contemporary 4K production standards, it features a full-frame imaging circle in a lightweight, compact design-this phenomenal lens is also perfect for any number of applications. It also features an 11-blade aperture diaphragm for beautiful background blur and innovative glass construction that counteracts barrel expansion and contraction to avoid temperature induced marking discrepancies.

Canon CN-E 135mm T2.2 L F Cine Lens (EF Mount)

Canon CN-E 135mm T2.2 L F Cine Lens (EF Mount)

The Cinema Prime CN-E135mm T1.3 L F (EF mount) lens offers a compact, consistent lens design and proven Canon lens elements for performance and reliability in professional shooting environments. Intended for the working professional, the EF Cinema Prime CN-E135mm T1.3 L F lens has markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or from either side of the camera. The control rings are engineered to maintain the proper amount of resistance with consistent operating torque. Designed to fulfill contemporary 4K production standards, it features a full-frame imaging circle in a lightweight, compact design-this phenomenal lens is also perfect for any number of applications. It also features an 11-blade aperture diaphragm for beautiful background blur and innovative glass construction that counteracts barrel expansion and contraction to avoid temperature induced marking discrepancies.

Cooke 18mm T2.8 Mini S4:i Cine Lens

Cooke 18mm T2.8 Mini S4/i Cine Lens

This Cooke 18mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology. The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Cooke 25mm T2.8 Mini S4:i Cine Lens

Cooke 25mm T2.8 Mini S4/i Cine Lens

This Cooke 25mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology. The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Cooke 32mm T2.8 Mini S4:i Cine Lens

Cooke 32mm T2.8 Mini S4/i Cine Lens

This Cooke 32mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology.The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Cooke 40mm T2.8 Mini S4/i Cine Lens

Cooke 40mm T2.8 Mini S4/i Cine Lens

This Cooke 40mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology.The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Cooke 50mm T2.8 Mini S4/i Cine Lens

Cooke 50mm T2.8 Mini S4/i Cine Lens

This Cooke 50mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology.The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Cooke 65mm T2.8 Mini S4/i Cine Lens

Cooke 65mm T2.8 Mini S4/i Cine Lens

This Cooke 65mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology.The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Cooke 75mm T2.8 Mini S4/i Cine Lens

Cooke 75mm T2.8 Mini S4/i Cine Lens

This Cooke 75mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology.The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Cooke_CKEP_100_Panchro_100mm_Prime_Lens

Cooke 100mm T2.8 Mini S4/i Cine Lens

This Cooke 100mm T2.8 Mini S4/i Cine Lens features a PL mount, which makes it compatible with most commonly used professional film and digital cinema cameras. Color-matched to intercut with other Cooke lenses, this lens combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology.The optics are designed to give maximum performance at full aperture with superior control of flare, distortion and spherical aberration. Contacts in the mount sync with /i compatible cameras and accessories, providing lens information on focusing distance, aperture and depth of field, hyperfocal distance, serial number, owner data, lens type and focal length in both meters and feet. All Cooke miniS4/i prime lenses are color balanced to the Cook 5/i, S4/i, and Anamorphic/i lenses.

Leica Summicron-C 15mm T2.0 Lens

Leica Summicron-C 15mm T2.0 Lens

The Leica Summicron-C lenses bring much of the look and feel of the Summilux-C lenses but with one less stop and at a much lower cost. They retain the natural focus transitions, authentic color rendition and creamy sharpness that is distinctive of the Leica look and feel but in a smaller, more accessible package. The Summicron-C lenses are as well suited for big budget feature films and TV shows as they are production companies and growing businesses looking for a beautiful set of lenses to invest in that will provide a timeless and workable image for all kinds of productions. They are designed to color match and intercut with the Leica Summilux-C lenses.Like the Summilux-C lenses, the Leica Summicron-C lenses have a unique yet familiar way of rendering skin tones that feels natural and has depth. The focus falls off gently to give a dimensionality to faces and other organic subjects. Yet their ability to cleanly resolve edges and other fine details makes them one of the most versatile sets of cine lenses available.

Leica Summilux-C 16mm T1.4 Lens

Leica Summilux-C 16mm T1.4 Lens

The goal of the Leica Summilux-C 16mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 18mm T1.4 Lens

Leica Summilux-C 18mm T1.4 Lens

The goal of the Leica Summilux-C 18mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 21mm T1.4 Lens

Leica Summilux-C 21mm T1.4 Lens

The goal of the Leica Summilux-C 21mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 75mm T1.4 Lens

Leica Summilux-C 29mm T1.4 Lens

The goal of the Leica Summilux-C 29mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 40mm T1.4 Lens

Leica Summilux-C 40mm T1.4 Lens

The goal of the Leica Summilux-C 40mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 65mm T1.4 Lens

Leica Summilux-C 65mm T1.4 Lens

The goal of the Leica Summilux-C 65mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 75mm T1.4 Lens

Leica Summilux-C 75mm T1.4 Lens

The goal of the Leica Summilux-C 75mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 100mm T1.4 Lens

Leica Summilux-C 100mm T1.4 Lens

The goal of the Leica Summilux-C 100mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Summilux-C 135mm T1.4 Lens

Leica Summilux-C 135mm T1.4 Lens

The goal of the Leica Summilux-C 135mm T1.4 Lens was lofty from the start. Take everything known about modern lens design, then perfect it and beautify it until it reaches the border of impossible. The trick, the magic of these lenses, was to do so without losing the Leica character, the natural color rendition and the kindness of the human face and form. The Summilux-C lenses achieve this goal with their absence of breathing, color fringing and distortion, but where they excel is the alchemy of smooth, soft skin tones and backgrounds bounded by a clarity and resolution that distinguished the subject matter in a powerful but natural way without sacrifice or compromise. These lenses have the unique ability to represent edges and fine details with clarity yet treat more humane subjects like skin tones and out off focus elements with a softness that just feels right.

Leica Telephoto 180mm T2.0 Lens

Leica Telephoto 180mm T2.0 Lens

The unique Leica Cine 180mm T2.0 telephoto lens has the classic Leica look and offers many exciting modern features. The sharp yet creamy look is highly desired for rendering naturally gorgeous skin tones and fine details, making it an excellent companion to any set of Leica Summilux-C, Summicron-C, or Thalia lenses. With a customized 16-blade iris that is circular at all stops, the lens creates beautiful bokeh that adds cinematic depth to your shots. Thanks to its large image circle and long focal length, the lens is capable of covering all current sensor sizes including the Arri Alexa 65.  The 95mm front diameter matches the Leica Cine family, leading to smooth and quick lens changes on set. Full compatibility with the stackable Leica Macrolux diopters allows cinematographers to capture powerful, larger than life macro shots with striking detail. Also included is a Leica standard 92mm screw-in filter thread. Weighing in at only 5.8 lbs (2.8kg) and just under 7 inches (174mm) long, this 180mm lens is a rare compact and lightweight telephoto solution.

Zeiss 15mm T2.9 CP.2 Lens

Zeiss CP.2 15mm T2.9 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 15mm T2.9 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

Zeiss CP.2 18mm T3.6 Cine Lens (PL Mount)

Zeiss CP.2 18mm T3.6 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 18mm T3.6 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

Zeiss CP.2 25mm T2.1 Cine Lens (PL Mount)

Zeiss CP.2 25mm T2.1 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 25mm T2.1 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

Zeiss CP.2 35mm T2.1 Cine Lens (PL Mount)

Zeiss CP.2 35mm T2.1 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 35mm T2.1 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

Zeiss CP.2 50mm T2.1 Cine Lens

Zeiss CP.2 50mm T2.1 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 50mm T2.1 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

Zeiss CP.2 85mm T2.1 Cine Lens

Zeiss CP.2 85mm T2.1 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 85mm T2.1 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

Zeiss CP.2 100mm T2.1 Cine Lens (PL Mount) copy

Zeiss CP.2 100mm T2.1 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 100mm T2.1 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

Zeiss CP.2 135mm T2.1 Cine Lens (PL Mount)

Zeiss CP.2 135mm T2.1 Cine Lens (PL Mount)

The Zeiss Compact Prime CP.2 135mm/T2.1 Cine Lens (PL Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs. The Compact Prime CP.2 lenses are the world’s first cine lenses designed for use with DSLR cameras. What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Nikon F mount to be easily swapped out for an optional Canon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. The interchangeable mount guarantees high flexibility in any situation for a wide range of platforms.

POV Fixed Focal Length Lenses

2.8mm M12 Lens for Back-Bone Modified GoPro

2.8mm M12 Infrared Lens for Back-Bone Modified GoPro

This 2.8mm M12 Infrared Lens for Back-Bone Modified GoPro is wider than the original GoPro lens! This super-wide angle lens features extremely low distortion. Light weight at only 5g and super sharp with 10MP optics. Excellent edge to edge sharpness. Perfect for ultra-wide angle shooting and getting large subjects at close range. It is designed for 1/2.3″ GoPro sensor, has an aperture: f2.8 and FOV: 92° Horizontal (+/- 5°). Infrared (IR) Capable. 

2.8mm M12 Lens for Back-Bone Modified GoPro

2.8mm M12 Lens for Back-Bone Modified GoPro

This 2.8mm M12 Lens for Back-Bone Modified GoPro is wider than the original GoPro lens! This super-wide angle lens features extremely low distortion. Light weight at only 5g and super sharp with 10MP optics. Excellent edge to edge sharpness. Perfect for ultra-wide angle shooting and getting large subjects at close range. It is designed for 1/2.3″ GoPro sensor, has an aperture: f2.8 and FOV: 92° Horizontal (+/- 5°). 

2.97mm M12 16MP Low Distortion Lens for Back-Bone Modified GoPro

2.97mm M12 16MP Low Distortion Lens for Back-Bone Modified GoPro

This amazing 2.97mm M12 16MP Low Distortion Lens for Back-Bone Modified GoPro is a wide angle lens but saves you from the ‘fisheye’ distortion. This POV lens is light weight at 5g and super sharp with 16MP optics and has an aperture of f2.8. Special optics make this lens ‘rectilinear’ so there is really no fisheye distortion at all. Excellent edge to edge sharpness. Perfect for drone and gimbal use and great for general shooting. We use it a lot! 

3.65mm M12 Lens for Back-Bone Modified GoPro

3.65mm M12 Lens for Back-Bone Modified GoPro

The Back-Bone Gear 3.65mm 16MP M12 Mount Lens fits any Back-Bone Gear Ribcage Modified action camera with an M12 mount. It’s designed for the 1/2.3″ GoPro sensor, and compatible cameras include the Ribcage Modified GoPro HERO3/3+/4/5 and Ribcage Modified Yi Technology 4K. It can also be attached to Ribcage Modified CS/C-Mount cameras via optional adapters. The lens supports up to 16MP resolution on 1/2.3″ sensors and is built with special optics that make it rectilinear, so it’s capable of shooting ultra-sharp 4K video with no fisheye distortion and with edge-to-edge sharpness. It’s suitable for general applications, as well as for use on gimbals and drones.

3.65mm M12 Lens for Back-Bone Modified GoPro

3.65mm M12 Infrared Lens for Back-Bone Modified GoPro

The Back-Bone Gear 3.65mm 16MP M12 Mount Lens fits any Back-Bone Gear Ribcage Modified action camera with an M12 mount. It’s designed for the 1/2.3″ GoPro sensor, and compatible cameras include the Ribcage Modified GoPro HERO3/3+/4/5 and Ribcage Modified Yi Technology 4K. It can also be attached to Ribcage Modified CS/C-Mount cameras via optional adapters. The lens supports up to 16MP resolution on 1/2.3″ sensors and is built with special optics that make it rectilinear, so it’s capable of shooting ultra-sharp 4K video with no fisheye distortion and with edge-to-edge sharpness. It’s suitable for general applications, as well as for use on gimbals and drones. Infrared (IR) capable.

5.4mm M12 Lens for Back-Bone Modified GoPro

5.4mm M12 Infrared Lens for Back-Bone Modified GoPro

The Back-Bone Gear 5.4mm 10MP M12 Mount Lens fits any Back-Bone Gear Ribcage Modified action camera with an M12 mount. It’s designed for the 1/2.3″” GoPro sensor, and compatible cameras include the Ribcage Modified GoPro HERO3/3+/4/5 and Ribcage Modified Yi Technology 4K. It can also be attached to Ribcage Modified CS/C-Mount cameras via optional adapters. The lens supports up to 10MP resolution on 1/2.3″ sensors and is built with special optics that make it rectilinear, so it’s capable of shooting ultra-sharp 4K video with no fisheye distortion and with edge-to-edge sharpness. It’s suitable for general applications, as well as for use on gimbals and drones. Infrared (IR) capable.

5.4mm M12 Lens for Back-Bone Modified GoPro

5.4mm M12 Lens for Back-Bone Modified GoPro

The Back-Bone Gear 5.4mm 10MP M12 Mount Lens fits any Back-Bone Gear Ribcage Modified action camera with an M12 mount. It’s designed for the 1/2.3″ GoPro sensor, and compatible cameras include the Ribcage Modified GoPro HERO3/3+/4/5 and Ribcage Modified Yi Technology 4K. It can also be attached to Ribcage Modified CS/C-Mount cameras via optional adapters. The lens supports up to 10MP resolution on 1/2.3″ sensors and is built with special optics that make it rectilinear, so it’s capable of shooting ultra-sharp 4K video with no fisheye distortion and with edge-to-edge sharpness. It’s suitable for general applications, as well as for use on gimbals and drones.

Azure Photonics 6.5MM F1.4 Lens

Azure Photonics 6.5MM F1.4 Lens (C Mount)

The AZURE-0614MLM is compatible (out of the box) with the Blackmagic Pocket Cinema Camera (by also using a M4/3 to C-Mount adapter).  Additional spacers / shims might also be needed for setting fine focus at infinity when using with BMPCC.  This lens is a 2 megapixel rated, manual focus, C-Mount lens with a Minimum Object Distance (M.O.D.) of 150mm and a focal length of 6.5mm. It has dimensions of 46 x 43.97mm and weighs 130g. 

Computar 8mm F1.4 2/3″ Fixed Lens (C Mount)

Computar 8mm F1.4 2/3″ Fixed Lens (C Mount)

The M0814-MP2 2/3″ Fixed Lens from Computar is designed and usually used for monitoring factory automation and image processing units, but in the world of POV it is a great tool to have in your cabinet because of its compact design at 1.32 x 1.11″ (Ø33.5 x 28.2mm). It features an 8mm focal length, and is compatible with C-mount megapixel cameras that have 2/3” format sensors. This lens facilitates easy focal length adjustments without having to move the camera from its installation point. Moreover, with an aperture of f/1.4 to 16C, the lens is suitable for hidden cameras and surveillance in low light as well as brightly lit conditions. There is a manual iris and focus with locking set screws for holding them in place.

Computar 16mm F2.0 Fixed Lens

Computar 16mm F2.0 Fixed Lens (C Mount)

The C-Mount 16mm Fixed Focal Lens from Computar captures images in 8.8 x 6.6mm (Ø11mm) format, and it features manual zoom and iris control. It is compatible with 2/3″ 5MP cameras and uses a C-mount for mounting to your camera. This lens is know for its low distortion, high relative illumination rate and floating design. It also has locking set screws for focus and iris. 

Fujinon 2.8mm F2.2 TF2.8DA-8 1/3" CCD Fixed Lens (C Mount)

Fujinon 2.8mm F2.2 TF2.8DA-8 1/3″ CCD Fixed Lens (C Mount)

The Fujinon TF2.8DA-8 is a very high quality C-mount lens designed for the toughest industrial environments. It is a fixed wide angle 2.8mm with a maximum aperture of f/2.2. It shows a horizontal 89°. All functions, iris and focus, are manually controlled. In robotics and machine vision uses the lens can resolve enough detail for the highest grade of 3-CCD cameras. It can close-focus down to about 4″.

Fujinon 4mm F2.2 TF4DA-8 1/3" CCD Fixed Lens (C Mount)

Fujinon 4mm F2.2 TF4DA-8 1/3″ CCD Fixed Lens (C Mount)

The Fujinon TF4DA-8 4mm f/2.2 C-Mount Wide Angle Lens for 1/3-Inch 3-CCD Industrial Cameras, with Manual Iris and Focus. The Fujinon TF4DA-8 is a high quality fixed focal length industrial lens designed for the highest quality 3-CCD cameras. It will deilver superior images for special monitoring applications where color, contrast and resolution are all critical. The 4mm fixed focal length produces a wide angle 61° horizontal view. Even though the lens itself is light weight it has been engineered and constructed for complex, even difficult monitoring environments. This is a manual iris and manual focus lens. The TF4DA-8 is a multi-element design industrial lens suitable for high resolution and 3-CCD cameras.

Fujinon 8mm F2.2 TF8DA-8 1/3″ CCD Fixed Lens (C Mount)

Fujinon 8mm F2.2 TF8DA-8 1/3″ CCD Fixed Lens (C Mount)

Fujinon’s TF8DA-8 8mm f/2.2 C-Mount Lens has an 8mm fixed focal length, and manual iris and focus controls. This lens is intended for use with three-chip color (3CCD) C-Mount cameras, and comes with locking screws to keep the focus from shifting in high vibration environments such as a factory floor. The 1/3″ CCD sensor produces clear, low-noise images, making it a suitable choice for surveillance applications where high resolution, color, and contrast are critical. Its durable, metal construction makes it appropriate for challenging environments. 

Kowa 4mm F1.8 LM4NC3 1/2″ 3 CCD Lens (C Mount)

Kowa 4mm F1.8 LM4NC3 1/2″ 3 CCD Lens (C Mount)

This Kowa 4mm F1.8 LM4NC3 1/2″ 3 CCD C-Mount Lens is a great compact lens to use when space is tight like POV or hidden camera shoots. It is ideal for Megapixel Cameras as is assists cameras in producing large, high resolution images. It’s excellent corner brightness ensures no fading along the edges of the image. Iowa’s innovative and compact design solves distortion issues. Low chromatic aberration reduces color distortion rings along edges of image, thus reproducing a more accurate reproduction of the surrounding environment. This lens is used with 1/2″ and 1/3″ 3CCD C-mount cameras but suitable for single chip cameras. 

Kowa 5mm F1.8 2/3" Fixed Lens (C Mount)

Kowa 5mm F1.8 2/3″ Fixed Lens (C Mount)

The C-Mount 5mm f/1.8-16 2/3″ 10MP JC10M Series Fixed Lens from Kowa provides 200 lp/mm resolution (center) and low distortion in order to maximize performance for high-end applications. Incorporating Kowa’s broadband coating and floating mechanism design, the JC10M series lens reduces chromatic aberration virtually eliminates optical aberrations from close range to infinity and maintains high transmission over a wide light range. This lens has a focal length of 5mm and aperture range of f/1.8-16 and wide-band multi-coating effectively reduces glare and refraction. This high-precision aspherical lens reduces distortion and produces a high-definition picture that you will love. 

Kowa 6mm F1.8 1" HC Series Fixed Lens (C Mount)

Kowa 6mm F1.8 1″ HC Series Fixed Lens (C Mount)

This C-Mount 6mm f/1.8-16 1″ HC Series Fixed Lens from Kowa is designed for use with 1″ sensor cameras in CCTV, machine vision, and factory automation applications. The focal length of this lens is 6mm, and the aperture range starts at f/1.8 and will stop down to f/16. The lens offers low distortion and a fast aperture in a small chassis, thereby making it suitable for smaller format cameras. Helps 1″ sensor cameras capture crisp and clear images at high resolutions. Lightweight and compact design makes it suitable for a wide variety of applications, such as machine vision and factory automation. Ensures corner brightness with no fading along the edges of the image. Low distortion helps achieve accurate image reproduction.

Kowa 8.5mm F2.8 Prominar MFT Lens (C Mount)

Kowa 8.5mm F2.8 Prominar MFT Lens (C Mount)

The Kowa Prominar MFT 8.5mm Lens, in black, is a super wide angle manual focus lens for the Micro Four Thirds sensor format. Compact, stylish, and featuring advanced optics and Japanese construction drawing on 60+ years of Kowa’s optical heritage, the lens is a suitable choice for sophisticated MFT cameras such as the Panasonic GH5. It features a 9-blade circular iris with f/2.8 and T3.0 maximum aperture and T-stop, and is designed with 17 lens elements in 14 groups. It is a fully multi-coated XD lens (extra-low dispersion glass) that can help you achieve reduced chromatic aberration.

Olympus 9mm F8.0 Fisheye Lens (MFT Mount)

Olympus 9mm F8.0 Fisheye Lens (MFT Mount)

Distinguished by its ultra slim form factor, the Fisheye Body Cap 9mm f/8 Lens from Olympus is a unique 18mm equivalent lens for Micro Four Thirds mirrorless cameras. As its name suggests, the 0.5″-thin lens resembles a camera’s body cap for a sleek overall profile. Despite its small size, the lens features a pair of aspherical elements to help achieve notable sharpness and well-controlled distortion. This unique 9mm f/8 fisheye lens offers an 18mm equivalent focal length, and an expansive 140° angle of view. Manual focus lever can be set to the Deep Focus position for working with distant subjects, or to the Close-Up position for working with subjects as close as 7.9″ away.

Olympus M.Zuiko 12mm F2.0 Lens (MFT Mount)

Olympus M.Zuiko 12mm F2.0 Lens (MFT Mount)

A compact wide-angle prime with intuitive handling and an advanced optical design, the black M.Zuiko Digital ED 12mm f/2 from Olympus is a 24mm equivalent lens for Micro Four Thirds mirrorless cameras. The wide focal length pairs with the bright f/2 maximum aperture to benefit available light shooting as well as astrophotography applications. The lens’s optical design makes use of one aspherical element, one DSA (Double Super Aspherical) element, and a Super HR (high refractive index) element to reduce spherical aberrations and control distortion for notable sharpness, and one extra-low dispersion element reduces color fringing for high clarity and color accuracy. Additionally, the lens is characterized by its Movie & Still Compatible autofocus system for quick and quiet performance.

Panasonic Lumix G 14mm F2.5 F2.5 Aspherical Lens (MFT Mount)

Panasonic Lumix G 14mm F2.5 Aspherical Lens (MFT Mount)

A great advantage of Micro Four Thirds cameras is their small size and weight, but to maintain that advantage, you need small, light lenses. This wide-angle Panasonic Lumix G 14mm f/2.5 ASPH Lens (28mm equivalent in 35mm) is about as small and light as you can get in this format–it has a diameter of just 2.19″, length of 0.81″ (from the tip of the lens to the base side of the lens mount) and it weighs a mere 1.94 oz. And what a lens! It features 6 elements in 5 groups, including 3 aspherical lenses, a fast f/2.5 maximum aperture, and uses 7 diaphragm blades to form a circular aperture diaphragm. It has an angle of view of 75° and focuses to 7″ (18 cm). This lens is compatible with Lumix G Micro Four Thirds cameras.

Rokinon 7.5mm F3.5 Fisheye Lens (MFT Mount)

Rokinon 7.5mm F3.5 Fisheye Lens (MFT Mount)

The 7.5mm f/3.5 Ultra Wide-Angle Fisheye Lens for Micro 4/3 (Black) from Rokinon gives you a 180° view with dramatic, exaggerated perspective when used with a Micro 4/3 camera. With hybrid aspherical lenses and a multi-layer coating, you’ll be able to produce sharply defined images with a minimum of flare and ghosting. This compact and lightweight manual focus 7.5mm lens focuses as close as 4″ (10.16 cm) from the lens for even more dramatic effects. This lens has a built-in petal lens hood.A favorite for filmmakers using the Panasonic GH5s, Black Magic Pocket Cinema 4k Camera, Black Magic Micro Cinema Cameras and Black Magic Micro Studio 4k Camera.

Rokinon 10mm F2.8 Lens MTF Mount

Rokinon 10mm F2.8 Lens (MTF Mount)

The Micro Four Thirds mount Rokinon 10mm f/2.8 ED AS NCS CS Lens is a prime wide-angle lens designed specifically for use with Micro Four Thirds sized image sensors. Providing a 35mm-equivalent focal length of 20mm and a broad 93.4° angle of view, this lens is ideally suited for interior, architectural, and landscape photography applications. One extra-low dispersion element and two aspherical elements have been incorporated into the optical design to minimize chromatic aberrations and distortion in order to produce sharper images. Additionally, a Nano Coating System (NCS) has been applied to the lens elements in order to reduce surface reflections and prevent lens flare and ghosting for improved light transmission and more contrast-rich imagery.

SLR Magic 8mm F4 Lens (MFT Mount)

SLR Magic 8mm F4 Lens (MFT Mount)

Ultra wide and ultra lightweight at just 3.9 oz, the 8mm f/4 Lens from SLR Magic can easily find a home on your drone or gimbal stabilizer. This lens offers a 16mm equivalent focal length with minimal distortion and high sharpness, ideal for vast landscapes, tight interiors, and architectural work. Also, it has an f/4 aperture that allows for the lens to remain extremely compact. Operation is simplified and optimized for remote camera work, including manual aperture and focus along with a locking screw to avoid any accidental focus shifts during your shoot. The lens uses a 7-blade aperture diaphragm for smooth bokeh and offers a 43mm front thread for accessories, such as an optional hood or the included 52mm filter adapter.  

Venus Optics Laowa 7.5mm F2 Lens (MFT Mount)

Venus Optics Laowa 7.5mm F2 Lens (MFT Mount)

A super wide rectilinear lens for Micro Four Thirds, the black Laowa 7.5mm f/2 MFT from Venus Optics is a compact and versatile prime that is well-suited to astrophotography and other wide-angle subjects. Beyond its small form factor, this lens also features a notable optical design that incorporates two aspherical elements and three extra-low dispersion elements to control distortion and aberrations for improved clarity and sharpness. A Frog Eye Coating has also been applied to the front element to guard against water and dust, and the lens’s manual focus design permits working with subjects as close 4.7″ away. A favorite for filmmakers using the Panasonic GH5s, Black Magic Pocket Cinema 4k Camera, Black Magic Micro Cinema Cameras and Black Magic Micro Studio 4k Camera.

Voigtlander Nokton 10.5mm F0.95 Lens (MFT Mount)

Voigtlander Nokton 10.5mm F0.95 Lens (MFT Mount)

With a 21mm equivalent focal length and an extremely fast f/0.95 maximum aperture, the Nokton 10.5mm f/0.95 Lens from Voigtlander offers Micro Four Thirds users a wide-angle lens well-suited for low-light still photography and video. The lens utilizes a pair of aspherical elements to reduce aberrations and distortions, as well as maintain a compact form factor. This manual focus, manual exposure prime lens also features the Selective Aperture Control System, which permits switching between a stepless, de-clicked aperture selection method and a traditional aperture control method with click stops. A favorite for filmmakers using the Panasonic GH5s, Black Magic Pocket Cinema 4k Camera, Black Magic Micro Cinema Cameras and Black Magic Micro Studio 4k Camera.

Voigtlander Super Wide-Heliar 15mm F4.5 Aspherical Lens (M Mount)

Voigtlander Super Wide-Heliar 15mm F4.5 Aspherical Lens (M Mount)

Realizing a truly wide perspective, the Super Wide-Heliar 15mm f/4.5 Aspherical III Lens from Voigtlander features an updated design that is enhanced for use on mirrorless digital cameras as well as classic M-mount rangefinder film cameras. The 11-elements-in-9-groups optical design incorporates one rear aspherical element to control chromatic aberrations and minimize distortion, and also helps to produce consistent peripheral illumination void of color fringing. The manual focus design affords a minimum focusing distance of 1.6′, which pairs with the wide depth of field for sharp imaging from near to far. Rounding out this versatile, super-wide optic is an integrated lens hood to reduce lens flare and ghosting, rounded 10-blade diaphragm, and the ability to accept 58mm screw-in filters.

Voigtlander Color-Skopar 21mm F4.0 P Lens (Leica M Mount)

Voigtlander Color-Skopar 21mm F4.0 P Lens (M Mount)

Characterized by its especially thin pancake profile, the Color-Skopar 21mm f/4 P from Voigtlander is an ultra-wide prime designed for M-mount rangefinder cameras. Its slim stature makes it ideal for everyday walk-around use, and the expansive field of view is well-suited to architectural and interior subjects. The manual focus design permits working with subjects as close as 1.6′ away, and a removable lens hood is included to shield the front lens element to minimize flare and ghosting. Slim, 1″-thick pancake profile makes this lens especially inconspicuous and portable. Removable lens hood helps to prevent lens flare and ghosting for increased contrast and color fidelity when working in strongly lit conditions.

Voigtlander Nokton 25mm F0.95 Lens (MFT Mount)

Voigtlander Nokton 25mm F0.95 Lens (MFT Mount)

The Voigtlander Nokton 25mm f/0.95 Type II Lens for Micro Four Thirds is a bright, fast normal-length lens that provides a 35mm-equivalent focal length of 50mm when used on Micro Four Thirds Cameras. This manual focus, manual exposure prime lenses utilizes a Selective Aperture Control System, which permits switching between a stepless, de-clicked aperture selection method or a traditional aperture control method with click stops. When set to the stepless setting, silent and smooth exposure adjustments can be made that are especially beneficial when recording video. A favorite for filmmakers using the Panasonic GH4, GH5, and GH5s; as well as the Black Magic Pocket Cinema Camera, Black Magic Micro Cinema and Black Magic Micro Studio 4k Camera.

POV Zoom Lenses

Arecont Vision 4.5-10mm F1.8 UHD45-10 1/2.3" Lens (CS Mount)

Arecont Vision 4.5-10mm F1.8 UHD45-10 1/2.3″ Lens (CS Mount)

The Ultra HD Series CS-Mount 4.5-10mm Varifocal Lens from Arecont Vision is designed for 1/2.3″ format cameras to provide up to a 75.7° field of view. The lens is compatible with Arecont Vision 5 to 10MP MegaVideo Series cameras and features higher sharpness, lower distortion, and less chromatic aberration to help the camera produce clear images. We can help show you how this tiny lens can make a huge difference in your next POV or car rig shoot, give us a call! 

Computar 4.5-13.2mm F1.8 Manual Lens (CS Mount)

Computar 4.5-13.2mm F1.8 Manual Lens (CS Mount)

Capture clear and sharp images day and night with the HD Megapixel 5 MP, 4.5-13.2mm F1.8 Varifocal, manual-iris lens from Computar. Designed for use with CS-Mount cameras, this IR-corrected lens produces detailed and low-noise imagery from bright to dimly lit settings. The lens’ manual iris transitions smoothly between a focal range of 4.5 to 13.2mm to capture people and objects both near and far. This wide-angle lens is designed for low-light environments and is great for hidden camera shoots, surveillance cameras and POV shoots. We are experts when it comes to rigging these small cameras so let us know how we can help!

Kowa 4.4-11mm F1.6 LMVZ4411 1/1.8" Lens (C Mount)

Kowa 4.4-11mm F1.6 LMVZ4411 1/1.8″ Lens (C Mount)

The LM12SC C-Mount 12mm Fixed Focus Lens from Kowa is designed for use with 1/1.8″ sensors and is one of our favorite go to lenses for our POV and car rigs. This lens has a varifocal length of 4.4-11mm and an aperture range of f/1.6 to 16. It is equipped with a strong, durable metal body and locking screws for iris and focus. The low distortion lens can be used in a variety of machine vision, surveillance cameras, as well as robotics applications where high resolution is required. This lens is compatible with cameras that have a 2MP resolution or above and we love to use it with a variety of POV cameras where space and quality are both a premium.

Olympus M.Zuiko 7-14mm F2.8 PRO Lens (MFT Mount)

Olympus M.Zuiko 7-14mm F2.8 PRO Lens (MFT Mount)

A versatile wide-angle zoom for Micro Four Thirds mirrorless cameras, the M.Zuiko Digital ED 7-14mm f/2.8 PRO from Olympus is a 14-28mm equivalent lens featuring a constant f/2.8 maximum aperture for consistent performance throughout the zoom range. A suite of aspherical, extra-low dispersion, and high-refractive index elements are featured within the optical design, and help to minimize spherical and chromatic aberrations throughout the zoom range for increased clarity and sharpness. A weather-resistant design benefits handling in trying conditions while an L-Fn button offers lens-based control over various settings. Additionally, a Movie & Still Compatible autofocus system achieves fast, smooth, and silent focusing performance to benefit both photo and video applications.

Olympus 9-18mm 1.4-5.6 MFT Lens

Olympus 9-18mm 1.4-5.6 Lens (MFT Mount)

A versatile and compact wide-angle zoom, the M.Zuiko Digital ED 9-18mm f/4-5.6 Lens from Olympus is an 18-36mm equivalent lens for Micro Four Thirds mirrorless cameras. The advanced optical lens design realizes a sleek form factor while maintaining consistent sharpness and illumination throughout the zoom range. Two Dual Super Aspherical elements, one aspherical element, and a high refractive index element control spherical aberrations and distortion for sharpness and resolution, and one extra-low dispersion element reduces chromatic aberrations throughout the zoom range for high clarity and color accuracy. The lens is also characterized by its Move & Still Compatible autofocus system that is quick, quiet, and smooth to suit both photo and video shooting applications.

Olympus M.Zuiko 14-42mm F3.5-5.6 Lens (MFT Mount)

Olympus M.Zuiko 14-42mm F3.5-5.6 Lens (MFT Mount)

Distinguished by its slim pancake form factor, the black M.Zuiko Digital ED 14-42mm f/3.5-5.6 EZ from Olympus is a versatile 28-84mm equivalent zoom designed for Micro Four Thirds mirrorless cameras. Despite its compact profile, this lens includes an advanced optical design, which includes aspherical, low dispersion, and high refractive index elements to achieve a high degree of sharpness and clarity throughout the zoom range. A ZERO coating has also been applied to individual elements to suppress flare and ghosting for high contrast, color-accurate imagery. In addition to the optical design and small size, the lens is also characterized by its Electronic Zoom mechanism, for smooth and constant zoom movements. 

Olympus M.Zuiko 75-300mm F4.8-6.7 Digital Zoom Lens (MFT Mount)

Olympus M.Zuiko 75-300mm F4.8-6.7 Digital Zoom Lens (MFT Mount)

A versatile and relatively compact telephoto zoom, the M.Zuiko Digital ED 75-300mm f/4.8-6.7 II from Olympus is a 150-600mm equivalent lens for Micro Four Thirds mirrorless cameras. The optical design makes use of three low dispersion elements and three high refractive index elements to control both chromatic and spherical aberrations for a high degree of clarity and sharpness throughout the zoom range. A Zero coating has also been applied to help reduce lens flare and ghosting for greater contrast and color fidelity when working in strong lighting conditions. Additionally, this lens utilizes a Movie & Stills Compatible AF system to achieve smooth, fast, and near-silent focusing performance to benefit both photo and movie applications.

Panasonic Lumix G Vario 7-14mm F4 Aspherical Lens (MFT Mount)

Panasonic Lumix G Vario 7-14mm F4 Aspherical Lens (MFT Mount)

Spanning a useful range of wide-angle focal lengths, the Lumix G Vario 7-14mm f/4 ASPH. from Panasonic is a versatile wide zoom for Micro Four Thirds cameras, and offers a 14-28mm equivalent focal length. Well-suited for landscape, nature, and architectural applications, the wide field of view is complemented by a constant f/4 maximum aperture for consistent illumination throughout the zoom range. The optical design makes use of low dispersion and aspherical glass elements to control a variety of aberrations and color fringing for notable sharpness, clarity, and color accuracy, and individual elements are also multi-coated to control flare and ghosting for improved contrast. Additionally, the lens features a built-in petal-shaped lens hood to guard the front element from stray light to further reduce flaring and surface reflections.

Panasonic Lumix G X Vario 12-35mm II F2.8 Aspherical Lens (MFT Mount)

Panasonic Lumix G X Vario 12-35mm II F2.8 Aspherical Lens (MFT Mount)

A versatile zoom covering wide-angle to portrait-length perspectives, the Lumix G X Vario 12-35mm f/2.8 II ASPH. POWER O.I.S. Lens from Panasonic is designed for Micro Four Thirds cameras, where it provides a convenient 24-70mm equivalent focal length range. A constant f/2.8 maximum aperture affords consistent performance throughout the zoom range, and benefits working in difficult lighting conditions as well as enables greater control over depth of field. A POWER Optical Image Stabilizer minimizes the appearance of camera shake to suit handheld shooting, and this O.I.S. system is also compatible with Dual I.S. for enhanced stabilization performance. Additionally, the lens also features a durable all-metal housing that is dust, splash, and freezeproof to enable its use in harsh climates.

Panasonic Lumix G Vario 14-42mm Aspherical Lens (MFT Mount)

Panasonic Lumix G Vario 14-42mm Aspherical Lens (MFT Mount)

Featuring a slim, lightweight design, the Panasonic Lumix G Vario 14-42mm f/3.5-5.6 II ASPH. MEGA O.I.S. Lens is a standard zoom, offering a 28-84mm equivalent focal length range, for Micro Four Thirds mirrorless cameras. The lens construction incorporates a pair of aspherical elements, which help to reduce chromatic and spherical aberrations throughout the zoom range for increased clarity and sharpness. This updated model also features MEGA O.I.S. (Optical Image Stabilization) to minimize the appearance of camera shake for sharper handheld shooting. This system is also compatible with Lumix cameras featuring the Dual I.S. feature that pairs in-body and lens-based stabilization methods for comprehensive shake compensation to support stills shooting and movie recording in low-light and other challenging conditions.

Panasonic Lumix G X Vario 35-100mm F2.8 Aspherical Lens (MFT Mount)

Panasonic Lumix G X Vario 35-100mm F2.8 Aspherical Lens (MFT Mount)

Spanning 70-200mm equivalent focal length range, the Lumix G X Vario 35-100mm f/2.8 II Power O.I.S. Lens from Panasonic is a telephoto zoom designed for Micro Four Thirds mirrorless cameras. Working with the versatile portrait-length to telephoto focal length range is a constant f/2.8 maximum aperture that works in a variety of lighting conditions. A pair of extra-low dispersion elements and one Ultra extra-low dispersion element are featured to reduce fringing and chromatic aberrations, and a Nano Surface Coating has also been applied to suppress ghosting and flare for improved contrast and color fidelity. Complementing the advanced optical design, this lens also features a Power Optical Image Stabilizer, compatible with Dual I.S. and a linear autofocus motor that offers quick, quiet, and near-silent focusing performance.

Panasonic Lumix G Vario 45-200mm F/4-5.6 Lens (MFT Mount)

Panasonic Lumix G Vario 45-200mm F/4-5.6 Lens (MFT Mount)

The Panasonic 45-200mm f/4-5.6 G Vario Mega O.I.S. Lens is an interchangeable long telephoto zoom lens, developed by Leica exclusively for Panasonic Lumix digital micro four-thirds cameras. It follows the ultra-compact Micro Four Thirds Standard, which also makes it compatible with other brands that use this same format. The focal length of this lens is equivalent to approximately 90-400mm in 35mm format terms. By incorporating the Mega O.I.S. (Optical Image Stabilizer) feature and 3 ED elements, this lens makes it possible to capture clear, sharp images, edge to edge, even in macro shooting or low-lit situations. This provides users with a wide range of shooting flexibility.

DSLR Fixed Focal Length

Canon EF 14mm f/2.8L II USM Lens

Canon EF 14mm f/2.8L II USM Lens

Ultra-wide angle lenses have always been in demand by architectural, corporate, and other top pro photographers. This new lens features completely redesigned optics including 2 high-precision Aspherical elements and two totally new UD-glass elements. The result is superior image quality: better contrast and sharpness at the outer edges, and a reduction in chromatic aberrations that can sometimes be seen with high-resolution digital SLRs. Its diagonal angle of view is an impressive 114°-anything larger would be a Fisheye lens. It has a built-in lens hood, and has been dust- and moisture- proofed. The lens uses a rear focusing system, high-speed CPU, and a powerful ring-type USM with revised electronics for faster, more responsive AF. This lens continues the proud tradition of superior clarity optics found in L-series Canon lenses.

Canon TS-E 17mm F4 L Tilt Shift Lens

Canon TS-E 17mm F4 L Tilt Shift Lens (EF Mount)

The widest tilt-shift lens in Canon’s lineup, the new TS-E 17mm f/4L lens expands shooting possibilities exponentially on EOS Digital cameras. Designed with UD glass to minimize and compensate for chromatic aberrations, with a specially coated aspherical element for the highest possible glare-free image quality, this tilt-shift lens offers a diagonal angle of view of 104° on a full-frame SLR camera. New TS rotation lets users freely combine tilting and shifting within the range of +/- 90° in the direction of movement. The lens also has an improved tilt & shift knob with an enhanced range of movement of up to +/- 6.5° and 12mm respectively, with a revolving function for better operability. It uses a circular aperture for beautiful out-of-focus areas and has an SWC lens coating to control ghosting and flare.

The EF 50mm f/1.2L USM is a peerless new standard lens featuring an ultra-large aperture for a narrow depth of field and soft background blur so loved by photographers everywhere. The EF 50mm f/1.2L USM is suitable for any shooting situation; its lens coating and construction are optimized to minimize the ghosting and flare that frequently occurs when lenses are used with digital cameras. This high-performance, weather-resistant lens delivers all the superb image resolution and contrast you expect in a Canon L Series Lens.

Canon EF 24mm F1.4 L USM Lens

Blending a favored wide-angle focal length with a bright maximum aperture, the EF 24mm f/1.4L II USM is a Canon L-series lens characterized by a robust physical construction and sophisticated optical design. Two ultra-low dispersion elements help to control chromatic aberrations and color fringing while a pair of aspherical elements reduce spherical aberrations and distortion for high sharpness and clarity. Besides the optical attributes, this lens is also distinguished by its fast f/1.4 maximum aperture to benefit working in low-light conditions for controlling depth of field. Additionally, this lens sports a ring-type USM for quick and quiet autofocus performance and full-time manual focus override, and an internal floating focus mechanism also helps to maintain consistent image quality throughout the entire focusing range.

Canon TS-E 24mm F3.5 L Tilt Shift Lens

Canon TS-E 24mm F3.5 L Tilt Shift Lens (EF Mount)

A superb refinement to a true Canon classic, the new TS-E 24mm f/3.5L II offers enhanced functionality and image quality in its most popular tilt-shift focal length. Designed with UD glass to minimize and compensate for chromatic aberrations and a specially coated aspherical element for the highest possible glare-free image quality, this tilt-shift lens features an angle of view of 84° on a full-frame camera. New TS rotation lets users freely combine tilting and shifting within the range of +/- 90° in the direction of movement. The Tilt function has an enhanced range of movement of up to +/- 8.5°, a revolving construction for both portrait and landscape shooting modes, locking tilt and shift knobs, uses a circular aperture for beautiful out-of-focus areas, and is constructed using only lead-free glass and has an SWC lens coating that controls ghosting and flare.

Canon TS-E 45mm F2.8 Tilt Shift Lens

Canon TS-E 45mm F2.8 Tilt Shift Lens (EF Mount)

Mixing a normal field of view with perspective- and depth of field control, the TS-E 45mm f/2.8 from Canonis a tilt-shift lens well-suited to producing well-corrected imagery with a natural perspective. Up to +/- 8° of tilt is possible, for focus control, and +/- 11mm of shift, to adjust perspective and composition. The tilt-shift mechanism can be rotated +/- 90° for applying movements in any direction, and a tilt-locking mechanism can be used while shooting for greater stability. The lens also employs a floating optical system and rear focusing design to maintain image quality throughout the focusing range and a Super Spectra coating has been applied to individual element to reduce flare and ghosting for increased contrast and color accuracy.

The EF 50mm f/1.2L USM is a peerless new standard lens featuring an ultra-large aperture for a narrow depth of field and soft background blur so loved by photographers everywhere. The EF 50mm f/1.2L USM is suitable for any shooting situation; its lens coating and construction are optimized to minimize the ghosting and flare that frequently occurs when lenses are used with digital cameras. This high-performance, weather-resistant lens delivers all the superb image resolution and contrast you expect in a Canon L Series Lens.

Canon EF 50mm F1.2 L USM Lens

Clearly distinguished by its bright maximum aperture, the Canon EF 50mm f/1.2L USM is a normal-length L-series prime also sporting a robust physical design and advanced optical layout. The impressively fast f/1.2 maximum aperture affords a great degree of control over depth of field for isolating subjects and producing desirable selective focus effects. Complementing these qualities is a sophisticated optical composition, which includes one aspherical element to suppress spherical aberrations in order to achieve notable sharpness and clarity. A Super Spectra coating has also been applied to limit flare and ghosting and promote greater contrast and color accuracy in a variety of lighting conditions. Complementing the imaging attributes, a ring-type USM is employed to deliver quick and quiet autofocus performance along with full-time manual focus control. 

Canon EF 50mm F1.8 Lens

Canon EF 50mm F1.8 Lens

Canon’s most compact 50mm lens, the EF 50mm f/1.8 STM has a rugged metal mount, plus an improved minimum focusing distance of 1.15 ft. (0.35m) and a maximum magnification of 0.21x. Offering sharp performance for the best in movies and stills, it’s a fixed focal length gem-the perfect lens for photographers and moviemakers to expand the creative possibilities with their EOS cameras. With an 80mm effective focal-length on APS-C cameras, 50mm on full-frame cameras, it’s an excellent prime lens for portraits, action, even nighttime photography. Its bright maximum aperture of f/1.8 helps it not only to excel in low light, but also to capture gorgeous, sharp images and movies with beautiful background blur thanks to its circular 7-blade design. An updated lens arrangement with new lens coatings helps render images with excellent color balance, plus minimized ghosting and flare.  

Canon EF 50mm F2.5 Compact Macro Lens

Canon EF 50mm F2.5 Compact Macro Lens

A superior-performance lens offering excellent optics and focusing from infinity down to one-half life size (0.5x). Its nine-element design features a floating optical system, which ensures top-notch performance even at close focusing distances. Light and compact, it functions beautifully as a general-purpose normal lens. The optional accessory Life Size Converter EF enables focusing down to life size (1:1), and actually increases working distance – very desirable in close-up shooting. This 50mm Compact-Macro works great for everything for which you’d use a 50mm fixed normal lens, and it focuses super-close for macro shots with no fiddling required. It uses a complex 9-element floating-element design for no distortion and intense sharpness at every distance. This 50mm f/2.5 has exceptionally good optics, in an inexpensive, small and handy package.

Canon EF 85mm F1.2 L USM Lens

Canon EF 85mm F1.2 L USM Lens

Canon’s EF 85mm F1.2 L USM Lens will impress with its impressive optical performance and large aperture. Open the 85 f/1.2L up and watch the background disappear. The result is very a very dreamy feel with all background distractions gone. Keep in mind – the DOF (depth of field) is razor thin at f1.2. Unless you are far from your subject, you must hit your focus perfectly. Shooting handheld at lower ISO settings, or just very low light conditions, is accomplishable at this focal length when using the 85 f/1.2 L. The Canon EF 85mm f/1.2L USM Lens is very, very sharp. Even at f/1.2, the 85 f/1.2L is sharp and it gets even sharper when stopped down a small amount. Call us to learn more about this lens and how we can help you get geared up for your next shoot. 

Canon EF 200mm f/2.8L-II (USM) Auto Focus Telephoto Lens

Canon EF 200mm f/2.8L-II (USM) Auto Focus Telephoto Lens

Mixing a short-telephoto focal length with a bright maximum aperture, the EF 85mm f/1.2L II USM is a Canon L-series lens well-suited for portraiture. The impressively fast f/1.2 maximum aperture affords a great degree of control over depth of field for isolating subjects and producing desirable selective focus effects. Complementing these qualities is a sophisticated design that includes one aspherical element to suppress spherical aberrations and notable sharpness and clarity, and a floating optical system is used that maintains image quality throughout the focusing range. A Super Spectra coating has also been applied to limit flare and ghosting and promote greater contrast and color accuracy in a variety of lighting conditions. Complementing the imaging attributes, a ring-type USM is employed to deliver quick and quiet autofocus performance along with full-time manual focus control.

Rokinon 8mm T3.8 Fisheye EF Lens (EF Mount)

Rokinon 8mm T3.8 Fisheye EF Lens (EF Mount)

The Canon EF mount Rokinon 8mm T3.8 Cine UMC Fisheye CS II Lens was developed primarily for film and video applications. The cine version of Rokinon’s 8mm lens features industry-standard gearing for the focus and aperture ring, and the aperture ring has been de-clicked for smooth iris pulls. The aperture and focus scales have also been relocated to the side of the lens, where it is easier for focus pullers to read them. This lens is compatible with APS-C-sized sensors and provides a 35mm-equivalent focal length of 12.8mm. Its 180° angle of view makes it well-suited to creative applications. The optical construction incorporates one hybrid aspherical element to reduce chromatic aberration and distortion to produce sharper imagery.

Zeiss Distagon T F3.5 18mm ZE Lens (EF Mount)

Zeiss Distagon T F3.5 18mm ZE Lens (EF Mount)

The Zeiss Distagon T* 18mm f/3.5 ZE Wide Angle Lens is designed floating lens elements that deliver consistent high-quality over the entire distance range from 0.98′(0.3 m) to infinity. The Zeiss T* anti-reflective coating yields images with depth, contrast and brilliance even under a difficult lighting situations. Optimal color correction yields images with contrasting edges, delivered without color fringing. This ultra-wide provides the photographer with a tool that enables dramatic perspectives and creative possibilities. When combined with a digital SLR using a DX type sensor, this lens has an effective focal length of 27mm.Optimum reflection absorption for brilliant pictures even under difficult lighting conditions as well as excellent image performance over the entire image field.

Zeiss Distagon T F2 35mm ZE Lens (EF Mount)

Zeiss Distagon T F2 35mm ZE Lens (EF Mount)

Pairing manual focus precision with a versatile wide-angle perspective, the Distagon T* 35mm f/2 ZE Lens from Zeiss is an ideal all-around lens that is particularly well-suited to journalistic applications. Featuring a fast f/2 maximum aperture, this lens also excels in difficult lighting conditions and offers fine-tuned control over selective focus placement. Utilizing the Distagon optical design with floating elements and anomalous partial dispersion glass, distortion and aberrations are minimized and high sharpness is maintained edge to edge. Additionally, a Carl Zeiss T* anti-reflective coating has been applied to elements in order to suppress lens flare and ghosting for maintained contrast and clarity. The sophisticated optical design is housed within a robust all-metal lens barrel for greater durability and precision. The manual focusing ring offers dampened 113° rotation for fine-tuned control and engraved depth of field and distance scales benefit the use of pre-focusing techniques. 

Zeiss 50mm F1.4 ZE Planar T* Manual Focus Lens (EF Mount)

Zeiss 50mm F1.4 ZE Planar T Manual Focus Lens (EF Mount)

The Zeiss 50mm f/1.4 ZE Planar T* Lens is a high-speed standard lens for the exacting 35mm SLR photographer. Considered by professional photographers to be one of the world’s best SLR lenses (if not the best), this “ZE” lens is now available for the Canon EF (EOS) bayonet SLR system. All existing exposure programs (P, AV, TV, M) and the AF verification function of the camera are supported, and lens information (focal length and speed) is passed on to the camera. Certain functions that require the use of AF lenses (various subject programs, A-DEP) are partially unavailable. The Planar lens with its front-and-back symmetry was invented by Dr. Paul Rudolf and is one of the best-known Carl Zeiss T* lenses. It is remarkably effective in eliminating aberrations and possesses very high definition allowing contrast in the subject to be faithfully reproduced.

DSLR Zoom Lenses

Canon EF 16-35mm F2.8 L USM Standard Zoom Lens

Canon EF 16-35mm F2.8 L USM Standard Zoom Lens

The EF 16-35mm f/2.8L II USM is a high performance, water-resistant, and ultra wide-angle Canon L-series lens. It has been specifically designed for improved edge-to-edge image quality that will meet the strict requirements of professional and high-end amateur photographers. It features 3 high-precision aspherical lens elements, each of a different type: ground, replica and GMo for even better image quality than the original EF 16-35mm f/2.8L USM. The circular aperture produces a beautiful and natural background blur when shooting at wider apertures. Other features include internal focusing, a ring type USM (Ultra Sonic Motor), and new AF algorithms for fast and quiet autofocusing.

Canon EF-S 17-55mm F2.8 IS USM Lens

Canon EF-S 17-55mm F2.8 IS USM Standard Zoom Lens

To meet user demands for a fast EF-S zoom lens, Canon has specially designed a new lens with a large aperture of f/2.8 for select Canon Digital SLR cameras. The large circular aperture produces a shallow depth-of-field, creating background blur that draws attention to the photographic subject. The lens construction includes UD and aspherical elements, which deliver impressive image quality throughout the entire zoom range. Image Stabilizer lens groups shift to compensate for camera movement so that the image appears steady on the image plane, ensuring clear, crisp images, even in dim light. With a Ring-type USM, inner focusing and new AF algorithms, this lens achieves autofocus quickly and quietly, and with full-time mechanical manual focusing, manually adjusting the focus is possible even in AF mode.

Canon EF 24-70mm F2.8L II USM Standard Zoom Lens

Canon EF 24-70mm F2.8L II USM Standard Zoom Lens

Meeting the ever-increasing demands on image quality that digital photography brings, the redesigned EF 24-70mm f/2.8L II USM is the latest update to the acclaimed L-Series of EF optics, re-establishing a new standard for superb optics, high-end durable construction and performance in professional zoom lenses. A standard focal length zoom lens, it features a large aperture throughout its focal length. This lens utilizes 1 Super UD lens element and 2 UD lens elements that help minimize chromatic aberration in the periphery at wide-angle as well as reduced color blurring around the edges of the subject. In addition, 2 types of aspherical lenses are combined to help reduce spherical aberration over the entire image area as well as through the full zoom range. The lens is also equipped with a circular 9-blade diaphragm for beautiful, soft backgrounds. A ring-type USM and high-speed CPU with optimized AF algorithms enable silent and fast autofocusing.

Canon EF 24-105mm F4 L IS USM Standard Zoom Lens

Canon EF 24-105mm F4 L IS USM Standard Zoom Lens

This easy-to-use standard zoom lens can cover a large zoom area ranging from 24mm wide-angle to 105mm portrait-length telephoto, and its Image Stabilizer Technology steadies camera shake up to three stops. Constructed with one Super-UD glass element and three aspherical lenses, this lens minimizes chromatic aberration and distortion. The result is excellent picture quality, even at wide apertures. Canon’s ring-type USM gives silent but quick AF, along with full-time manual focus. Moreover, with dust- and moisture-resistant construction, this is a durable yet sophisticated lens that meets the demands of advanced amateur photographers and professional photographers alike.

Canon EF 70-200mm F2.8L IS II USM Standard Zoom Lens

Canon EF 70-200mm F2.8L IS II USM Standard Zoom Lens

Improving upon one of the most celebrated lenses in the Canon EF line is no easy feat, but Canon has done just that. The all-new EF 70-200mm f/2.8L IS II USM increases the speed, performance and optical quality of the EF 70-200 f/2.8L IS USM while maintaining all of the characteristics that have made it a legend for professionals and advanced amateurs alike. The EF 70-200mm f/2.8L IS II USM features one fluorite and five UD elements for increased optical quality and reduced chromatic aberration. It has a minimum focusing distance of 1.2m/3.9 ft. at all zoom settings, which is useful for photographers in smaller spaces trying to get closer to a subject. It features a next-generation Optical Image Stabilizer, providing up to 3.5 stops of correction at all focal lengths. And as with all L-series lenses, the EF 70-200mm f/2.8L IS II USM is dust- and moisture-resistant and designed for use in the challenging environments typical of rigorous professional use.

Canon EF 100-400mm f/4.5-5.6L IS II USM Standard Zoom Lens

Canon EF 100-400mm f/4.5-5.6L IS II USM Standard Zoom Lens

The EF 100-400mm f/4.5-5.6L IS II USM lens delivers a superb combination of cutting-edge performance, compact construction and brilliant resolving power that’s great for sports and wildlife photography. The lens features one fluorite and one super UD element to help provide impressive contrast and resolution with reduced chromatic aberration across the entire zoom range. Canon’s new Air Sphere Coating (ASC) helps significantly reduce backlit flaring and ghosting, while fluorine coatings on the front and rear lens surfaces help lessen smears and fingerprints. A 9-blade circular aperture renders beautiful, soft backgrounds, and a 3 mode (standard, panning and exposure only) Optical Image Stabilizer provides up to 4 steps* of image correction. The new inner focusing AF system helps ensure fast and accurate focus down to 3.2 ft. with a .31x maximum magnification. 

Tokina EF 11-16mm F2.8 DX Mark II Lens

Tokina EF 11-16mm F2.8 DX Mark II Lens (EF Mount)

The AT-X 116 PRO DX-II 11-16mm f/2.8 Lens for Canon EF by Tokina is an ultra-wide angle autofocus zoom lens with a fast constant f/2.8 maximum aperture. The AT-X 116 PRO DX-II lens is designed for digital cameras with APS-C-size CMOS or CCD sensors. Its angle of view ranges from 104-84° and it can focus as close as 11.8″. Nine diaphragm blades help to produce soft out-of-focus backgrounds while two Super-Low Dispersion glass elements and two aspheric elements help to achieve excellent contrast, sharpness and minimal chromatic aberration. As an update to their AT-X 116 PRO DX, Tokina has improved the multi-layer coatings to minimize light reflection and improve optical performance. The PRO DX-II has an internal focusing motor which is ideal if shooting video with your digital camera.

Sigma 18-35mm F1.8 Art DC HSM Lens

Sigma 18-35mm F1.8 Art DC HSM Lens

The Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon is a wide-angle to normal-length zoom lens that features a fast, bright constant f/1.8 maximum aperture. It is specifically designed for use with APS-C-sized sensors and provides a 35mm-equivalent focal length range of 28.8-56mm. The lens integrates four aspherical elements into its construction as well as five Special Low Dispersion (SLD) glass elements to help minimize various aberrations and distortions throughout the zoom range as well as provide greater image sharpness and clarity.For control of focus, a Hyper Sonic Motor (HSM) is used to ensure fast, precise, and quiet focusing capabilities that are well suited to continuous shooting and movie recording.