The last lens in the Master Prime set, the 100mm T2.0 Master Macro is a unique piece of optical engineering, offering 1:1 magnification. Featuring the same color and contrast matching as the rest of the Master Prime set, as well as virtually zero breathing.

In partnership with ZEISS, ARRI produced the Master Prime Lenses with uncompromising image quality. The entire range of Master Primes exhibits virtually no breathing, contrast shift, or color shift between lenses and are available from 12mm to 150mm with a fast stop of T1.3.

ARRI has produced a range of Macro Prime lenses for cinema use. Each is capable of extreme close focus with the 50mm and 100mm lenses achieving 1:1 magnification. The unique ARRI design also offers an auto compensating iris function, eliminating stop loss guess work.

The Blurtar lenses are a Keslow Camera exclusive designed by our in house lens team. These single element lenses offer an intentionally soft effect for a very unique effect.

The Cooke 5/i lenses were designed to offer superb optical and mechanical performance. Offering up Cooke’s traditional “Cooke Look” at a fast T1.4, the 5/i’s exhibit little breathing and the same robust design and i/ Data lens data system as previous Cooke lenses. The 5/i’s also feature a unique illuminated focus scale, eliminating the need for an external light source when shooting in dark environments.

A low cost alternative from Cooke, the Mini S4/i’s T2.8 lenses offer similar optical properties as the Cooke S4/i’s, but in a smaller less expensive design. These are color-matched to other Cooke lenses and provide DP’s with a lower barrier to entry from a budgetary perspective without sacrificing the aesthetics that Cooke’s are known for. These lenses also feature the Cooke i/ Data protocol for delivering lens data to the camera system.

The Panchro Classics are a modern reimagining of the original Cooke Speed Panchro primes. These new lenses are based on the original lens design schematics and use modern coatings to emulate the look of their vintage predecessors. The Classics feature the same i/ Data system as many other Cooke lenses. These are a true modernization without sacrificing the look of the original Speed Panchros.

The award winning Cooke workhorse lens, the S4 & S4/i lenses exhibit superb Cooke lens characteristics, such as unique bokeh, warm pleasing skin tones, and medium contrast. Like other Cooke lenses the S4’s are color matched, and the i/ Data version allows lens metadata to be passed to the camera system without the need for external encoders.

Cooke Panchros were first introduced in the 1930’s. Known for their warm golden tone, unique bokeh, and smooth focus the Panchros have been a favorite for decades. The TLS conversion has been performed on the Panchros to improve them with new housings for modern cinematography work.

The DZOFilm PAVO 2x Anamorphics are compact Super35 anamorphics with loads of character. They exhibit pleasing focus fall off in the outer field with a slight swirl and oval shape to the bokeh that is very unique. Available in both blue flare or neutral coatings, their flares are fractal in nature with anamorphic streaking characteristics. They are all relatively small and feature uniform mechanical designs. Built with precision optics to minimize distortion and chromatic aberration, the PAVO Anamorphics are both lightweight and weather-resistant, and are available in both PL & EF mounts, making them ideal for modern production workflows.

Leitz’ new Summicron-C prime lenses are color matched to the Summilux-C lenses, designed to be used in conjunction with their more expensive big brothers. These new Leitz’s are also 30% smaller and 20% lighter than the Summilux-C Primes. Mechanically these lenses are on par with the Summilux-C’s, designed with a premium feel in mind.

Leitz’ flagship Super 35 lenses, the Summilux-C’s have become staples of the film business with their pleasing skin tones and medium contrast. They feature a fast aperture through the focal range of T1.4 and virtually no breathing. A unique focus design and use of exotic aspheric elements enable smooth focus pulls and exceptional performance in a compact package.

Vantage produced the MiniHawk lenses as the first set of Spherical Prime lenses that can be considered “Hybrid” in nature.  They feature an oval iris design to emulate anamorphic oval bokeh while still using spherical optics.  Due to this hybrid design the focal lengths printed on each lens are anamorphic equivalents.  The actual angle of view and functional spherical focal length is wider than the printed anamorphic focal length.  Spherical focal lengths are noted next to the anamorphic ones below.

Based on vintage lenses from the mid-19th century, this modern reimagining of the Petzal prime lenses offer cinematographers a unique tool to add to their toolkit. Available in 58mm EF Mount or 85mm PL Mount, the Petzvals retain their portrait lens appeal of swirling smooth bokeh and sharp center focus.

Vantage is known for anamorphic lenses, but they entered the spherical lens world with their Vantage One Prime Lenses. These lenses, named after their ultra fast t-stop of T1.0, are particularly unique when compared to most modern lenses. Wide open these primes exhibit very unique qualities, from soft edge focus to lower contrast. Simply deepen the T-Stop to attain the desired amount of aberration. These lenses are distinctly unique and well suited for low light cinematography.

Introduced by ZEISS to address the growing need for lenses in the DSLR cinema market, the Compact Primes are lightweight, small form factor lenses that do not sacrifice quality for usability. These lenses are not only sharp, clean, and high contrast, but they also allow the use of either PL or EF mount depending on the needs of the production.

ZEISS Standard Speeds arrived between 1964 and 1975. They were designed for use with Arriflex film cameras and offer a smooth pleasing image with cool color rendition and medium contrast. Many iterations have been released through the years, with the most recent models featuring standard 0.8 gearing on the focus and iris rings.

Uncoated Zeiss Standard Speeds provide a more vintage look than the normal Standard Speeds. They exhibit excess flaring and an increase in contrast loss when flared.

ZEISS Super Speeds released following the success of their Standard Speed lenses. The Super Speeds have become industry staples over the years and saw a resurgence in the early 2000’s due to their reasonable price and high T-stop of T1.3. Known for their high contrast cool image rendition the Super Speeds render a mildly muted image on today's modern digital cameras.

The uncoated version of the ZEISS Super Speed offers the same unique look of the Super Speed, but with reduced coatings for more intense flaring and a lower contrast look.

The uncoated version of the ZEISS Super Speed offers the same unique look of the Super Speed, but with reduced coatings for more intense flaring and a lower contrast look.

Introduced in 1999, the ZEISS Ultra Primes have been a workhorse in the film business since their release. Small, lightweight, durable, reliable, and aesthetically appealing, the T1.9 Ultra Primes are very versatile. These lenses are a good lower cost alternative that don’t sacrifice quality in favor of cost reduction.

The LDS Ultra Primes are optically identical to the normal Ultra Primes, but integrate ARRI’s LDS (Lens Data System) to provide lens information to the camera system. This is key for visual effects heavy productions and also a great creature comfort for any job.