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This is one of our most beautiful and unique lens sets. Until now, it was not possible to work with these lenses for motion picture use because of film camera’s spinning mirrors and the limitations of the PL mount. But thankfully modern digital cameras and the advent of the LPL mount, make it possible to work with these amazing old lenses, and the new TLS housings make them easy to work with.

At the heart of the set is the Canon 50mm f0.95 “Dream Lens,” and we have built a set of lenses around this unique lenses that share this lens character and beauty. Many 1960s Canon Rangefinder primes that share the unique characteristics of the Dream Lens. Like the Dream Lens, all the lenses in the set have their golden 1960s single-layer coatings that produce low contrast images, and beautiful amber lens flares, similar to Kowa Prominars. They have unique textured bokeh, and they are as sharp as you need a lens to be, yet very flattering.

We are excited to include our 25mm T2.1 (f1.8) and 28mm T2.1 (f1.8) in this set. There are no fast wide-angle rangefinder lenses from the 1960s to use a a donor lens for this set, so we had to make our own. The optical formula for these two lenses are an OFG recipe, never seen before for still or motion picture. The lenses match sharpness, contrast, bokeh, and flare character with the rest of the set. They have vintage single-layer coatings throughout, and are made from 100% vintage Japanese optics. Flares are BIG, they are very sharp on center, with gradual falloff out to the corners.

The lenses have been completely rehoused by TLS, featuring 110mm fronts, matching gear positions, new matte-finished 16 blade circular irises, greatly improved close focus, and LPL mounts. The reason for LPL is that the Dream Lens’ optics will not fit inside a PL mount without altering the original optical design of the lens, and therefore sacrificing what makes the lens so special. Also, to make the 25mm, 28mm, 35mm, and 40mm fit into a PL mount, sacrifices have to be made to sensor coverage. However, LPL allows TLS to retain the lenses’ original optical designs, retain their full image circle, and allow excellent close focus. It’s also a very reliable mount and it has become an industry standard.

We have LPL mounts and adapters for almost every camera system including ARRI Alexa 35, Mini LF, Mini, RED DSMC1, DSMC2, KOMODO, V-Raptor, Sony Venice, Burano, FX6, FX3, and more.

ZERO OPTIK MAMIYA 48mm T1.7

If you want to go “off menu” please ask us about our Zero Optik rehoused Mamiya 48mm T1.7 (f1.5). We had this lens rehoused as an alternative to the Canon Dream Lens 50mm T1.1 (f0.95). That lens gives 100% of its amazing character wide open. However it’s not always practical to shoot at f0.95! So if you want a lens that has very similar character but with a much more manageable f stop, the Mamiya 48mm is a great alternative. It has the same gold, single layer coatings, delivering big lens flares. It has amazing textured bokeh. It’s sharp on center with a pleasing amount of fall off, and almost no chromatic aberration. You have to look far and wide to find a lens that delivers nearly as much character as the Dream Lens, and we feel like we found it with the Mamiya 48mm.

Please note, the Mamiya has a 95mm front OD, and a PL mount. But we can proved a PL to LPL adapter if you need it.

VIDEO SAMPLES

Explore this post for more information about our all our various Canon Rangefinder lenses.