The world of cinema lenses is a fascinating one. It spans the hugely expensive optics used in mainstream movie and TV productions – such as those from Leitz Cine and Zeiss – to all manner of vintage lenses often picked up for a song. The latter gained in popularity after the videoenabled DSLRs started appearing, and very quickly classic 35mm SLR system manual focus prime lenses were in high demand… Nikkors, Rokkors, Super Takumars, Hexanons and Leica R mount (a very popular option). Manual focus is preferred and so is manual aperture control so it doesn’t matter that the many mount adapters are simply physical couplings. A classic Nikkor prime fitted to an EOS 5D II/III/IV body was quite a commonly-seen configuration.
The near-endless permutations in lens mount adapters that’s available today had its origins in film-makers wanting to fit any lens that they liked the look of to their video DSLRs and now, of course, mirrorless cameras. And it’s all to do with the ‘look’ as well… for example, uncoated or the early one- or two-layer anti-reflection multi-coatings result in less contrast, more muted colours and the ability to deliberately use flare for creative effects. Interestingly too, the lenses some sharpness fall-off at these extremities. In cinematography though, more softly-rendered corners – and vignetting too – can be A Good Thing in visual terms.
