Lenses

The 16-32mm T2.8 ARRI Signature Zoom is a premium wide angle, full frame zoom lens with the beautiful Signature lens range image, minimal distortion and excellent control of breathing.

The 24-75mm T2.8 Signature Zoom from ARRI delivers a prime-lens-like image and the shooting efficiency of using a zoom. The Signature look is a modern classic - sharp where you need it to be without being harsh, combined with beautiful textures in out of focus areas of the frame. Covers full frame.

The 65-300mm T2.8 Signature Zoom from ARRI gives you the Signature look in a lens with a lot of reach. The included 1.7x extender makes this lens even more versatile, becoming a 110-510mm T4.4. The maximum aperture is constant throughout the zoom range - there is no ramping.

The acclaimed Angenieux look in a versatile 10x zoom. The new 25-250mm has a larger image circle to cover new S35+ formats, and doesn't suffer from the breathing and distortion often found in more compact zooms.

This 1.6x extender from Atlas is designed for use with the Atlas Orion 2X Anamoprhic lenses on large format cameras, such as the ARRI Alexa Mini LF. This is not needed on cameras with a super 35mm sensor.

The Mercury series is a family of 1.5X, full frame anamorphic lenses with deliberate character. They improve the usability of anamorphic lenses on a range of cameras with their smaller size, reduced close focus, and large format coverage. This A set has 36mm, 42mm and 72mm focal lengths. PL mount.

32mm, 40mm, 50mm, 65mm, 80mm and 100mm PL mount. Atlas Orion anamorphic lenses offer you the classic sense of depth, ovoid bokeh, breathing and flare characteristics associated with front anamorphic group lenses - at a less intimidating price point.

40mm, 65mm and 100mm PL mount. Atlas Orion Anamorphic lenses offer you the classic sense of depth, ovoid bokeh, breathing and flare characteristics associated with front anamorphic group lenses - at a less intimidating price point.

32mm, 50mm and 80mm T2.0 2X anamorphic set. Atlas Orion anamorphic lenses offer you the classic sense of depth, ovoid bokeh, breathing and flare characteristics associated with front anamorphic group lenses - at a less intimidating price point.

Weighing just 2.2kg, the Canon CN-E 15.5-47mm compact zoom is a versatile wide-angle cine zoom. With enough resolution for 4K+ cameras, it's suitable for use on a variety of digital motion cameras. Available in ARRI PL or Canon EF mount.

Weighing just 2.2kg, the Canon CN-E 30-105mm compact zoom is a flexible workhorse. Designed to provide enough resolution for 4K cameras, it's suitable for use on a variety of digital motion cameras. Available in ARRI PL or Canon EF mount.

14mm T3.1, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3 and 135mm T2.2 EF mount. The CN-E cinema primes from Canon have a 43mm image circle, covering 35mm full frame sensors. The lenses are designed for 4K+ acquisition and are ideal for use on a wide range of digital cameras.

The Canon EF 100mm f/2.8L Macro IS USM lens is optically the best macro lens made by Canon. Whether you're shooting stills or video, this lens is a great choice for close working distances and life size reproduction.

A very high quality prime lens, the Canon EF 135mm f/2L USM is well suited to portaiture, candid street photography, and sports where you can get closer to the action.

Go ultra-wide with Canon's 16-35mm f/2.8L II USM. Improved edge to edge sharpness over the previous model and the build quality you expect from L series lenses.

The EF 16-35mm f/2.8L III USM lens is widely considered to be the best ultra-wide angle zoom lens Canon has ever made. The mark III version significantly improves corner to corner sharpness over the previous version.

The Canon 24-105mm f/4L IS USM provides a flexible zoom range and is often considered a lighter weight alternative to the EF 24-70mm f/2.8L in situations where the slower aperture doesn't matter.

Canon has redesigned its popular workhorse zoom to produce the 24-70mm mark II. The result is improved corner to corner sharpness, reduced colour fringing and a 9 blade aperture for better looking background detail.

The Canon EF 24mm f/1.4L II USM is a very fast wide angle lens and is perfect for low light conditions. The large aperture encourages creative use of depth of field in wide angle shots.

The Canon EF 35mm f/1.4 L USM is another of Canon's heralded available light lenses. A fantastic standard lens for cropped view cameras, and a superior fast wide angle lens for full frame Canon cameras.

The Canon 50mm f/1.2L is a very impressive super-fast, standard perspective lens on full frame cameras and an ideal portrait lens on Super 35mm / APS-C format cameras. Its large maximum aperture makes it popular for both stills and motion use.

The mark II version of Canon's renowned, highly flexible workhorse 70-200mm f/2.8 IS USM. This mark II version offers improved optics, reliability and robustness.

For extreme wide angle shooting on both full frame and crop sensor cameras. On full frame cameras, this lens produces both circular and full frame images. On crop sensor cameras, you get only full frame images.

With the largest aperture available from Canon, the EF 85mm f/1.2L II USM is the superior lens for portraiture and low-light photography. This second generation model features improved autofocus speed and flash metering compatibility.

Canon's 85mm f/1.4L offers superb optical performance and has image stabilisation to make it more versatile in situations where a tripod or other camera support cannot be used.

Canon FD lenses were produced from 1970 through to the late 1980s and are another popular vintage lens option. Our set has been rehoused by the highly regarded team at TLS in the UK and has PL mounts, consistent 110mm fronts and standard cine gearing for focus and iris. All lenses cover LF.

A 100mm macro lens that has a 1.4x magnification, perfect for product photos and capturing fine detail.

Part of the RF lens holy trinity lineup, the Canon RF 15-35mm f/2.8L is a fast wide-angle zoom offering excellent corner to corner sharpness and smooth, quiet autofocus - making it ideal for both still and motion photography.

The Canon RF 24-105mm is a versatile zoom lens for the EOS R mirrorless cameras. The 5 stop image stabilisation helps keep your images sharp when using slower shutter speeds.

The Canon RF 24-70 is one of the most versatile focal lengths and the inbuilt image stabilisation takes this lens to the next level.

The Canon RF 28-70mm f/2 is one of the most versatile lenses available today due to its excellent zoom range and large aperture (for a zoom lens). With this lens you don’t have to choose between the fast speed of a prime lens or the versatility of a zoom lens - you can have both.

The Canon RF 50mm f/1.2 is an optical marvel that is beautifully sharp right out to the edges and has extremely precise autofocus when used with RF mount cameras.

The 70-200 is a staple in the photography and video industry and Canon has always been at the top of the game. The RF 70-200 f/2.8L pushes new boundaries in the mirrorless era as it is the smallest, lightest and closest focusing 70-200 f/2.8 lens from any manufacturer.

The Canon RF 85mm f/1.2 is the gold standard for ultra speed 85mm lenses. Perfect for any work that requires a beautiful depth of field with minimal lens distortion, this lens is the best in its class.

The TS-E 17mm f/4L is the widest tilt-shift lens available from Canon, offering a diagonal angle of view of 104° on a full-frame SLR camera.

Canon's TS-E 24mm f/3.5L II is a popular choice for traditional applications requiring perspective correction - such as architectural photography - and for creating those fashionable miniature scenes.

The 90mm TS-E f/2.8 is the most telephoto tilt and shift lens in Canon's range and offers you a wide variety of creative possibilities through depth of field manipulation.

Cooke miniS4/i lenses give you the classic Cooke look in a smaller, lighter and more affordable package than the Cooke S4 T2 range. This is a six lens set consisting of 18mm, 25mm, 32mm, 50mm, 75mm and 100mm lenses.

18mm T2.2, 25mm T2.2, 32mm T2.3, 40mm T2.3, 50mm T2.3 and 75mm T2.3. The TLS rehousing of the vintage Cooke Speed Panchro lenses is widely considered the best available. The mechanics of this set look and feel very much like modern Cooke lenses, while the glass is original 1940s.

One of the most versatile zooms around - for use either as an ENG style lens or a traditional PL zoom, with a fully detachable servo unit. An impressive 31.5mm image circle covers a wide range of extended super 35mm formats.

A versatile, compact telephoto zoom for use either as an ENG style lens or as a traditional PL zoom, with a fully detachable servo unit. An impressive 31.5mm image circle covers a wide range of extended super 35mm formats.

This 12mm offering from Laowa is a very wide rectilinear lens with full frame coverage and low distortion. While based on the stills version of the lens, the cine mechanics offer standard M0.8 geared iris and focus rings, and a 95mm front (with a 114mm step-up ring) for clamp-on matte boxes.

Probe lenses are typically used to get a perspective not often seen in still and motion photography. The long, narrow and waterproof lens barrel allows the lens to be moved inside and through a subject. An integrated LED array illuminates subject interiors that might otherwise be difficult to light.

Leica / Leitz Summicron-C lenses offer a distinctive character and T2 performance in a very compact size. They cover many modern formats larger than super 35mm and have minimal breathing and superior build quality.

The Leica-R cinemod lens set is a good option for full-frame vintage lenses, particularly if you are on a budget.

These TLS rehoused Mamiya Sekor C lenses offer you the look of renowned vintage Mamiya medium format stills lenses in high quality cine housings with ARRI LPL mounts.

Use PL lenses with Sony E mount cameras with this Metabones PL to E mount adapter.

Use PL mount lenses on cameras with a Canon RF mount with this adapter, like the Canon R5, Canon EOS C70 or Red Komodo.

Petzval lenses have a distinctive swirly bokeh (as seen in the likes of the 2023 feature Poor Things). The original Petzval design was developed in 1840 with portrait photography in mind, so the centre of the frame is sharp but rapidly falls out of focus towards the edge of the frame. PL mount.

The Sigma FF High Speed range of lenses offer full frame coverage with a 43.3mm image circle and fast T stops of T1.5 across most of the range. The fronts are a consistent diameter of 95mm. This set consists of ten lenses - 14, 20, 24, 28, 35, 40, 50, 85, 105 and 135mm. Arri PL mount.

The Sigma FF High Speed range of lenses offer full frame coverage with a 43.3mm image circle and fast T stops of T1.5 across most of the range (the 14mm is T2 in this set). The fronts are a consistent diameter of 95mm. This set consists of 14, 24, 35, 50, 85 and 105mm. ARRI PL mount.

The Sony 100mm f/2.8 lens is just as sharp as all the other 100mm lenses in its class but it has a trick up its sleeve in the form of Smoooth Trans Focus (STF), which gives a more subtle and soft bokeh. This lens is purposely designed for portrait work with a shallow depth of field.

The FE 16-35mm f/2.8 GM is the top of the line, full frame wide angle zoom lens from Sony. It offers excellent corner to corner sharpness, negligible chromatic aberration and the nano lens coating minimises flare and ghosting.

This is the professional grade standard zoom from Sony for E mount cameras. It has corner to corner sharpness at least as good as offerings from Canon and Nikon, and excellent flare control to preserve colour and contrast when shooting around bright light sources.

A strong contender for the best 24m f/1.4 stills lens currently in existence, the Sony FE 24mm f/1.4 GM is sharp throughout its aperture range, has minimal distortion, great looking bokeh, and weighs less than comparable lenses from other manufacturers.

Sony was late to the game with their first foray into the world of ultra-fast lenses but the Sony 50mm f/1.2 has knocked it out of the park and is quite a technical achievement due to its size compared to its competitors.

The FE 70-200mm f/2.8 GM OSS is the top of the range lens in its category for Sony cameras. It's consistently sharp across the frame, focuses close for a lens of this zoom range (0.96m), has very fast and quiet autofocus, and the stabilisation is effective at keeping images sharp at slower shutters.

The Sony FE 70-200mm f/2.8 GM II has some modest improvements in the optical quality over its MK1 equivalent, but where it truly shines is in its weight, weighing in at only 1042 grams.

The Sony 85mm f/1.4 is a great portrait lens that pairs nicely with a Sony mirrorless camera. It has pleasing bokeh wide open and, having a maximum aperture of f/1.4, it is really useful in low light settings.

Use LPL mount lenses on a camera with a Sony E mount with this adapter from Wooden Camera. Works on Sony A7S series, Sony FX9 etc.

Five lens Zeiss CP.2 lens set, consisting of 21mm T2.9, 28mm T2.1, 35mm T2.1, 50mm T2.1 and 85mm T2.1 lenses. Available in either PL or Canon EF mount.

The CP.3s are the latest generation in the Compact Prime range from Zeiss. Compared to the previous CP.2s, they are smaller (95mm front), they have new coatings for better flare control and they offer richer blacks, higher contrast images and more saturated colours. Available in PL or EF mount.

ARRI/Zeiss MK2 Standard Speed lenses have been the lenses of choice on many feature films, TVCs and other productions for four decades. 16mm, 24mm, 32mm, 50mm, 85mm and 100mm - all T2.1.