XELMUS’s first 2x anamorphic lens series, called APOLLO, debuted back in 2019 and quickly gained recognition for its distinctive, cinematic look reminiscent of classic Panavision glass. Earlier this year, the APOLLO series was expanded to include a 24mm T2 and a 180mm T2.8 – for a total of 9 available focal lengths. Almost all of these cover full-frame or large-format sensors, except for the 24mm and 32mm, which are limited to Super 35mm coverage.

Now, XELMUS is setting out on a new quest with AURA, an upcoming series of 2x anamorphic lenses designed specifically for the Super 35 format. The lenses made their first public debut at EnergaCAMERIMAGE 2024 in November, but the company has only recently unveiled further details. Let’s take a quick look!

XELMUS AURA 2x anamorphic S35 series – overview

The upcoming XELMUS AURA anamorphic series will consist of 8 focal lengths divided into two sets:

• Set A: 30mm T2.2 / 50mm T2.2 / 75mm T2.2 / 135mm T2.5
• Set B: 20mm T2.2 / 40mm T2.2 / 60mm T2.2 Macro (Close focus: 9.8in/25cm) / 100mm T2.2

According to the manufacturer, the AURA lenses inherit the same anti-mump focusing system as the APOLLO lenses but take it one step further by implementing more precise mechanics.

While there isn’t any sample footage available for the AURA lenses yet, XELMUS describes their look as “modern and contrasty with beautiful waterfall bokeh, low barrel distortion, very muted white-blue flares, retro-inspired veiling glare, and controlled focus breathing.”

Price and availability

According to XELMUS, the AURA lenses will only be available to purchase as a set. Set A should start shipping on July 1st, 2025, while the company should begin taking pre-orders for Set B by the end of 2025.

There is currently no official pricing information. For reference, a set of 3 APOLLO lenses costs about $48,000.

For more information on XELMUS anamorphic lenses, please visit their website here.

Have you ever shot on XELMUS APOLLO anamorphic lenses? How do you like their look? What do you expect to be different for the upcoming AURA series? Let us know your thoughts in the comments below!

The BLAZAR REMUS 1.5x series of full-frame anamorphic lenses was first unveiled in December 2023. Throughout 2024, more focal lengths were added, making it a complete set of glass.

BLAZAR is a well-regarded lens manufacturer. This year, the company won two CineD Best in Show Awards: NAB for the CATO 2x Anamorphic series and IBC for the APEX 1.33x, the world’s first anamorphic lens to feature autofocus.

Why BLAZAR is discontinuing the REMUS Blue and Amber Flare single lenses

Let’s first recap the features since the BLAZAR REMUS 1.5x series of anamorphic full-frame lenses has been a popular hit. The lens construction has a vintage look and features a Canon EF or PL mount, which is user-swappable. They come in three flare options: Silver, Blue, and Amber.

They offer a complete line of focal lengths, which include 33mm (T1.8), 35mm (T1.6); 45mm, 50mm, and 65mm all at T2.0; 85mm and 100mm at T2.8; and 125mm at T4.

So why is BLAZAR discontinuing the Blue and Amber Flare single lens options at the end of 2024? Simple: They sell far more REMUS lenses with the Silver Flare. The company explained that the Blue and Amber tints are very subtle, and users were opting for the Silver Flare option more frequently.

Since each lens is made-to-order, meaning they carry no stock, it would take time away from manufacturing the popular Silver Flare option compared to the others. It should be noted that the 33mm will still be available for a few more weeks in January 2025.

Will you be able to buy all focal lengths before the deadline?

Because each lens is made to order, BLAZAR said that REMUS Blue or Amber Flare single lens orders made before December 31, 2024, at midnight, will be fulfilled. You’ll have a short period of a few weeks in January 2025 to order the 33mm.

By focusing only on the popular Silver Flare option, BLAZAR will be able to manufacture and deliver the REMUS 1.5x Anamorphic Full-Frame lenses much faster. 

 Price and availability 

The BLAZAR REMUS 1.5x series of lenses are priced based on the focal length. However, many cost $999, with the exception of the 35mm T1.6 at $899 and the 33mm T1.8 at $1,199. There are also sets that can be purchased, including the A and B sets. Order a Blue or Amber Flare single lens before December 31, 2024, at midnight (33mm will sell into January 2025). The Silver Flare options will continue to be available. Click here to learn more and purchase.

Will you be purchasing the BLAZAR REMUS 1.5x in Blue or Amber Flare before the end of 2024? Or do you prefer the Silver Flare option? Let us know in the comments below!

Thypoch released an initial set of four lenses in October and, with the release of the 21mm earlier this month, completed the 5-lens set of Simera-C T1.5 cine lenses. With the addition of an M-mount option alongside their E-mount version, users can now adapt these lenses to nearly all mirrorless cameras via adapters, including those with E, RF, Z, L, and X mounts. These lenses are designed to work with a wide range of cameras, from mirrorless video cameras to professional cinema cameras like the DJI Ronin 4D, Sony Venice, Alexa 35, Alexa Mini LF, Alexa Mini, and Amira.

With third-party mount-kit solutions like XPIMAGE’s ARRI M-mount kit, these lenses can also be securely mounted (positive lock) on high-end cinema cameras such as the ARRI Alexa and Sony Venice systems (Thypoch recommends XPIMAGE for optimal performance).

Key features of Simera-C lenses – M-mount / E-mount

There is a slight difference in size and weight between the mounts. M-mount lenses are 20–30 grams lighter and slightly shorter compared to their E-mount counterparts. As a reminder, the Simera-C series of 5 lenses (21mm, 28mm, 35mm, 50mm, and 75mm focal lengths) have a consistent T1.5 aperture with 16 iris blades, both metric and imperial (dual focus) scales, and weigh between 353-491g depending on lens and mount.

Price and availability

Thypoch Simera-C lenses are available now. The M-mount single lens is priced at $959/€869, with the full 5-lens set at $4,319/€3,919. An E-mount single lens is priced at $879 /€799, with the full 5-lens set priced at $4,048/€3,679. For more information, please see the Thypoch website.

Are you currently using M-mount or E-mount lenses? Does the addition of an M-mount make these lenses appealing to you? Let us know in the comments!

Cooke’s history began in the late 1800s as T. Cooke & Sons of York as they worked on a solution to outer edge ridge distortion in telescope lenses. Soon after, Cooke photographic lenses were born. The Wizard of Oz utilized Cooke lenses and became the first movie to film in Technicolor. 

The Cooke Speed Panchro f/2 cinema prime lens was invented by Horace Lee and became the defacto lens of choice in Hollywood for over 40 years until the 1960s. The Panchro is still being developed today. Cooke also developed the world’s first Cine Zoom, released in 1971. 1998 was the start of Cooke Optics and the debut of the now legendary Cooke S4 lenses.

The Cooke S4 first came out in 1998 as Chairman and Owner Les Zellan and Cooke opened a new facility in Leicester, England to bring some shine back to the brand. The design and manufacturing of the lens really set a gold standard for cinematic optics, and this contributed to the “Cooke look.” 

Why Cooke S4/i lenses were so popular

What made the Cooke S4 lenses so famous was the warm look and artistic character. The engineering behind the lenses earned the company a special Academy Award in 2013. Cooke also focused on not just film but also digital as the format was starting to take over Hollywood. 

In 2005, the Cooke S4/i Technology was introduced and heralded the digital age of camera lenses. Lens metadata capture is embedded in the glass itself, helping with visual effects. This was also a major game changer.

Cooke S4/i prime lenses – features

In their tribute, Cooke goes into detail about the features and how they contributed to the “Cooke Look.” It’s no wonder so many modern lenses feature similar lens design and construction.

• 18 total focal lengths, from 12mm ultra-wide to 300mm telephoto.
• Fast T2 aperture.
• Four-point bearing system results in precise and smooth adjustments.
• 270–340° focus rotation for intricate focusing.
• Built for Super35, making the lenses compatible with both digital and film.
• 8-bladed irises result in soft and smooth bokeh.
• Minimal flare and aberration.
• /i Technology embeds metadata capture directly in their lenses.

What’s next for Cooke?

Cooke Optics is still designing and manufacturing some of the best cinematic prime and zoom lenses on the market. The S8/i carries on the legacy of the S4/i line. It features 16 focal lengths from 18mm to 350mm. The lenses are used in a wide variety of film and television productions. The Cooke S4/i mini lens set is also available.

The Cooke S4 and S4/i lenses will cease production on January 1, 2025. The company will continue supporting the lenses for up to 7 years, subject to material availability. Learn more about The Cooke Look and also their history.

Have you used the Cooke S4 and S4/i lenses on your productions? Let us know in the comments below!

For several years, KIPON has been a global developer of adapters and lenses for the film, video, and photography industries. Designs are done in Germany, while manufacturing takes place in China. The KIPON COLIBRI T2.5 Full-Frame Cinema Lenses come in a set of 5 primes that cost less than $10,000 with multiple mount options.

Meanwhile, the ARRI Signature Prime Lenses are part of the company’s pinnacle glass line. They include a wide range of primes along with zooms. They were designed to work with large-format cameras, including ARRI’s own ALEXA LF. These fast lenses are known for their buttery smooth bokeh and warm skin tones.

KIPON BAVEYES LPL>LPL 1.65x Rear Anamorphic Adapter – features

When used with ARRI’s Signature Prime Lenses and a large format camera such as the ALEXA LF, the KIPON BAVEYES LPL> LPL 1.65x Rear Anamorphic Adapter stretches the image vertically by 1.65x. The resulting footage is a widescreen and cinematic look. The ALEXA LF features a 1.43:1 aspect ratio but extends to 2.35:1 when the KIPON BAVEYES LPL> LPL 1.65x Rear Anamorphic Adapter is used.

Additionally, the adapter has an overall balanced image with a sharp central focus and gradual falloff toward the edges. There is a purposeful and slight distortion, which helps to emulate the overall anamorphic look.

Features include:

• Designed with 5 cylindrical lenses in 5 groups.
• T2.8 maximum aperture pass through.
• 16.5 mm maximum depth (LPL).
• 1.65x factor is optimized for the ARRI LF’s 44.8 mm diagonal sensor.
• ARRI LPL front and rear mount.
• 18mm length, mount to mount.
• Light transmission reduction of only 1.25 stops.
• Compatible with LPL mount lenses up to 16.5 mm depth from the LPL flange.
• Integrated electronic interface with ARRI’s LDS (Lens Data System).
• Constructed with metal and glass, and weighs 25.75 oz (730 g).

Price and availability 

The KIPON BAVEYES LPL>LPL 1.65x Rear Anamorphic Adapter retails for $8,500 and is available now. That price may seem high, but the ARRI Signature Prime Lenses each start at just over $27,000 and go up from there. If you’re running a rental house or using these specific lenses and want a 2.35:1 widescreen aspect ratio, this adapter is most likely a must-have. Learn more at KIPON’s website.

Are you using ARRI Signature Prime Lenses? Would the KIPON BAVEYES LPL>LPL adapter help your projects with a 2.35:1 widescreen cinematic look? Let us know in the comments below!

BLAZAR says the APEX anamorphic lenses are the world’s first to feature autofocus and come in Canon RF, Sony E, Nikon Z, and L mounts. The company was previously known as Great Joy and has released different lines of lenses. These include the Cato and also the Remus line of anamorphic full-frame prime lenses. The Remus line debuted in late 2023 and added more focal lengths this year.

BLAZAR APEX Anamorphic AF lenses – features

The BLAZAR APEX 1.33x Anamorphic AF lenses are compact, making them easy to carry and use. The lenses will cover the S35 APS-C sensor and feature advanced eye-tracking technology for fast autofocus. BLAZAR also promises a cinematic 1.5x look when it comes to the APEX’s 1.33x anamorphic squeeze. (For a true 1.5x anamorphic look, please check the company’s Remus line).

Using anamorphic lenses is a mix of art and science and usually requires specialized rigging to focus the lenses manually. As my colleague Omri Keren Lapidot said, it’s not for the faint-hearted. With the BLAZAR APEX 1.33x Anamorphic AF lenses, the autofocus is fast and precise, although the new primes can be switched to manual focus mode.

The full feature list includes:

• 1.33x anamorphic squeeze with a cinematic 1.5x look.
• 35mm and 50mm at T1.8.
• Covers S35 sensors while supporting APS-C (no open-gate).
• Fast autofocus with real-time and accurate tracking and advanced eye-tracking.
• 0.8 focus ring.
• 180° focus rotation.
• 73.5° aperture rotation.
• 16 IRIS blades.
• Close focus of 2.1 ft (0.65 m)
• AF/MF focus switch.
• Nearly zero lens breathing (<0.9%).
• Natural and subtle silver lens flare.
• Vintage look with barrel distortion.
• 80mm front diameter.
• 77mm*0.75 filter thread.
• Weighs 717 g (1.58 lbs), making it easy to use and carry.
• E, Z, RF, and L mounts are supported.

Please be sure to check out my colleague Johnnie Behiri’s review of the BLAZAR APEX 35mm and 50mm T1.8 1.33x Anamorphic AF lenses. He had the opportunity to use both lenses with a Sony FX30 while at the Sony Kando event in the Austrian Alps.

Price and availability

The BLAZAR APEX 50mm T1.8 1.33x Anamorphic AF lens (E-Mount) is now available for preorder at an affordable $899. ($799 during the preorder period). Considering anamorphic lenses can retail for thousands of dollars each, the $899 price for an anamorphic prime featuring autofocus is very good. Learn more on BLAZAR’s APEX website.

What are your thoughts on the BLAZAR APEX 50mm T1.8 1.33x Anamorphic AF lens featuring autofocus? Will you be preordering the 50mm? Let us know in the comments below!

Thypoch, a sister company of DZOFILM, has launched the last lens in their Simera-C line, adding the ultra-wide 21mm to the series of compact high-speed cine primes. Inspired by the Simera photography edition of lenses, the initial four lenses in this series were released in October 2024. The lenses are full-frame and compatible with many cinema cameras on the market. Referred to as Thypoch’s “storytelling lens,” they offer a balance between the realism of still photography and the softness of film. The lenses minimize chromatic aberration and provide refined bokeh and edge fall-off, which, according to Thypoch, offers a slight softness that adds dimensionality and should be a perfect choice for cinematic storytelling.

The features of the new Simera-C 21mm T1.5 are consistent with the other lenses in this series:

• 16 aperture blades for smooth and rounded bokeh
• 210° focus control throw
• 67mm front diameter (excluding 75mm T1.5 of 72mm), and M62*0.75 filter size (excluding 75mm of M67*0.75)
• Dual focus scales in metric and imperial units

The minimum focusing distance is 0.23m / 9.05in and is the closest focusing lens in the series. It measures 78.6mm / 3.09in and weighs 491g / 1.08 lbs. With a minimum focusing distance of 0.23 meters, this lens should offer some nice close-up shots with good detail.

The lens features two aspherical elements, three low-dispersion elements, and three high-refractive-index elements designed to reduce flare and chromatic aberration. It delivers consistent resolution across the frame and retains natural texture, particularly at portrait distances. Because of its compact size and weight, the lens can be used in more diverse situations, including setups like the DJI Ronin 4D for aerial or action shots, and shooting scenes in tight or confined spaces.

Price and availability

The Simera-C FF 21mm T1.5 lens, offered in a black E-mount version, is set to begin shipping this month with a price tag of $879/€799. The complete Simera-C 5-lens set (21mm, 28mm, 35mm, 50mm, and 75mm), packaged in an aluminum hard case with a shoulder strap and sized for carry-on luggage, is priced at $4,048/€3,679. For more information and further details, please see the Thypoch website.

How would this lens stack up against other wide-angle lenses you’ve worked with? Do you own a lens from the Simera-C series, and what is your experience with it? Let us know in the comments.

Chinese lens manufacturer Venus Optics is well-known for creating one-of-a-kind lenses, whether for the photo or cinema market. After many releases over the past couple of months, including the Laowa Ranger, Nanomorph LF, and Sword series of lenses, to list a few, the company is back with a more “simple” prime lens, nearly entirely manual, that feels like a come back to their roots: the 15mm F/5 Cookie.

Laowa 15mm F/5 Cookie – features

The Laowa 15mm F/5 Cookie is a compact and lightweight lens that only measures around 35.2mm/1.38in for a weight of 138g/4.76oz for the Sony E and Nikon Z mount versions and 25mm/0.98in for the Leica M, Canon RF, and L-Mount versions that ticks the scale at 104g/3.66oz. So why is there a difference in size and weight, as all lenses cover full-frame image sensors?

As you can see, the Nikon Z and Sony E-Mount versions feature electronic contacts on the lens mount. While all lenses are manual focus only, the latter doesn’t have an iris ring, as you can adjust the exposure in the camera. Also, the Sony and Nikon versions of the Laowa 15mm F/5 Cookie are compatible with Auto-Aperture modes.

With a large field of view of around 110° on a full-frame camera, the 15mm F/5 Cookie sounds like a great companion for landscape photography, especially if you want to travel, hike, or explore with a compact camera setup.

Lens design

The lens design of the 15mm F/5 Cookie consists of 13 elements in 9 groups, including four ultra-high refraction lenses, two aspherical lenses, and four extra-low dispersion lenses for improved color accuracy, enhanced image quality, and reduced chromatic aberration.

The lens has a very close minimum focusing distance of only 12cm/4.72in. Moreover, the 5-blade aperture will produce an interesting 10-point Sunstar. Lastly, this 15mm F/5 Cookie has a removable sun hood and a 39mm front filter thread.

Pricing and availability

The Laowa 15mm F/5 Cookie is available now for $399/€517.

For more information, please visit Laowa’s website here.

What do you think about this compact ultra-wide angle prime lens? Did you already shoot with Laowa lenses? What is your go-to ultra-wide angle lens? Don’t hesitate to let us know in the comments below!

These lenses—the 16mm f/1.4, 23mm f/1.4, 30mm f/1.4, and 56mm f/1.4—aren’t exactly new. They’ve been available for other mounts like Sony E, MFT, Leica L, Nikon Z, and FUJIFILM X for a while.

SIGMA’s 16mm, 30mm, and 56mm f/1.4 DC DN Contemporary lenses have been featured on CineD before. In February 2022, we covered their release for the FUJIFILM X-mount, highlighting their fast apertures and compact design for APS-C sensor cameras. For more insight into their performance on other systems, check out the full article here.

Now, Canon users have access to the same designs that have already gained some traction with photographers and videographers working with different systems. Here’s a closer look at what each lens brings to the table.

SIGMA 16mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 25.6mm
• Aperture Range: f/1.4–f/16
• Filter Size: 67mm
• Weight: 405 g (14.29 oz)
• Price: $449
  Check out the SIGMA 16mm f/1.4 on B&H

The 16mm f/1.4 is a wide-angle lens designed for things like landscapes, architecture, and astrophotography. It’s relatively lightweight and has a bright maximum aperture, which can help in low-light situations or when you want to blur out the background a bit. It might be a solid option for RF APS-C users if you’re looking to shoot wide without breaking the bank.

SIGMA 23mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 37mm
• Aperture Range: f/1.4–f/16
• Filter Size: 52mm
• Weight: 320 g (11.29 oz)
• Price: $549
  Check out the SIGMA 23mm f/1.4 on B&H

With its focal length equivalent to 37mm on full-frame, the 23mm f/1.4 lands in that sweet spot for street photography, travel, and everyday shooting. It’s compact, fairly lightweight, and offers a bright aperture for shooting in lower light. Some photographers may appreciate its versatility, as it’s close to a natural field of view.

SIGMA 30mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 48mm
• Aperture Range: f/1.4–f/16
• Filter Size: 52mm
• Weight: 265 g (9.35 oz)
• Price: $339
  Check out the SIGMA 30mm f/1.4 on B&H

The 30mm f/1.4 offers a slightly longer perspective compared to the 23mm, making it a decent option for portraits or general-purpose use. Its f/1.4 aperture lets in plenty of light and can give you some separation between your subject and the background. It’s also on the lighter side, so it won’t weigh down your kit.

SIGMA 56mm f/1.4 DC DN Contemporary

• 35mm Equivalent Focal Length: 89.6mm
• Aperture Range: f/1.4–f/16
• Filter Size: 55mm
• Weight: 280 g (9.88 oz)
• Price: $479
  Check out the SIGMA 56mm f/1.4 on B&H

The 56mm f/1.4 sits in the telephoto range for APS-C cameras, making it an interesting choice for portrait photographers. It’s small, relatively light, and has an aperture that works well for low light and shallow depth of field. Videographers might also find it useful, given its minimal focus breathing and smooth autofocus performance.

More Options for Canon RF APS-C Users

Canon RF APS-C users haven’t had much variety when it comes to third-party autofocus lenses, so this announcement from SIGMA is a big deal. It doesn’t hurt that these lenses have already proven themselves on other platforms, either. Whether you’re after a wide-angle lens for landscapes or a telephoto option for portraits, this lineup offers a range of focal lengths and price points.

As a RED KOMODO shooter, it’s exciting to see more lens options becoming available for the RF system, particularly for APS-C mounts. While the KOMODO has its own specific needs, the addition of third-party lenses like these from SIGMA is a promising step toward greater flexibility across the RF ecosystem.

If you’re interested in diving deeper into the details of these lenses, including performance and design, you can check out the full write-up on B&H Explora.

What do you think of SIGMA’s Contemporary line for the Canon RF APS-C system? Are these lenses a game-changer for RF users, or do you see yourself sticking with other options? Share your thoughts in the comments below!

Sony’s G Master series of E-mount lenses are well regarded for their high resolution, clarity, and bokeh. They offer a wide range of focal lengths, including prime and zoom lens options. Many of the G Master lenses are compact and light to carry and use.

A closer look at the Sony FE 28-70mm F2 GM lens

The new Sony FE 28-70mm F2 GM lens is fast and compact, making it easy to carry and shoot. The F2 maximum aperture delivers sharp images with minimal aberration, while the smooth, cinematic bokeh opens up opportunities for creative expression. The 28-70mm zoom range also cuts down on the need to carry and swap out prime lenses.

Thanks to its fast F2 aperture, there isn’t as much of a need to boost ISO or slow the shutter, resulting in less noise and blur. Sony says the new FE 28-70mm F2 GM lens has the performance of a prime but the convenience of a zoom.

While the new Sony FE 28-70mm F2 GM lens is similar to the compact FE 24-70mm F2.8 GM II zoom introduced in April 2022, it is faster at a constant F2. This prevents the need to boost ISO, helping to keep image noise down.

The Sony FE 28-70mm F2 GM lens features excellent corner-to-corner resolution at F2, the G Master line’s famous bokeh, suppressed aberration, minimal flare and ghosting while retaining clear images, and high resolution similar to prime lenses.

Full list of features

• Maximum aperture of F2, minimum of F22.
• Constant F2 across the entire 28-70mm zoom range.
• Four XD (extreme dynamic) Linear Motors for smooth, fast, precise, and quiet AF. Accurately tracks subjects up to 120 fps (photos) and 4K 120p (video). Two motors for each of the focus groups, IF (internal focus) and floating focus.
• Minimum focus distance of 0.38 m (1.25 ft.) across the entire zoom range via the floating focus mechanism, resulting in high resolution.
• Linear control when focusing manually.
• Maximum magnification of 0.23x.
• 11-blade circular aperture unit, producing smooth ball bokeh.
• Lens construction: 14-20 (groups-elements).
• Filter diameter of 86mm.
• Three XA (extreme aspherical) elements and three normal aspherical elements help with crisp resolution and cut down on aberrations, onion ring bokeh, and color bleeding.
• 3x Super ED (extra-low dispersion) suppresses, and 1x ED glass suppresses chromatic aberration, plus an aspherical lens further minimizes aberrations. 
• Nano AR Coating II to minimize and suppress internal reflections, cutting down on flare and ghosting.
• Minimal breathing, which is critical while filming video.
• Dust and moisture resistant design (DMR).
• Sony E-mount.
• Plastic construction makes the lens lightweight and easy to carry.
• A compact lens design of 92.9 mm × 139.8 mm (3.66 in x 5.5 in) and 918 g (2 lbs).
• Other features include:
  • Customizable focus mode switch (manual or auto).
  • IRIS LOCK switch.
  • Zoom ring.
  • Focus ring.
  • Zoom smoothness switch.
  • Aperture click switch.

Price and availability

The fast and compact Sony FE 28-70mm F2 GM lens will be available in December 2024 and will retail for $2,898 (€3,600). The lens is a worthy addition to the G Master line and will work well with the new Sony A1 II and other Sony Alpha Series of lenses, particularly the Sony A9 III. Visit Sony’s website to learn more.

What are your thoughts on the new Sony FE 28-70mm F2 GM lens? Will you be adding it to your bag of G Master lenses? Let us know in the comments below!