DP. Hunter Daly provided a very detailed breakdown of his latest McDonald’s commercial, where he got his hands on the new ARRI Hero Look lenses, showing how their tunable Petzval ring allowed the team to precisely shape curvature, intensity, and character directly on set.

‘Shot on Contax Zeiss lenses, this project embraces a beautifully imperfect image, where softness meets sharpness and character lives in every frame. Their controlled contrast, gentle highlight roll-off, and natural skin tones strip away the digital feel, replacing it with texture and depth. The result is an intimate, cinematic look that feels timeless, tactile, and quietly immersive’.

'Shot on TRIBE7 Blackwing7 lenses, this short film builds its visual identity around a balance of precision and unpredictability. Their sharp yet organic rendering shapes an image that feels modern, but never sterile. Subtle contrast, textured highlights, and unique tunings guide the framing and emotional tone. Paired with the ARRI Alexa Mini LF, the lenses become a key narrative tool rather than just a technical choice.'

From Kickstarter beginnings to Hollywood sets, the Laowa 12mm T2.9 Zero-D Cine has quickly become a cult favorite among filmmakers worldwide.
In this exclusive interview, we sit down with Mr. Dayong Li, Founder and Chief Optical Technician of Laowa, to uncover the story behind one of the most groundbreaking ultra-wide cine lenses on the market.

‘Pairing Canon Rangefinder lenses with Pinhole FX and Halo FX diffusion filters, the project creates a dreamlike visual language that is inspired by the distinct character of vintage optics. The approach perfectly balances distortion and clarity, ensuring an emotionally engaging style that is designed to support the story as well as the aesthetic of the project’

'In this DP commentary, cinematographer Quinn Feldman explores a bold, experimental approach to 16mm filmmaking mixing formats like Super 16 anamorphic, Standard 16 and Super 8, he embraces the unique textures, grain, and imperfections of film. Driven by curiosity rather than perfection, Feldman uses different stocks, lenses, and techniques to push the expressive limits of 16mm, turning format into a true creative tool.’

'Shot on the ARRI Alexa Mini LF with Leitz M Lenses, DP Tomáš Kotas shapes a clean, photography-driven look. The choice of lenses plays a key role in keeping the image natural while maintaining a strong visual identity. Their compact design also supported a fast, documentary-style way of shooting. A simple setup, built around lenses that feel intuitive and expressive in real situations.'

'Shot on Panavision Panaspeed lenses, this short film builds its entire visual identity around a delicate balance of precision and emotion. Their fast aperture and tunable character allowed the image to shift seamlessly between raw intimacy and expansive, cinematic landscapes.'

‘In Homecoming for Converse & Daily Paper, DOP Jake Gabbay crafts a painterly, intimate portrait using a rare set of CaANON FD-K35 Lite from White Point on the Alexa Mini, balancing precise composition, and warm tobacco-filtered lighting to evoke the feeling of a fleeting documentary moment, fully designed yet seemingly spontaneous.'

‘Shot on 4-perf 35mm with the legendary ARRI/ZEISS Master Primes, this spot is a masterclass in how glass shapes emotion. From the razor precision of the 18mm to the subtle roll-off that only film can truly honor. In this detailed breakdown, Cinematographer Quinn Feldmann takes us inside the technical and creative decisions behind the look, from format debates and custom rigs to complex night-for-day lighting and seamless in-camera transitions.’

‘Built around a bold wide-lens approach, this Oakley spot draws its strength from the pairing of the ARRI Signature Primes and the ARRI UWZ 9.5–18mm. Choosing to live in an ultra-wide world without distortion, the filmmakers let space, movement, and tension shape the visual language. In this breakdown, we explore how lens choice became the foundation of the entire piece.’

‘Shot on the mighty Panavision Primo Anamorphic, Mushroom Dad embraces weight, texture, and imperfection as emotional language. DP. Mike Maliwanag pushed these massive lenses wide open on the ARRI Alexa Mini LF, chasing feeling over perfection.’

‘When digital meets large format magic! Cinematographer Dominik Czaczyk fused a SONY FX9 with a MAMIYA Sekor-C, filming through the ground glass of a GRAFLEX Graphic View fitted with vintage large format lenses.The result? A dreamy, imperfect, tactile image that reshaped the way he approached Real Magic. A handcrafted rig, born from curiosity and obsession, that truly lived up to its name’.

In this breakdown, cinematographer Ko-Chin Chen of ‘Left-Handed Girl’ reveals how a phone, instinct, intimacy, and radical simplicity shaped one of the most vibrant and immersive visual experiences of the year.

Cinematographer Ushakov Vladimir moved away from strict realism, using ARRI Signature Primes and Impression V filters to let the image evolve emotionally toward a softer, more childlike perspective.
Guided by texture, light, and filtration rather than references, the visual language deliberately avoids conventional social realism.

POV has become one of the most effective languages in modern commercial filmmaking, turning viewers into active participants rather than passive spectators. Through camera choice, ergonomics, and optics, this interview explores the technical and creative decisions made by DP Dino Franco Berguglia.

‘Not Bad’ lives in the space between beauty and unease: a world that feels immaculate at first glance, then slowly cracks. This breakdown dives into how that tension was built frame by frame, turning femininity, architecture, and texture into a visual language that feels both seductive and dangerous.

We sat down with Mark LaFleur, founder of Old Fast Glass, one of the most respected voices in our community when it comes to lenses, formats, and the evolving landscape of cinematography optics, to talk about Medium Format Cinema and what the future holds for it.

Fresh from a phone call with Director and DP Wenkai Wang, Dream of a Persimmon Girl is shaped by gentle contrast, organic sharpness, and a softness that turns light, skin, and color into emotion rather than information. When early cinema, surreal poetry, and the character of Cooke S4 lenses collide, the result is a film that feels like a remembered dream — warm, imperfect, and deeply human.

With the short film Eli, shot by DP. Aron Beijl, we explore the film print process as an active part of the image-making pipeline.
From where the process is available, to how it works, its costs, and key lessons learned along the way. A practical look at the digital–film–digital workflow, beyond theory or nostalgia. Film as a tool, intentionally used, tested, and understood.’

Fresh from a phone call with cinematographer Polina Talay, this breakdown focuses on the lens choice behind the music video ‘Um Tetterette’.
The Cooke Varotal 18–100mm becomes the visual anchor of the film — shaping space, compression, and rhythm.

From its first image, Kuduz announces itself as a conversation — between light and shadow, format and intimacy, director and cinematographer. For writer-director Mert Berdilek and DP Alper Kasap, the film emerged not from a script alone, but from a shared visual obsession: black-and-white imagery rooted in medium- and large-format photography, and a world that feels both ancient and immediate.

Fresh off the phone with Chance.The Old Fast Glass custom Zeiss Super Speed 14mm is a one-of-a-kind lens.
Wide without feeling distant, intimate without distortion, it becomes a tool for proximity, movement, and controlled chaos in tight spaces. Fresh off a call with cinematographer Chance Faulkner, this commentary breaks down his latest project, ‘Contrast’.

We sat down with cinematographer Jordan Montgomery to unpack the visual language behind 'Vignettes - Bees Nees’, from intimate 16mm vignettes to optical experimentation, creative risk-taking, and the search for images that feel lived-in, emotional, and memory-driven.

Fresh off the phone with Olan Collardy. A conversation about 'So I Don’t Forget About Me', a film shot entirely on Google Pixel 10 Pro. A conversation on using the phone as a deliberate cinematic tool, not a compromise. From intimacy over scale to presence over performance, the camera is allowed to disappear. Not about replacing cinema cameras, but choosing the right language for the story.

Cinematographer Jonas Blond breaks down his latest commercial. A closer look at how the Leitz Hugo lenses influenced the visual tone of the project, clean, compact, and full of subtle character, the kind of glass that quietly shapes every frame.An inside look at how references, preparation, and optical choices came together to shape a distinctive cinematic language.

SONY has just unveiled the FE 100mm Macro f/2.8 GM
 

We’re inviting a limited number of cinematographers from our private community to take part in an exclusive SONY test program.
 

If selected, you’ll have the opportunity to use the lens on your next project, along with other Sony lenses and camera bodies (FX2, FX3 or FX6), completely free of charge, with shipping included.
 

Five selected filmmakers will receive the gear for the full duration of their project (up to 3 weeks) and will be featured on Lens Addiction.

Want in? Send us a Instagram DM with:

• Portfolio / showreel

• Short description of your work

• Location (Europe only)

• Brief description of the project you’d like to use the lenses on
   

If selected, based on your production needs, we’ll arrange the gear and shipping accordingly.

Eligibility: 
- Europe-based cinematographers only
- PRO subscription

A short built on intention, movement, and precision. In interview, cinematographer Cory Burmester breaks down the visual DNA of 'Money Talks' , from the raw, street-level energy of Mean Streets and Taxi Driver to the clean, polished character of the ARRI Signature Primes.
An inside look at how references, preparation, and optical choices came together to shape a distinctive cinematic language.

We sat down with cinematographer Adolpho Veloso for a deeper breakdown of his latest work on ‘Train Dreams’. From golden flares to firelit darkness, the glass behind the image shaped the soul of the film. Kowa Cine Prominars and Zeiss Super Speeds become tools of memory, rendering light, texture, and imperfection with a deeply human touch. A conversation on lenses, natural light, and how optics can turn cinema into remembrance

Together with cinematographer Lyle Vincent, we dive into The Beast In Me through the optical character of the Panavision Ultra Panatar II. Guided by Lyle’s voice, we explore these beautiful anamorphic lenses — which he considers the very best Panavision has to offer — and how their character shaped the visual language of the series.

A look at how the Canon 7–63mm shaped the project’s fashion-driven, 16mm film aesthetic, balancing verité energy, texture, and the versatility needed for a fast-paced shoot

Fresh off a phone call with director Dylan Friese-Greene, here’s a look inside the visual world of A Frog Sits In Water.

Claim your 10% OFF Promo Code by signing up to the Lens Addiction Community!

A lens that challenges the rules of optical perfection: the Swiss Army Lens is a fully 3D-printed modular system designed to turnflaws and imperfections into a creative language.

This breakdown dives into the creative process behind the spot — and the crucial decision to use the DZO X-tract probe. DP Jordan Buck explains how the lens stood out during testing.

AmoR' is a project shot entirely on a rare JVC KY-210D. DP. Giovanni Macedonio shares how this analog relic from 1985 became the perfect tool to tell a story of fading 'Romanità' in Italy. 

The only existing set of Arriflex Zeiss Original Standard Primes in the world is kept at ATM System in Warsaw. This extremely rare piece of cinema history was used by DP Maximilian Pittner to shoot Rosalía & Björk’s latest music video, Berghain

‘Shot on 4-perf 35mm with the legendary ARRI/ZEISS Master Primes, this spot is a masterclass in how glass shapes emotion. From the razor precision of the 18mm to the subtle roll-off that only film can truly honor. In this detailed breakdown, Cinematographer Quinn Feldmann takes us inside the technical and creative decisions behind the look, from format debates and custom rigs to complex night-for-day lighting and seamless in-camera transitions.’

Shot entirely on Soviet Vintage Lenses, A Dawning finds beauty in imperfection — its textured frames and organic softness becoming a visual echo of memory and loss.

We sat down with Mark LaFeur, founder of Old Fast Glass, and cinematographer Gary Long to talk about their groundbreaking new creation.
What started as a bold idea has now become a game-changing tool set to redefine how DPs approach the 16mm format.

A blend of formats and perspectives — Venice 2 for the heart, Freefly Ember for the extremes, and iPhone for the impossible angles. Every frame of this BMW project was captured in-camera, pushing light, motion, and precision to their edge. A showcase of how technology and intuition meet behind the lens.

Between dream and design, this commercial dives deep — from living room sets to underwater worlds — blending digital precision with analog soul. DP Jake Hunter walks us through an in-depth breakdown of the production, revealing how every element came together behind the scenes.

In the space between light and memory, the Tribe7 Blackwing7 Binary II lenses reveal their cinematic texture — sharp yet soft, natural yet raw, alive with emotion. Here, cinematographer Pablo Clemente walks us through Morir o Rejar de Vivir.

From Soviet relics to Hollywood — IronGlass turns vintage lenses into modern filmmaking weapons. For their 10th anniversary, we sat down with the creators to ask a few questions about their process, philosophy, and what’s next in their mission to make character-driven glass accessible to everyone

Between grit and glow, this music video blurs the line between control and chaos — powered by the rare Badalamenti Suárez lenses and a fearless visual spirit.

Somewhere between memory and illusion, between photograph and life, this Black Mirror episode blurs the edge of reality. We spoke with cinematographer Álvaro Gutiérrez about crafting those haunting transitions — where every lens tells a story to tell.

For this Neutro Roberts commercial, we sat down with Cinematographer Emanuele Zarlenga to explore how dreamlike optics, mirror experiments, and painterly atmospheres came together to define its unique look.

There’s something magical in the marriage between Cooke S4 lenses and 35mm film — a softness that doesn’t blur, but breathes. In Marmalade, Dp. Alexander Dynan and Director Jamie Hawkesworth and leaned into that chemistry to craft an image that feels timeless yet alive. The S4’s gentle roll-off and warmth find their natural home in celluloid, translating imperfection into texture and emotion.

Cinematographer Lluis Marti discusses crafting a unique visual style for a childhood myopia commercial directed by Luciano Ruiz. Combining the Freelensing Cine System, Canon K35, Baby Lens, and ARRI Alexa Mini LF, the team created immersive distortions and shallow depth of field to mirror blurred vision. Careful lighting design and textural contrasts completed the evocative, story-driven look.

A lens that challenges the rules of optical perfection: the Swiss Army Lens is a fully 3D-printed modular system designed to turn
flaws and imperfections into a creative language.

From massive broadcast zooms to the magic of 35mm double exposures, this Adidas project was all about risk and reinvention.

Vertical anamorphic turns every shot into a reinvention of space — the perfect canvas for a love story unfolding in the subway.

DP Ben Cotgrove crafted a visual language that feels urgent and immersive. The result is a kinetic ride through Raleigh’s heritage, fusing grit, style, and innovation

Step into the world of the new Joseph Petzval Focus-coupled Bokeh Control Art Lens, where history meets cutting-edge innovation. Lomography has reimagined its iconic Petzval optics with a breakthrough focus-coupled bokeh control system, designed equally for photographers and filmmakers.

DP Andrea Gavazzi breaks down the making of a hyper-dynamic Nike-style spot, where bold lens choices, fast rigs, and a run-and-gun energy shaped a sleek modern commercial aesthetic.

A wild bus ride, a rare Soviet-modified Arriflex, and just four rolls of film stock — this interview dives into the making of a music video that feels like it came from another era. DP Lucas Oliveira reveals how limitations turned into pure creativity.

From daring rigs to a bold “Gucci Grandma” look, DP Tomas Stastny reveals how he turned a Sunday lunch into a visual feast of craft and style.

For Nike Jordan's “Lost & Found,” DOP Elias C. J. Köhler pulled off a striking POV shot using
an Optex 4mm on the Super16mm Arriflex Sr3
— a bold, ultra-wide lens choice that turned
a simple reveal into something dynamic, immersive, and unmistakably cinematic.

Driven by the director’s dream to bring 35mm back to Iceland, DP Robin Asselmeyer takes us behind the scenes of a film project bursting with passion.

Psylo’s latest music video blends vintage spy-film aesthetics with a modern split-screen style. 
DP Derek Matar’s lightweight, versatile setup allowed fast coverage and dynamic zoom work, proving essential when production faced last-minute challenges.

lens Addiction chose to interview Augustin Tarrou, DoP of Merci la Vie Pour les Douleurs, for his bold decision to use a broadcast lens on a cinema camera. His unconventional setup with the FUJINON AX77 and CyanView control brought an extraordinary zoom range into a cinematic context. The choice reflects a desire to experiment and push the boundaries of today’s zoom-driven aesthetic.

The music video Hot Like You by Sam Austins stands out for its dreamy, analog look, achieved through 35mm Kodak Ektachrome and vintage Kowa Cine Prominar lenses. The film embraces rich flares, soft fall-off, and a nostalgic 4-perf 1.33 aspect ratio. The result is a visually striking throwback aesthetic that elevates a simple concept with warmth and texture.

The SS24 campaign Field Exhibition by 66North & Ka Yo embraces a raw yet refined visual identity. Shot entirely on a Canon Scoopic with 16mm Kodak film, the project combines tight, intentional framing with a tactile, grain-rich aesthetic that feels both intimate and elevated.

For Wos’ surreal and technically ambitious video Morfeo, we sat down with DP Franco D’Alessandro to break down a few standout shots. From bullet-time effects to reverse-motion illusions, each moment was carefully crafted with smart lens choices and precise planning. Franco walks us through how it all came together — in camera and in post.

For American Eagle’s Dreaming of Spring campaign, we asked cinematographer David Vollrath to break down two of the film’s most visually distinctive shots. From smearing Chapstick on a lens to using a rare Reverso 40mm, David walks us through the creative choices that shaped the film’s dreamy, tactile look.

For Maxxx Energy, DOP Guille Vázquez collaborated on the iconic “Beneath the Glass Basketball” shot, using a Sigma 14mm on the ARRI Alexa Mini LF. The setup focused on capturing a dynamic low-angle perspective and the Sigma High Speed lens provided the wide, immersive look needed to bring energy and impact to the scene.