Our Albion 65 and LF lens systems are built to cater to the ever increasing format size demands within the motion picture industry. The 65mm format versions have been designed to excel in open gate Alexa 65 shooting scenarios where a vintage medium format aesthetic is desired. While the LF versions -equipped with a 0.7x focal reduction lens integrated into the shimmable LPL mount are optimised for Alexa LF, RED VV and Sony Venice usage, or even Alexa 65 in 1.78:1 mode. Albion 65 lenses of 40/2.8, 60/2.8, 85/2.8 and 130/2.8 therefore become a 28/2, 42/2, 60/2 and 90/2 lens set when configured as LF versions, with optical characteristics that will allow Alexa LF footage to be very easily intercut with Alexa 65 footage. The addition of the focal reducer further assists these lenses in delivering moderately increased optical resolutions to better cater for the very tightly packed photosites found on 8k sensors employed within modern RED and Sony Cinema cameras.
Our positive locking interchangable mount system will allow users of either format version of these lenses to quickly swap to the alternative format should they so wish - with the focal reduced or non focal reduced LPL mounts being hot swappable in a matter of seconds, and each mount able to be pre-shimmed in advance to ensure correct back focus after format changes. All mating parts of the interchangable mount system are over-engineered in stainless steel to ensure dependability and longevity. The mount coupling will also allow for future adaptability, including alternative strength focal reduction options (0.8x or 0.62x) for Fuji 33x44 or s35mm formats, or potentially rear-mounted anamorphic compression lens cells.
True 6×6 format vintage optical blocks from the early 1960’s live inside each lens, matched and combined with newly optimised front mounted auxiliary lens assemblies in order to achive four focal lengths where each lens utilises a special 5 element double-gauss prime with single layer coatings and no retrofocus attributes. The result is a lens set where each focal length boasts the desirable image signature of a classic normal focal length medium format prime - perfect for artistic cinematography where an authentic historic aesthetic is called for.
These lenses can be produced with their internal vintage optical blocks left intact and preserved as they were in the 1960’s - for a no gimmicks authentic vintage character. Or if required we are able to apply an almost limitless list of sympathetic optical degradations such as uncoated specific lens surfaces, edge regrinding and/or de-blacking/tinting. We can even apply more callous processes such as mis-alignment or incorrect spacing to key elements (or what seems to be a more popular term within the bandwagon, ‘tuning’). These can be discussed and implemented should a more rustic or visually striking visual signature be of value to the customer.
Finally, these lenses feature our popular interchangable aperture disk system - as found in our Clavius lens range - allowing countless interesting optical effects and the popular oval inserts which can be used to apply a convincing anamoprhic style ‘waterfall’ defocus distortion to out of focus areas of the image.
Cinematographers who have grown to appreciate the optical qualities of our Clavius lenses will no doubt appreciate these new lenses -since much of the original essence that went into Clavius has been migrated into Albion. For instance our chosen medium format vintage prime that forms the heart of Albion 65 and Albion LF is in many ways a very close match to our chosen 58mm prime within the Clavius lenses -since both have slightly longer than standard focal lengths -dictated by the fact that at the time the concept of retrofocus design had yet to be widely adopted and instead the slightly longer than normal focal lengths allowed for these lenses to clear reflex mirrors without the need for retrofocus to be implemented into the optical prescription. It’s this simplicity and pragmatic approach to getting around physical limitations that has resulted in certain lenses having that special something that differentiates themselves from more modern designs. A longer lens with equal aperture almost always delivers better bokeh and is generally easier to achieve good performance - particularly when physics haven’t been allowed to hinder the optical designer’s vision.
The very limited supply of donor lenses available means we are going to need to be selective when supplying these lenses to the open market. - firstly since we’ll only be able to produce these lenses in limited numbers - man hours and supply of vintage glass in good condition is the main bottle neck. Secondly we want to ensure these lenses are available to rent via the most fitting outlets who have a proven record of supplying vintage lenses . The advantage is that there won’t be competing rental firms within very close proximity - which often results in unrealistically low reduced rental rates, and an associated reduced cautiousness when assessing the capabilities and past behaviour of potentetial clients. Finally we feel it’s imperative that only the most skilled users ever have access to these lenses - carelessness is on the rise and scratched elements and droppages are something that need to be reduced in regularity - particularly since it’s not just time and energy but real passion that goes into producing every lens that leaves our workshop. These lenses are at the pinnacle of what we have been able to produce so far, but they are not fool proof - Being designed to be used by professionals who don’t drop things or use beach towels or sand paper as lens cloths.
Please get in touch via email ( info(at)richardgaleoptics.uk ) if you are interested in adding these special lenses to your collection or to your rental kit list and we’ll be pleased to hear from you. We’ll be starting assembly of full production lens sets in the coming weeks. As normal, lens sets are built one at a time and in very limited numbers.