Looking for that classic look from the original Zeiss SuperSpeeders but don’t have the budget?
We have a full set of 9 Contax-Zeiss primes that achieve the same look at a much more affordable price point. These lens are favorites of Indie film makers.
Our lens have all been Cinemoded by Duclos and feature a declicked aperture ring, 80mm front ring and a 0.8 pitch integrated lens gear for your follow focus.
These lens have an EF mount which makes them compatible with a large variety of cameras; from Canon and Red to Sony.
The 18 F4 is a very interesting lens. Though not tack sharp wide open, it’s still VERY professional at F4. What makes it truly special is its incredibly well controlled distortion. In fact, it has the same level of control as the 21mm, even though it’s wider at 18mm…underscoring how remarkable it is. Stopped down it’s strong. Has fantastic close focus.
It’s one downside is lack of filter threads and consequently, it does not come with an 80mm front ring.
The 21mm is arguably one of the best designed and all around lenses in the Contax lineup.
Razor sharp wide open and edge to edge (even on full frame). Blessed with superb close focus. The best wide angle available. A world class lens.
The 28mm, nicknamed “Hollywood” is full of personality and is a standout.
It’s close-focusing (almost macro quality), nervy/gorgeous bokeh, and spectacular performance stopped down make it a tremendous addition to any kit.
It’s very similar in performance to the 35 1.4, except wider, and more extreme.
The 35 1.4 is should be your go to lens, and at 1.4 gives you tremendous lowlight ability.
Feels like a Super Speed, and acts like one. Tremendous focus throw, great close focus and has dreamy bokeh.
The 50 1.4 is a classic 50, and complements the 35 and 85 perfectly.
It gives you a traditional bokeh. Tack sharp stopped down. A perfect 50.
The 85 1.4 is a CLASSIC. Capable of timeless imagery, this lens has minimal to no distortion, making it ideal for portraits and landscape.
At 1.4, gives you tremendous lowlight ability, and focal shallow depth of field.
The perfect compliment to the 35 1.4 during interviews.
The 100 f2 is another CLASSIC. This lens has enjoyed a cult status for years.
Like the 85, has almost no distortion, making it another gem for portraits and landscapes.
Sharp wide open, and brimming with tonality, this lens is a fantastic compliment to the 85, when you need to get just a bit closer.
At f2, this 135 delivers powerful imagery, and having that extra stop compared to a f2.8 cannot be underestimated.
It has a twinkle and a magic all its own.
This is a great telephoto lens. It features a floating element (like on the 28 f2 and 35 1.4) to improve close focusing.
Professional wide open, and sharp stopped down, this lightweight telephoto is fast enough for studio work.
Great barrel rotation/long focus throw.