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The LOMO 70 Series.
Our first full set in its final form.

It took a few rounds of revisions to get here. The glass is large and built around a true cam-driven focus system, so cutting the groove geometry to the correct angles took real work. But we got it exactly where it needed to be.

Arriving in LA next week and we couldn’t be more excited.

One of the rarest lens sets ever created.
True vintage cinema glass with genuine 65mm coverage.

Lens Set

21mm OKS2-28-1
30mm 4-40-1
40mm 2-40-1
56mm
75mm
100mm
200mm

All lenses in this set were originally designed for Soviet-era 70mm motion picture cameras such as the KS-70 and Kinopanorama systems, built for large-format theatrical exhibition and massive projection. They were engineered to cover huge image circles, intended for real cinema scale rather than modern digital formats, and designed to resolve across 65mm and 70mm film gates without compromise. Because of the rarity and history of this glass, each set can vary slightly depending on the original optical blocks available. We did our best to expand the series and carefully assemble five complete full sets while preserving the character and integrity of each lens.

Even rarer additions are on the way.
Kino Russar 28mm, 125mm, and 150mm.
Coming soon.

The OKS 2-28-1 has a rear element that protrudes so far it only natively fits the Fujifilm camera lineup. By adapting it to a 21mm, we were able to create additional distance between the rear element and the sensor. An updated iris brings the lens from T5 to T3.7, as the original iris limited the usable image area.

The result is a soft, dreamy image with unusually wide coverage. We have only seen five of these lenses in the wild, though more are believed to exist. We will only be making two of them. It will be exciting to see the images this lens creates.

After a long wait, our pairing of the Angenieux 45–90 and Todd AO Front Anamorphic group is finally complete. We’re calling it the “Tangie AO 2x 45–90.”

This lens is something truly special: sharp in the center, then falling off quickly, much more extreme than your standard vintage anamorphic. The edges drop into a beautiful, painterly softness that feels intentional, not flawed. The bokeh blooms and smears in an almost impressionistic way, turning the entire frame into an art piece.

The flares are breathtaking, deep, rich, and layered in a way most modern anamorphics can’t match. This lens isn’t about technical perfection corner to corner. It has weaknesses such as unpredictable edges and a narrow sweet spot, but once you spend time learning it, those weaknesses turn into strengths. It becomes a tool for emotion, atmosphere, and visual poetry.

This is a lens you have to grow with, but when you do, it rewards you with a look unlike anything else.

Available Now @rawelementslensco

Director @mandilenz
Cinematographers @mikemarasco & @definate
Talent @withlovebamby
@jimkappel_ @fredis_antonio_flores

After a long wait, our pairing of the Angenieux 45–90 and Todd AO Front Anamorphic group is finally complete. We’re calling it the “Tangie AO 2x 45–90.”

This lens is something truly special: sharp in the center, then falling off quickly, much more extreme than your standard vintage anamorphic. The edges drop into a beautiful, painterly softness that feels intentional, not flawed. The bokeh blooms and smears in an almost impressionistic way, turning the entire frame into an art piece.

The flares are breathtaking, deep, rich, and layered in a way most modern anamorphics can’t match. This lens isn’t about technical perfection corner to corner. It has weaknesses such as unpredictable edges and a narrow sweet spot, but once you spend time learning it, those weaknesses turn into strengths. It becomes a tool for emotion, atmosphere, and visual poetry.

This is a lens you have to grow with, but when you do, it rewards you with a look unlike anything else.

Available Now @rawelementslensco

Director @mandilenz
Cinematographers @mikemarasco & @definate
Talent @withlovebamby
@jimkappel_ @fredis_antonio_flores

After a long wait, our pairing of the Angenieux 45–90 and Todd AO Front Anamorphic group is finally complete. We’re calling it the “Tangie AO 2x 45–90.”

This lens is something truly special: sharp in the center, then falling off quickly, much more extreme than your standard vintage anamorphic. The edges drop into a beautiful, painterly softness that feels intentional, not flawed. The bokeh blooms and smears in an almost impressionistic way, turning the entire frame into an art piece.

The flares are breathtaking, deep, rich, and layered in a way most modern anamorphics can’t match. This lens isn’t about technical perfection corner to corner. It has weaknesses such as unpredictable edges and a narrow sweet spot, but once you spend time learning it, those weaknesses turn into strengths. It becomes a tool for emotion, atmosphere, and visual poetry.

This is a lens you have to grow with, but when you do, it rewards you with a look unlike anything else.

Available Now @rawelementslensco

Director @mandilenz
Cinematographers @mikemarasco & @definate
Talent @withlovebamby
@jimkappel_ @fredis_antonio_flores

After a long wait, our pairing of the Angenieux 45–90 and Todd AO Front Anamorphic group is finally complete. We’re calling it the “Tangie AO 2x 45–90.”

This lens is something truly special: sharp in the center, then falling off quickly, much more extreme than your standard vintage anamorphic. The edges drop into a beautiful, painterly softness that feels intentional, not flawed. The bokeh blooms and smears in an almost impressionistic way, turning the entire frame into an art piece.

The flares are breathtaking, deep, rich, and layered in a way most modern anamorphics can’t match. This lens isn’t about technical perfection corner to corner. It has weaknesses such as unpredictable edges and a narrow sweet spot, but once you spend time learning it, those weaknesses turn into strengths. It becomes a tool for emotion, atmosphere, and visual poetry.

This is a lens you have to grow with, but when you do, it rewards you with a look unlike anything else.

Available Now @rawelementslensco

Director @mandilenz
Cinematographers @mikemarasco & @definate
Talent @withlovebamby
@jimkappel_ @fredis_antonio_flores

After a long wait, our pairing of the Angenieux 45–90 and Todd AO Front Anamorphic group is finally complete. We’re calling it the “Tangie AO 2x 45–90.”

This lens is something truly special: sharp in the center, then falling off quickly, much more extreme than your standard vintage anamorphic. The edges drop into a beautiful, painterly softness that feels intentional, not flawed. The bokeh blooms and smears in an almost impressionistic way, turning the entire frame into an art piece.

The flares are breathtaking, deep, rich, and layered in a way most modern anamorphics can’t match. This lens isn’t about technical perfection corner to corner. It has weaknesses such as unpredictable edges and a narrow sweet spot, but once you spend time learning it, those weaknesses turn into strengths. It becomes a tool for emotion, atmosphere, and visual poetry.

This is a lens you have to grow with, but when you do, it rewards you with a look unlike anything else.

Available Now @rawelementslensco

Director @mandilenz
Cinematographers @mikemarasco & @definate
Talent @withlovebamby
@jimkappel_ @fredis_antonio_flores

The rarest lens ever created 🤝

LOMO 2-28-1 re-engineered from 28mm to 21mm.
Updated iris transforms the native T5.1 into a new sweet spot at T3.7.

Close focus? There’s honestly nothing like it. You can physically touch the front element and still hold focus.

And as of now… it’s one of one.

Oh….and it fully covers Alexa 65 👀

Shot on Alexa 65 by certified oppps🤣 @mikemarasco @_max.zimmer @mandilenz @definate @alisearmour @antezanabrian @dylan_burzinski @adrianoorionroy

The rarest lens ever created 🤝

LOMO 2-28-1 re-engineered from 28mm to 21mm.
Updated iris transforms the native T5.1 into a new sweet spot at T3.7.

Close focus? There’s honestly nothing like it. You can physically touch the front element and still hold focus.

And as of now… it’s one of one.

Oh….and it fully covers Alexa 65 👀

Shot on Alexa 65 by certified oppps🤣 @mikemarasco @_max.zimmer @mandilenz @definate @alisearmour @antezanabrian @dylan_burzinski @adrianoorionroy

These lenses are becoming impossible to find.
New stock
Sitting in a locker for many years
Lomo 4-40-1
Coverage is beyond 65 OG

After yesterday’s test on the arri 65. I’m confident to say this 75mm is one of the most underrated lenses ever created. Comes in a few flavors too 😉

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

For the 5 day @disabilityfilmchallenge every single crew member on set was disabled. I can’t understate what a joy it was making this project and seeing my peers thrive. Every cast and crew member delivered their A+ game.

‘Wolf in Weeds’ also has the unique honor of being the first project filmed on a lens I’ve been chasing for over a decade- the lomo 28mm 70 series. It’s also the first time filming IMAX 1:43:1 with a large format sensor.

I thought the new aspect ratio would get some getting used to but it actually felt more normal to me than 16:9- more details coming in a vlog

Sharing is caring! Send this 5 minute short out to everyone you know :)

Link in bio

Director+DP- @artofthestory
Written by @artofthestory and @simplykekoa
Produced by @artofthestory, @simplykekoa and @aydin_artsoul
Assistant director- @aydin_artsoul
Technical Supervisor/Gaffer/Audio recording- @deafeyejedi
Line Producer- @simplykekoa
Sound Design- @justamark
Costume Designer- @aydin_artsoul
With Music From @gaelynnlea and @spartanjetplex
Edited by @artofthestory, @aydin_artsoul and @deafeyejedi
Make up artist- @aydin_artsoul
Associate producer- @wesbrownbaby
1st assistant camera- @illestdmc_
2nd assistant camera- @jmelir0

Starring
Sean Jackson @deafeyejedi
Kyle Sinnott @justamark
William Evans @chastite_
Kimberly France Avila @kimberlyfranceavila
Joshua Anthony Gray @jagrayofficial
Armando Garza @mistermrmando @travelwithmando
Wes Brown @wesbrownbaby

Camera- @fujifilmproduction GFX 100 II
Lens- Lomo 28mm 70 series @rawelementslensco

Shot on the @rawelementslensco Lomo 70 series 40,56,75,100

Directed by @itsprestonchen

Producer: @itsprestonchen
Director of Photography: @mikemarasco
Production Manager: @shanefanx
Editor: @itsprestonchen
Gaffer: @jacob_film
Production Designer: @emimull
Starring: @robrichesfitness & @alexhager

1st AD: @instajezus
2nd AD: space.stories
1st AC: @jasonhguerrero
2nd AC: @mandilenz
Techno Team: @cameracraneLA
Techno Op: @silentstormsai
Techno Remote Head Op: @steadimatias

VFX Supervisor: @itsprestonchen
VFX: @null_studios__, @conall.3d, @nicholai.exe, @simebugarija
Sound Design: @ayodouson
Colorist: @itsprestonchen
Graphics: @bysomesh
Music Mix: @xan.griffin

Key Grip: Carlton Hudson
Best Boy Electric: Javier Bonilla
Best Boy Grip: Mikey Davis

Leadman: @mt_anthony24
Set Dresser: Sally Park
Graphic Design: @_hefk
Art PA: @jessicajeanst
Costume Designers: @clarelaflar3 & @morrism01
Tailoring & Customs: @kameronloves_

VO: @robrichesfitness
BTS, PA: @longtruong.jpg & @mellyullah

Good Times today at our lens meet up!
Thanks @evidencecameras for allowing us to use your space! We finally got to play with their eterna and check the coverage on the Lomo 70 series.
@mmsvisualsolutions @adamlighterman @selapierce @tilleyyellit @alexsafdie @mikemarasco @rawelementslensco 💯🫶💯
It’s safe to say they all covered…

@thesunnyandmoonshow on our Tangie AO zoom.

MARCH 2026

Over the past years, we’ve been quietly collecting and restoring these lenses with one goal in mind, assembling five truly clean, historically faithful sets. Not replicas. Not approximations. Real lenses, preserved with intention.

Each standard set will consist of:
40mm · 56mm · 75mm · 100mm · 200mm

For those looking even deeper into the system, ultra-rare optional additions include:
• 21mm (built from the small 28)
• 28mm Kino Russar
• 30mm T3 (derived from the 4-40-1)
• 150mm 2-150-1

Our first fully rehoused set, complete with finalized mechanical and design elements, will be in our possession January 2026. The remaining 5 sets will follow 10 months later.

We took our time with these lenses by design. Their value isn’t only in their rarity, but in the images they produce and the history they carry.