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Here's a 1976 Russian Jupiter 36B f3.5 - 250MM Medium Format lens that I just received from Ukraine. The lens mount is the Kiev 6/Pentacon 6 and has a PL adapter which works great. It is in excellent condition overall.

Just did a quick test of the lens with the big Ursa to ensure it worked properly. Shots stopped down at f5.6 available daylight almost dusk, no IR Cut or ND. The resolution in the Ursa big monitor looked better than I expected, which was better than shows in these compressed cropped jpeg's. Hope to do some more tests soon.

Beutiful results,then why can't it be possible to shoot feature film using this lens, of course modern cine lens have better parameters like breathing, vignetting, sharpness, more T stop value, more focus throw,less chromatic abrration,less flair, ghost,etc, but the basic fundamental of refraction of optics is same in both vintage and moden lens, even under the slight limited environment for the vintage lens ,I feel one could shoot beutiful movies with over all picture quality in par with or just behind the modern lens by using the old Russian vintage lens having a cost of 1/100 th of its modern counter part, now one can get it from Iron glass adapters of uckraine, regards Ashok

Thomas, you’re getting the sweet spot with that medium format lens shooting with the URSA 4K sensor (crop 1.7x) and it’s really a useful lens.


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Asok Kumar wrote:Beutiful results,then why can't it be possible to shoot feature film using this lens, of course modern cine lens have better parameters like breathing, vignetting, sharpness, more T stop value, more focus throw,less chromatic abrration,less flair, ghost,etc, but the basic fundamental of refraction of optics is same in both vintage and moden lens, even under the slight limited environment for the vintage lens ,I feel one could shoot beutiful movies with over all picture quality in par with or just behind the modern lens by using the old Russian vintage lens having a cost of 1/100 th of its modern counter part, now one can get it from Iron glass adapters of uckraine, regards Ashok

My whole foray into these vintage Russian lenses came about because of one of the screenplays I wrote titled "Six Rides to the Promised Land" takes place during the Bicentennial summer of 1976. I wanted to see if these lenses could give me the vintage look of that era and could be a practical consideration if we did this movie on a low budget. My opinion is that you could shoot a feature using these Russian lenses if they add to the look you are after. I would use a good follow focus to dial in good images.

rick.lang wrote:Thomas, you’re getting the sweet spot with that medium format lens shooting with the URSA 4K sensor (crop 1.7x) and it’s really a useful lens.


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Thanks for that info Rick. I have to see what other MF lenses are available and might work. I was pleasantly surprised at the image I saw when I hooked up this beast. It is built like a tank.

Thomas, do you know any feature film shot on the Russian vintage lens recently? please reply regards Ashok

Asok Kumar wrote:Thomas, do you know any feature film shot on the Russian vintage lens recently? please reply regards Ashok

Sorry, off hand I am not aware of any films that advertised they were shot on vintage Russian lenses. It would be interesting to know. One would think that there must be at least a small Indy film out there that used them. Maybe some small Eastern European films?

Any one else knows it, please reply, regards Ashok

Thanks, amazing results, want see more, Ashok

Does anyone know about the Russian Lomo foton 37-140 mm T/4.4 vintage cine lens,I was told that it's having lesser contrast than Russian Lomo 25-80 mm T/3.5 mm cine vintage lens,! I want to shoot some dreamy shot for a few minutes for my feature film using this Russian foton 37-140 mm T/4.4 lens on my Ursa mini pro and Ursa 4 k camera and my cannon cn-e 14.5-60 mm T/2.6 PL lens, please reply regards Ashok

Decent, Donnell; you must be pleased with that.


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Oh yes rick I’m pleased with what I got just playing around with the grade for a couple of minutes. After using the Helios and the mir 1-b. These lens have character which I like. It’s funny because I have $8000 lenses but i’m starting to like these $100 lenses more.

Funny, as in laughing all the way to the bank with your savings.


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Yes rick it’s hilarious In fact.

No answer for my post

Donnell Henry wrote:Oh yes rick I’m pleased with what I got just playing around with the grade for a couple of minutes. After using the Helios and the mir 1-b. These lens have character which I like. It’s funny because I have $8000 lenses but i’m starting to like these $100 lenses more.

Looks very nice Donnell. The lens has a nice character to it and the colors are rich and filmic looking with your grade.

Asok, it may be that no one on the forum regularly has used the lens in question. I don’t think that should stop you from using it if the focal lengths work for your feature, unless the producer is asking you to prove other films have used it. There may be other forums besides the official BMD forum where you’ll find an answer. REDuser or BMCuser perhaps or Personal View.


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Thomas Koveleskie wrote:

Donnell Henry wrote:Oh yes rick I’m pleased with what I got just playing around with the grade for a couple of minutes. After using the Helios and the mir 1-b. These lens have character which I like. It’s funny because I have $8000 lenses but i’m starting to like these $100 lenses more.

Looks very nice Donnell. The lens has a nice character to it and the colors are rich and filmic looking with your grade.

Thank you Thomas

Just picked up a Jupiter 21M f4-200mm from Russia. This had an M42 mount and I had to get creative to convert it over to PL mount. These Jupiter 21's won't focus properly when you put a screw on M42 to PL adapter. The rear housing has to be shortened by 38mm to allow focus to infinity.

I am very pleased with my quick test results on the big Ursa. The lens was at f5.6 and just had a UV IR Cut filter, no ND filter on an overcast day.

Excellent pictures, super bockrt,sharp,in par with the Zeiss ultra primes,u can also try carl Zeiss jenna 180 mm f/2.8 multi coated lens, regards Ashok

Impressed, Thomas.


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I am wondering why the people are not accepting these Russian vintage lens for cinimatography,I feel it is in par with the Zeiss cp series and to an extent to ultra primes, regards Ashok

Why do you think they are ignored by professionals?
There is a long thread over at reduser with measurements and all.

The World Expo in Belgium took place during deepest Cold War and the Russians won awards for their lenses there. They took a lot of plans and even some glass for reparations after the war from Zeiss and started from there. Other than many claim they didn't just copy the designs. They developed them further, since they had excellent mathematicians. The only weakness was coating, but that's why some flare so nicely.

Thanks Uli plank, please send me the Red user Link, regards Ashok

Here you go:
http://www.reduser.net/forum/showthread ... ival-Guide

(BTW, Nick Morrison has a Contax Zeiss survival guide there and I have a Minolta SR related one)

Uli Plank wrote:Here you go:
http://www.reduser.net/forum/showthread ... ival-Guide

(BTW, Nick Morrison has a Contax Zeiss survival guide there and I have a Minolta SR related one)

Thanks for the link. Great info. My interest is finding out what Russian lenses can be converted over from M42 or Pentacon to PL mount. Either with off the shelf adapters or doing some small modifications myself, which opens up the possibilities.

rick.lang wrote:Impressed, Thomas.


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Thanks, Rick.

Super report on Russian vintage lens!!!,so in nutshell can you suggest on which are the lens should I buy to shoot a feature film on my Ursa 4k and Ursa mini pro 4.6 k, regards Ashok

Another glad news, Iron glass adapters, Ukraine, released anamorphic adapter to Russian vintage lens at a very low cost introductory price today!!!

Others valuable opinion on this

Screen shots from yesterday's shoot of my new Sci fi film " The Lake" used those modded helios 58mm and mir 1v 37mm "anamorfake". The hero shot of the actress, (The first pic ) was shot a little after dusk. I used ISO 3200 on the Ursa mini pro Braw Q0. There's a little noise on the shot as to be expected since it was getting pretty dark, but I was able to get the shot before we got outta there. Great update for the UMP. Saved my butt. . No color correction yet. Shot in film mode. These cheap lenses just have so much character.

Nice work, Donnell!


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rick.lang wrote:Nice work, Donnell!


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Rick thank you so much. If you like it I know this film is going to be successful. When I make my first Million I promise you, your next camera is on me. Feel free to refer to this post as proof of what I said when that happens.

Here is a color corrected version of a still from yesterday. Helios 58mm. Braw, 3200 ISO, Q0.

Super amazing shot want to know more regards Ashok

What can I say, Donnell? You’re putting your and soul into this. Let us know before it premieres!


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Adam Langdon wrote:i JUST bought a Mir 1-B 37mm f2.8 and a Helios 44-2 58mm f2.

can't wait to shoot with them!

These were the first two Russian lenses I bought. Both are amazing. You can flip the front optic around on the MIR and make a reverse globular that's pretty sharp in the center. Keep an eye out for some mint Helios 77s and 40s and maybe a Jupiter 37A and 21M to round out your set. Just don't drop the 21M on your toe.

I'm about to receive a new Zenitar 85mm f1.4 this week. Can't wait!

Absolutely rick. I will.

Donnell Henry wrote:Screen shots from yesterday's shoot of my new Sci fi film " The Lake" used those modded helios 58mm and mir 1v 37mm "anamorfake". The hero shot of the actress, (The first pic ) was shot a little after dusk. I used ISO 3200 on the Ursa mini pro Braw Q0. There's a little noise on the shot as to be expected since it was getting pretty dark, but I was able to get the shot before we got outta there. Great update for the UMP. Saved my butt. . No color correction yet. Shot in film mode. These cheap lenses just have so much character.

Very nice Donnell. Yes they do have character. Would love to see some video of your anamorfake Russian lenses! Show us a color corrected clip of an outtake or behind the scenes! Best of luck with the project!

I have some russian lenses (Mir 1V, Helios 44-2, Jupiter 9 and Jupiter 37A), all M42 that I use with EF mount using adapters. Even the Mir 1V has a bit long focal length for my needs så I've been looking at the Mir 20M. However, it seems to have a pin at the camera side. What does this pin do and would it cause any problem if using the lens with an EF adapter?

Mattias Kristiansson wrote:I have some russian lenses (Mir 1V, Helios 44-2, Jupiter 9 and Jupiter 37A), all M42 that I use with EF mount using adapters. Even the Mir 1V has a bit long focal length for my needs så I've been looking at the Mir 20M. However, it seems to have a pin at the camera side. What does this pin do and would it cause any problem if using the lens with an EF adapter?

The pin is to engage/disengage the auto aperture these lens have. I believe once the pin is pushed in it allows manual setting of the aperture. If the EF adapter pushes the pin in you will have to just set manually.

Thank you Thomas, i’ll Post the trailer here in a couple of weeks for your viewing pleasure

Well folks, yesterday was a nice, overcast day with even lighting and there was a pretty tree in the park, so I fetched my six PL Russians from IronGlass Adapters for a bokeh and breathing test.



These are the lenses

20 mm / F3.5 – MIR 20
28 mm / F3.5 – Mir 10A
37 mm / F2.8 – Mir 1B
58 mm / F2 – Helios 44-2
85 mm / F2 – Jupiter 9
135 mm / F2.8 – Tair 11A

This was all filmed full frame Q0 BRAW on an URSA Mini Pro. In post I put on a contrast curve and tried to even out the exposures.

They all breathe, of course. But some of them make nice and interesting images. I’m fond of them, though for shoots I almost always reach for the Angineux EZ-1 or EZ-2.


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I recently bought an early silver 1966 MIR-1 lens with the Brussels Gran Prix 1958 engraving and the blue lens coating (the later 1967-1968 m39 mount and m42 mount lenses from 1969 on had a yellow coating). I used a m39 to m42 adapter, a Fotodiox M42-EOS-PRO-V2-FC10 type 2 m42 to EOS flanged adapter and a DEC Lensregain EF to MFT focal reducer to mount it to a BMPCC 4K.

I took this shot with it and processed it in Adobe Lightroom to help me get an "A" in an Ambient lighting photography class. Although it was sharp up to about 15 meters, voluminosity was retained. I have an m39 to MFT adapter on order and I hope to fix the problem of lack of infinity focus with it. The lens coating gave it a warm cast.

You can't depend on your eyes when your imagination is out of focus.
- Mark Twain

Here is another shot using the MIR-1 lens. Although it is a 37mm F/2.8 lens, it is an effective 53mm F/2 lens in this configuration.

I also use a 1993 Zenit Helios 44M-7 58mm F/2 lens which is 83mm F/1.4 in my BMPCC 4K setup. The aperture pin of this M42-mount lens depresses all the way down and it needs a type 2 flanged M42 to EOS adapter or the iris will be stuck wide open.

Here is a wide open shot at ISO 100 and 1/30 sec. It has a distinctive bluish flare when facing the light straight on (it is yellowish at an angle like the bottom of the tunnel's mouth). The out-of-focus rendering together with the tunnel wall in the foreground give it a kind of anamorphic feel.

All gorgeous dream-like images that would do well in a film that suited it.


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Thanks, please send the video, Ashok

I recently picked up a 1976 Helios 44-2 58mm anamorfake lens with a fixed oval aperture of F/3.5 and a string for flaring. Overall, it is softer than the 44M-7 with a simpler coating. In Premiere, I changed the pixel size from 1 (square) to 1.33 and chose 1.21x desqueeze. I suspect that since I am only using the center of the lens, I am missing out on the squeeze of the oval aperture by going through a .75x DEC Lensregain focal reducer to MFT on a BMPCC 4K. I've yet to find the swirly bokeh this lens is known for as well. Drag the image to reveal the one to compare it with underneath.

Here it is compared to the 1993 Helios 44M-7 with it's MC coating. Again, using a DEC Lensregain EF to MFT focal reducer to mount it to a BMPCC 4K. I used a lot of dehaze in Lightroom to bring out the colors. Drag the image to reveal the one to compare it with underneath.
attachment=0]Hel44M-7Top&Hel442AnLn_121Bottom.jpg[/attachment]

I was able to use a couple of Soviet-era anamorfake lenses in my Cinematography class on a Blackmagic URSA Mini 4K. Since the image circle is smaller than full frame on this cropped sensor camera, I choose a pixel size of only 1.09 in post. I then cropped the video.

We shot these using a dolly and several ARRI Fresnel lights with a fog machine.

Here is a silver anamorfake F/3.5 1966 MIR-1 lens with the Brussels Gran Prix 1958 engraving and the purple/blue lens coating (known for it's flares). It is mounted using a rafcamera Zenit SLR M39 to EOS adapter.

Mir-1 37mm F/3.5 anamorfake lens

Here is a 1976 Helios 44-2 58mm F/3.5 anamorfake lens. It is mounted using a Fotodiox ver. 2 M42 to EOS adapter

Helios 44-2 58mm F/3.5 anamorfake lens