I had the privilege of being the very first outside individual to test out the new DZO Arles Prime Lens set. The DZOFILM reps let me borrow the lenses during the down time of the NAB trade show in exchange for sample footage, and when I returned the lenses, they let me know this was the first footage they’ve seen from the lenses. Because we only had 15 hours with the lenses, we can’t call this a full-fledged review, these are more so initial impressions. I am simply going to speak on how I feel the lenses performed during my time with them.
DZO Arles Technical Specifications
To give you a clearer picture of the DZO Arles lenses, here are the detailed specifications:
- Focal Lengths: 25mm, 35mm, 50mm, 75mm, 100mm
- Mount: PL/EF
- Aperture Range: T1.4-22
- Image Circle: Ø46.5mm (VV/FF)
- Close Focus (from sensor plane):
- 25mm: 0.35m / 1ft 2in
- 35mm: 0.5m / 1ft 7in
- 50mm: 0.75m / 2ft 6in
- 75mm: 0.9m / 2ft 11in
- Iris Control:
- 25mm: Manual (77°)
- 35mm: Manual (80°)
- 50mm: Manual (82°)
- 75mm: Manual (90°)
- Iris Blades: 16
- Construction of Optics:
- 25mm: 14 Elements in 12 Groups
- 35mm: 13 Elements in 9 Groups
- 50mm: 13 Elements in 8 Groups
- Focus Control: Manual (270°)
- Front Diameter: Ø95mm / 3.74”
- Filter Size: M86
- Gear Pitch: 0.8 Mod
- Material: Aluminium alloy
- Weight:
- 25mm: 1490g
- 35mm: 1650g
- 50mm: 1688g
- 75mm: 1662g
- 100mm: 1830g
- Length:
- PL mount: 121mm / 4.76”
- EF mount: 129mm / 5.08”
Focus Breathing: Virtually Non-Existent
One of the first things I noticed about the DZO Arles lenses was the virtually non-existent focus breathing. For those unfamiliar, focus breathing refers to the slight zoom effect that occurs when adjusting the focus. This phenomenon can be distracting and undesirable, especially in professional video work. With the Arles lenses, the lack of focus breathing allows for seamless focus pulls without the distraction of a changing frame, resulting in more professional and polished footage. This is particularly beneficial for narrative work where maintaining consistent composition is crucial.
Minimal Chromatic Aberration
In terms of image quality, the DZO Arles lenses exhibited very minimal chromatic aberration. Chromatic aberration, often seen as color fringing along high-contrast edges, can detract from the overall image quality. While it’s nearly impossible to eliminate entirely, the Arles lenses control it exceptionally well. When zoomed in, some chromatic aberration is visible, but it remains well within acceptable limits. This control contributes to the overall clean and professional look of the footage.
A Modern Yet Organic Feel
Another aspect that stood out to me was the unique balance the Arles lenses strike between modern and organic image characteristics. They deliver well-controlled flares and smooth focus fall-off, giving footage a polished yet natural look. Unlike overly clean stills lenses, the Arles lenses offer a “buttery” feel that enhances the image’s organic quality without sacrificing contrast. This makes them suitable for a variety of shooting scenarios, from cinematic productions to more creative, artistic projects.
Exceptional Low-Light Performance
These are fast T1.4 lenses, which provide excellent flexibility in low-light situations. Shooting at T1.4 means you can capture scenes in dimly lit environments without compromising on image quality. The lenses are impressively sharp even when wide open, which is a testament to their high-quality optics. However, shooting wide open does introduce some character into the bokeh, with occasional irregular shapes. This adds a touch of uniqueness to the out-of-focus areas, contributing to the lenses’ overall aesthetic appeal; however, it may not be for everyone.
Conclusion
In summary, my initial impressions of the DZO Arles Prime Lens set are overwhelmingly positive. The lenses offer a rare combination of technical precision and artistic quality. The lack of focus breathing, minimal chromatic aberration, and the blend of modern and organic imaging characteristics make them a compelling choice for filmmakers and videographers. Their performance in low-light conditions and the distinctive bokeh add to their versatility and appeal. While these are just initial impressions based on limited use, I am excited to see how the Arles lenses perform in more extensive testing and real-world applications. In the mean time, if you’re interested in being an early adopter, then you can order the set at B&H Photo and Video.
