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TK LENSES

TK LENSES provides lens rehousing and custom mechanical work for cinema use, based in Bangkok, Thailand.

16/04/2026

Cooke Kinetal was introduced around 1959 to 1960 as part of Taylor Hobson’s professional 16mm lens lineup, designed by Gordon Cook for the growing world of documentary, industrial, and scientific filmmaking. The 37.5mm f/1.8, 50mm f/1.8, and 75mm f/2.6 all come from that early Kinetal range and remain some of the classic focal lengths from the series. Although the Kinetals were originally designed for 16mm, the 37.5mm and longer focal lengths can still cover S35, with a slight amount of vignetting depending on the setup. They may not be as sharp as the Speed Panchros, but they carry a character and charm that is very much their own.

We received these three lenses quite a while ago and only recently had the chance to finally complete the set and deliver it to the client. Each lens was fully reengineered with an all new non-linear, cam-driven focusing mechanism, a 95mm front OD, and a 300 degree focus throw. Focus and iris positions were also standardized across all three lenses for a more consistent working set. At the same time, we preserved the original iris diaphragm design, so the lenses still retain their authentic rendering and original image character, now in a housing that is far more durable and production ready.

15/04/2026

Pricing review in progress!

Over the years, we have adjusted our pricing several times, usually through modest and gradual increases.

We are now reviewing our rehousing pricing again, as some lens lines still do not reflect current production realities and remain below a sustainable level.

Not every lens will change by the same amount. We are currently evaluating which lens families need adjustment first. Once the review is complete, the rehousing cost calculator will be updated accordingly.

Long-term sustainability in the rehousing market has become increasingly difficult. To ensure we can continue for the long term, our pricing needs to move closer to the true cost of production.

Current pricing remains subject to change at any time. Once the new prices take effect, they will not return to the current level.

We appreciate your continued support. If you have been considering a rehousing project with us, this would be a good time to proceed under the current pricing.

11/04/2026

Many people may not know, or may have forgotten, that anamorphic rehousing was our original goal from the very beginning. That was the path we set out on when we first started in late 2021. At the time, anamorphic work was still much more demanding for us, so we turned to spherical lenses for a while, and LOMO became one of the first series we began developing. We kept working on LOMO throughout the years that followed, but this time we came back to it with a fully reworked design from the ground up.

With this latest redesign, we were finally able to carry the new system across nearly the full LOMO spherical range, from 18mm all the way to 150mm, including 22mm, 28mm, 35mm, 50mm, 75mm, and 100mm.

Since LOMO was one of the first spherical lens series we ever worked on, its evolution has unfolded alongside our own. In many ways, this redesign reflects how far both the lens and our work have come. After more than four years, it feels good to see it arrive here!

05/04/2026

The Leica Elmarit-R 19mm f/2.8 V1 was introduced in 1975 for the Leica-R system and designed by Walter Mandler. It was Leica's first 19mm ultra-wide for their SLR lineup, with a ~96° AoV, developed at a time when extreme retrofocus wide-angle design was still far more difficult and limited than it would become in later years. The lens is known for its strong rendering when stopped down, especially through the mid-apertures, while still carrying the classic compromises of an early ultra-wide design.

For our rehoused version, we brought the lens to a 95mm front OD to keep it consistent with the rest of the set, without introducing vignetting. We removed the original focusing mechanism entirely and replaced it with a new non-linear cam-driven system, designed, manufactured, and assembled from the ground up. We also built a completely new iris and calibrated the lens in T-stops for more reliable use in serious production.

Over fifty years on, the optical formula Walter Mandler designed is still doing the work, just in a form that belongs on a modern set.

03/04/2026

We had previously rehoused a Cooke Speed Panchro 25mm Series III back in early 2025, and at the time the entire set was built with a 110mm front OD. This time, however, the 25mm was the only Speed Panchro in the set, while the rest were Cooke Kinetals, which could all be done with a 95mm front OD. That meant we had to revisit the 25mm and push the design further so it could match the rest of the set at 95mm as well.

Standardizing a vintage set is all about the details. Bringing this lens down to 95mm allows the entire set to work together more seamlessly in modern production without constant equipment changes. Fitting the Series III optics into a smaller housing required multiple rounds of engineering and refinement, but the result is a far more cohesive and practical set.

For decades, the Cooke Speed Panchro series has remained one of the most respected and recognizable names in vintage cinema lenses. Rehousing brings these optics into a more practical form for modern productions, allowing cinematographers to keep using classic glass to tell new stories in the digital era.

28/03/2026

The Leica Summilux-R 80mm f/1.4 is one of the first Summilux lenses we rehoused in the Leica-R lineup, following the Summicron-R 35mm and 50mm we completed earlier. This lens also gave us the chance to use our latest design, with a full 300 degree focus throw and a 16-blade iris upgrade to keep the bokeh round throughout the aperture range.

For an 80mm f/1.4, the lens is fairly compact, so it didn't require an especially long housing. It's still quite heavy though, as expected for a fast lens of this type. Its measured T-stop comes in at T1.6.

More Leica R sets will be coming soon, including Elmarit, Summicron, and Summilux lenses across the range.

17/03/2026

Beyond the OM line, Olympus also built the Pen F series, a half-frame system with a surprisingly wide range of lenses. One of them is this 70mm f/2. Even though it was originally designed for half-frame cameras, it covers full-frame without any vignetting, which is one reason many people enjoy using it on modern large sensor cameras. It also pairs nicely with the OM series, sitting neatly between 50mm and 85mm.

This is already the fourth version we’ve built for the lens. It was completed in October last year and represents the last design before our current version.

13/03/2026

The Yashinon-DX 45mm f/1.4 was the standout fixed lens of the Yashica Lynx-14, introduced in 1965. It was considered expensive for its time and featured a fast normal focal length with a 7 element, 5 group design. The lens is widely associated with Tomioka Optical Works, which Yashica later acquired in 1968.

In the motion picture world, it’s not a lens commonly seen in use, likely because it was never designed as a standalone interchangeable lens in the first place. It was made specifically for the Lynx-14, which makes adapting it for cinema use far less straightforward than most vintage still lenses. Rehousing it into a proper cinema format gives this 60 year old piece of glass a second life, allowing it to capture the modern world through a truly vintage lens once again.

10/03/2026

It’s been a long time since we last worked on an anamorphic lens. To be honest, it’s not the kind of project we take on very often, especially when it involves partial work or highly specific custom requirements. Projects like this can quickly become difficult to control because so many details affect how the whole system comes together. Our usual approach is to build complete professional cine housings as a finished system, not something pieced together around different custom requests.

We still return to anamorphic from time to time because that’s where our fascination with lenses originally began. This one is a CinemaScope attachment by Bausch & Lomb, made for motion picture cameras more than 70 years ago. Back then it was still an anamorphic attachment rather than a single integrated lens, so it had to be mounted in front of a standard taking lens, and focusing had to be done twice, once on the attachment and once on the taking lens behind it.

For this rehousing, we used the Rapido FVD-35A vari-diopter as a focuser. It combines a strong negative and positive diopter. When the elements sit close together, it focuses farther all the way to infinity. When they move apart, it focuses closer. In this build, we brought the minimum focus down to around 1.1 meters or 3.6 feet, eliminating the traditional double focus operation and also remove mumps at close focus.

The front of the FVD-35A is extremely large, which forced the housing to use a 134mm front OD. Even at that size there is still some vignetting because of the technical trade-offs involved. What makes this build special is that it now behaves like a true cinema lens, with a non-linear cam with a 300 degree focus throw, proper mechanical hard stops, and an almost grease-free internal mechanism that makes maintenance and servicing much easier.

This kind of project involves a great deal of coordination and detail, and can easily drift into fully custom territory. Even so, we still chose to take it on because we genuinely want to see vintage anamorphic lenses like this continue to be used, even more than seven decades after they were first created, even if that means taking on part of the cost ourselves.

09/03/2026

There are still many lenses in the Canon nFD series that we’re currently working through, and one of them is the nFD 100mm f/2.8. Its measured T-stop comes in at T3. The lens is already fairly compact for a 100mm, and after rehousing it remains noticeably smaller than many typical lenses in this focal length.

One interesting aspect of this build is that it was among the first lenses where we began making and assembling the iris module entirely in-house. That allowed us to increase the blade count to 16. Looking ahead, some lenses with larger apertures may even reach 18 blades to achieve an exceptionally round bokeh throughout the entire aperture range.

07/03/2026

We’ve worked on quite a few ultra wide lenses over the years, but the Nikon 15mm f/3.5 is still one of the hardest to rehouse. Its floating group is extremely sensitive, and to make things even more challenging, not every copy is exactly the same inside. Even lenses from similar production years can have subtle internal differences. That means the process demands extra care from the very beginning, not just in design and machining, but also in assembly and final tuning, all of which can take a great deal of time.

This is already the 9th version since we first started working on the lens nearly 3 years ago. Because the lens is physically large yet short for its size, there’s very little room for the internal mechanism, which made the design process especially difficult. In the end, the housing had to be built with a 110mm front diameter, while the other focal lengths in the series remain at 95mm. Even so, we still wanted to keep it true to one of the signatures of our work, with hidden exterior screws and a clean, understated look that doesn’t rely on overly bold colors.

More lenses are in the works, and we’ll be sharing more soon.

06/03/2026

The Leica Summicron-R 35mm f/2 is a favorite for many shooters. This one was completed in July 2025 and is part of the later batches using our latest housing design.

For this version we implemented a non-linear focus scale and upgraded the iris to 14 blades. Inside, it uses a cam-driven focusing mechanism that delivers a very smooth feel while also being straightforward to service when needed.

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จันทร์	08:30 - 17:30
อังคาร	08:30 - 17:30
พุธ	08:30 - 17:30
พฤหัสบดี	08:30 - 17:30
ศุกร์	08:30 - 17:30
เสาร์	08:30 - 17:30
อาทิตย์	08:30 - 17:30