The ISCO system also has a patent on it. The Century and the Panasonic .. all the focus through adapters that I am aware of rely on the somple principle of having the adapter focused at it's hyperfocal distance .. infinite to as close the elements can produce.

The ISCO is a patented mechanism which works differently, you can search for the patent information. I don't think I can paraphrase it and be understandable .. while it doesn't have a physical focus screen like a DOF adapter, it's functionality is similar in that the taking lens is focused at infinite (virtual focus screen), and then the adapter is focused .. .. bad explanation perhaps .. the light from the rear of the adapter section are somehow made to be a long long way in the distance, almost parallel.

I am prepared to be ripped to shreds for this poor explanation, it may induce thinking about the issue in different ways. To my knowledge the only people who have paid to use the patent are Hawk.

Of other interest, Panavision bought the patent on the Delft curved prism systems in the 60's simple to preserve their monopoly at the time.

And here is an interesting link for the experimenters: http://www.surplusshed.com/pages/item/l9113d.html

Mine have arrived, I haven't mounted them yet, I have the internal workings of a variable squeeze adapter.

@Mihuel It is the materials used and labor precision required. Think of why a f/2 lens usually cost more than a f/5.6 lens. I guess you can use that as a comparison if it makes it easier to understand.

"What makes such a big price hike in such lenses?"

Demand-supply-speculation

This is a good option that is immediately available:

http://www.ebay.com/itm/EX-Isco-gottingen-Iscorama-50mm-f-2-8-lens-fit-M42-mount-50-F2-8-hk3523-/251126964690?pt=Camera_Lenses&hash=item3a785561d2

I am sure it works very well and we cannot make the same lens for much cheaper.

We thought about that. However, there is a balance between what people want and how much they want to pay. We have received emails we should release one for 10K and focus through as the market value for a new one is 30K. We know that would be great too and maybe we can even make one for 5K only. However, we are working on a 1.5K budget and the market price expectation is around 1K on average so far. We are in a difficult position and thinking everyday if this is a feasible project at all.

@Gabel thanks for the link. I had been figuring out what was the cause since we did make it x1.33 in the design. I was thinking of it was due to not enough curvature in the glass towards the center. I will look more into the anamorphic mumps. This is our first prototype (if we do not include all the failed ones) and we wanted to achieve acceptable sharpness, lens speed, and anamorphic flare this time. The next prototype will look into issues such as the double pintch and anamorphic mumps issue.

The design is a double focus type. We are looking into how to make it focus through but again it will increase the cost. It is possible our first design has to be a double focus and maybe after we sell some we will have a higher end and much higher priced focus through version. Similar to our 50mm F0.95 vs 50mm T0.95 and 35mm T1.4 vs 35mm T0.95 releases .

+1 for super-fast (f0.95) 12mm or 14mm.

Not interested in a 17mm. Then again, I already own a voigt 17.5 which is an amazing lens. (it´s very hard to compete with that, unless it´s a lot cheaper).

@slrmagic, I see. Personally, I have reconsidered my need for a really wide lens (I find 12 is the widest I have use for), however there is a gap in the market around 10mm, for sure. 9mm would be cool, for those who shoot a lot of interiors.

When it comes to the anamorphic development, through history people have tried to make the squeeze as clean as possible (in other words, minimize the effects of such an optical construction). Anamorphic development has been for cinema mainly and the key is that it was used for film. Not digital sensors.

As for digital sensors, for film-making, the situation is a bit reversed. For a cinematic (film-like) organic look you need to introduce pleasant optical imperfection (at varying degrees) to have the (clean) sensor record a cinematic image..

So the question then is, are you ready to leave that up to the taking lens (optical, pleasant imperfection) or can you make an adapter that is exceptional as optically imperfect?

IMO, like I said many pages back, a lens range + adapter combo development seems like the best way to create something exceptional, a true trade-mark product and this is something I´d be ready to pay money for, as DoP, film-maker a.s.o.. If it´s "inexpensive", good, but the main thing is that it is exceptional. It looks like you´ve got some great lenses in the works so I have no doubt you could make an anamorphic attachment that is optically imperfect in an exceptional way (for those lenses).

If it seems hard to do at this point, put it on ice and let it rest for a bit. If you can do something in the wide end and in-around 40-45 for MFT to add to the current developments, you are in a very good position to act if there are technical advances which would aid the use of anamorphics f.i. (multi-aspect sensors for one thing).

@RRRR thanks for the comments. Actually I did not mean a wide angle adapter. I mean make another wide angle lens like our 12mm T1.6. Maybe a wider one like a 10mm?

I read on a few forums and got this feedback.

1) Anything more than 1K is out of reach so the lens is not interesting 2) The Anamorphic oval effect is not enough so we are better off making a wide angle lens for cropping for the price.

Anyone have something to deny to that? I actually learnt a lot more on anamorphic from this thread and noticed a recent asia film that turned out to be a big hit was in anamorphic ratio. However, I also noticed no anamorphic bokeh and no anamorphic flares. Maybe this is more mainstream and a better option for us as a small manufacturer? Another wide angle lens instead?

@slrmagic seems very reasonable. I wouldn´t mind trying it out! :)

650! That's a nice price :) How does it compare to the Nokton 25 0.95?

@slrmagic Although I don't even begin to speak for the entirety of the GhX community, I do believe you are welcomed here with open arms :)

please continuing making great lenses. Hopefully the prices will fall soon ;)

@RRRR

Yes, I gained a little weight from the desqueeze. It seems either the squeeze factor reduced during close focusing or the squeeze is not enough. Seems to be x1.25x but still looking more into it as assemble process has a lot to do with that too.

we wanted to achieve decent IQ and control anamorphic flares for this prototype. We will look more into squeeze factor in the next prototype. The next one probably has to wait several months as I am now busy working on the SLR Magic HyperPrime CINE 25mm T0.95 lens. We got rid of the purple fringing issue already but still working on minor tweeks. Its top priority now to sell these lenses to fund for our upcoming projects such as the anamorphic lenses. A lot of damage was done to us when we got attacked by the Leica community by releasing the 50mm T0.95 lens. We cancelled the HyperPrime LM 35mm T0.95 and HyperPrime LM 24mm T1.4 for Leica camera project and went along with the HyperPrime CINE 35mm T0.95 and anamorphics project instead due to lack of user support in the Leica community.