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ZEISS Supreme primes on Annette

Larry Smith filming The Forgiven

Cinematographer Larry Smith ASC BSC uses Cooke Anamorphic/i lenses for The Forgiven


Vintage Cooke Speed Panchro lenses bring nostalgic look to The Sixth Reel


Cooke Mini S4/i Prime lenses bring a specific look to No Loss // No Gain

Adrian Correia DP_Kevin Can Go2

Cooke Optics’ lenses bring reality to the dual worlds of AMC’s Kevin Can F**k Himself

Meet Your Master

Cooke S4/i lenses transform ‘Meet Your Master’ online expert interviews into intimate conversations


The lens I couldn’t shoot without: Sophie Darlington on her wildlife filming career with a Canon CN20x50 lens

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Isaac Vila chooses Cooke S7/i Full Frame lenses to film Netflix’s Below Zero

Cover of booklet published in 1897 by Taylor, Taylor & Hobson offers illustrative proof that their new lens made from the patented Cooke Triplet construction gives superior image quality.

Cooke Optics donates historic archive of original documents and photographs to AMPAS

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Shift 4 continues company and inventory expansion

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Jose Luis Bernal AEC chooses Cooke Anamorphic/i SF for second season of HIERRO


Cooke S7/i Full Frame Plus lenses add visual clarity to Behind Her Eyes

Credit: Cate Cameron/Lionsgate

Barb and Star Go to Vista Del Mar with Cooke Anamorphic/i Special Flair Prime and Zoom Lenses

Liam Neeson

Cinematographer Mark Patten BSC mixes and matches Cooke lenses from different eras on The Marksman

Credit: Supriya Kantak

Cinematographer Declan Quinn brings decades of Cooke lens experience to A Suitable Boy with S4/i Primes

Isaac Vila on The Mess You Leave Behind

Netflix’s Spanish original The Mess You Leave Behind shot with Cooke S7/i Full Frame Plus lenses


Cooke Panchro/i Classic brings vintage look to Fugitive Dreams

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Cooke Panchro/i Classic lenses bring The Chosen to life

IMAGO Newsletter DOP Roulette Landscape Final

Book your ticket for Cooke Optics’ ‘DOP Roulette’ event at Camerimage

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Cooke Optics’ S7/i full frame plus primes help awaken emotions in I Still Breathe

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