Anamorphic lenses by Lomo featuring a square front housing, producing characteristic oval bokeh.
Technical Details
The square front lens typically measures 58x58mm with an 82mm diagonal and is housed in a 95mm threaded mount. The construction follows Soviet standards with 6-8 lens elements in 4-5 groups, with the front group consisting of two cemented elements. The rectangular shape results from the cost-effective manufacturing of large-format lenses by cutting rectangular segments from larger glass blocks. Main variants include the OKS 11-35-1 (35mm f/2), the OKS 8-35-1 (35mm f/2.8), and the rare OKS 6-40-1 (40mm f/1.8).
History & Development
LOMO developed this design in 1962 for the "Kinopanorama" cinema system, the Soviet counterpart to Cinerama. Chief designer Dmitri Sokolov optimized production using rectangular blanks, increasing material yield by 40%. Series production for 35mm cinema cameras began in 1968, with adaptation for 16mm formats following in 1974. Regular production ended in 1991 after the collapse of the USSR. Since 2010, these lenses have experienced a renaissance in the independent film scene through adapters for digital cameras.
Practical Use in Film
Andrei Tarkovsky used the OKS 11-35-1 for close-ups in "Stalker" (1979) to utilize its characteristic edge softness. The rectangular mount produces distinct square shapes instead of circular bokeh circles during lens flares. Roger Deakins tested Soviet Square Front lenses for "Blade Runner 2049" (2017) but opted against their use due to unpredictable color shifts. The workflow requires 95mm filter threads and reinforced camera supports, as the lenses weigh 2.3-4.1kg.
Comparison & Alternatives
In contrast to modern Master Primes or Zeiss Supreme Primes, Lomo Square Fronts exhibit distinct optical characteristics: 15-20% light fall-off towards the image edges, chromatic aberrations from f/2.8 onwards, and uneven sharpness distribution. Current alternatives like the Cooke S7/i series or ARRI Signature Primes eliminate these "flaws" entirely. For sterile, perfect image reproduction, one chooses modern optics; for an organic, imperfect aesthetic with historical character, cinematographers turn to Soviet Square Fronts.