Classic Bausch & Lomb lens series from the 1940s with warm rendering — popular vintage glass for feature films today.
Focal Lengths
| 20 | 25 | 35 | 50 | 75 | 100 | 152 |
|---|---|---|---|---|---|---|
| f/2.3 | f/2 | f/2.3 | f/2 | f/2 | f/2 | f/2.8 |
| 0.45m | 0.45m | 0.45m | 0.60m | 0.75m | 0.90m | 1.50m |
| 1.3kg | 1.2kg | 1.4kg | 1.5kg | 1.8kg | 2.2kg | 2.8kg |
| 67 | 67 | 67 | 67 | 67 | 67 | 67 |
| 56° | 48° | 35° | 26° | 18° | 14° | 9° |
| ◀━━▶ | ◀━━▶ | ◀━▶ | ◀━▶ | ◀▶ | ◀▶ | ◀▶ |
Arri Standard/BNC · S35 · 14 Blades · Gauss Design
Technical Details
The series comprises seven focal lengths from 20mm to 152mm with apertures ranging from f/2 to f/2.8. All lenses feature a 14-blade aperture ring for round bokeh. The optical design is based on a modified Gauss construction with 6-8 lens elements in 4-5 groups. The uniform 67mm filter diameter allows for quick lens changes. Originally with C-Mount, later Arri Standard and BNC mount.
History & Development
Bausch & Lomb developed the Super Baltars in 1938 in response to the increased demands of Technicolor production, which required fast lenses. The first series production began in 1940, with approximately 8,000 units produced by 1970. ASC cinematographer George Folsey determined the optical specifications. In 1965, Bausch & Lomb took over production entirely, after initially only supplying the optical design.
Practical Use in Film
Cinematographer Gregg Toland used Super Baltars for "Citizen Kane" (1941) to achieve the characteristic depth of field in low light. Stanley Kubrick employed them in "Barry Lyndon" (1975) for candlelight scenes, as their speed enabled natural illumination. Their warm, slightly soft look made them a preferred choice for portraits and close-ups in Hollywood productions of the 1950s and 60s. Their mechanical robustness proved itself during outdoor shoots under extreme conditions.
Comparison & Alternatives
In contrast to the sharper Cooke Speed Panchros, Super Baltars deliver a significantly softer, more cinematic look with stronger flare. Modern Zeiss Master Primes surpass them technically but cannot reproduce the characteristic vintage look. Panavision Primo Lenses offer similar speed with higher sharpness, while the Leica Summilux-C series attempts to emulate the Super Baltar look digitally. Today, original Super Baltars are primarily used for period pieces and projects consciously aiming for a classic film look.