Art Adams is a cinema lens specialist at ARRI, Inc. Before that, he was a freelance cinematographer for 26 years. You can see his work at http://www.artadamsdp.com.

Art has been published in HD Video Pro, American Cinematographer, Australian Cinematographer and Camera Operator magazines, and has written for ProVideo Coalition since its inception. He is an active member of the International Cinematographers Guild and a former member of the Society of Camera Operators (SOC).

ARRI Signature Prime and Mini LF Event: Sim Video, Vancouver

ARRI Signature Prime and Mini LF Event: Sim Video, Vancouver

Come see me on June 6th at Sim Video in Vancouver, B.C., where I’ll co-present a session on ARRI Signature Primes with product manager Thorsten Meywald…

Four lenses: a visual comparison, part 2

Four lenses: a visual comparison, part 2

It’s time to name names. I’m going to tell you what lenses you’ve been looking at for the last few days, and offer my…

Four lenses: a visual comparison, part 1

Four lenses: a visual comparison, part 1

We live in an age of lens choice. Because of this, we also live in an age of lens tests. Done properly, such tests are hugely valuable. The best way…

Quantifying the Large Format Look

Quantifying the Large Format Look

Large format is no longer out of reach of the average filmmaker, but the look is difficult to quantify. Naturally, that means I’ll give it a try. I…

Behind-the-lens nets: a lost art makes a comeback

Behind-the-lens nets: a lost art makes a comeback

I’ve always been a little different. That’s the only explanation I have for cutting gels out of Rosco and Lee swatch books and putting them behind…

An interview with moi, now at Production Hub

An interview with moi, now at Production Hub

Not to give away any of PVC’s thunder, but Production Hub interviewed me a few weeks ago and the result is now live. You can see it here…

Chromatic aberration: hard edges, hue shifts, and storytelling

Chromatic aberration: hard edges, hue shifts, and storytelling

Accidents yield interesting truths. This is especially true in lens and camera tests, where it’s hard to know what to test for but there’s always something…

Three lenses: a look at bokeh, depth of field and geometry

Three lenses: a look at bokeh, depth of field and geometry

Some people take time off during the holidays. I borrow a half million dollars worth of camera and lenses and shoot whatever comes to mind. It’s a sickness…

Film lens vs. digital lens: what are the differences?

Film lens vs. digital lens: what are the differences?

I’ve worked with a lot of cameras, and I’ve always come back to ARRI cameras whenever I’ve had the chance. It’s just…

Lens dynamic range: coatings, contrast and color

Lens dynamic range: coatings, contrast and color

There was a time in the distant past when I thought of lenses as transparent glass. Film and digital sensors have dynamic range, but lenses are merely optics. Right? Wrong…