Soviet anamorphic lenses by LOMO/Carl Zeiss (1962–1991) characterized by distinctive horizontal lens flares and oval bokeh, defining the monumental cinema aesthetic of the 1960s–70s.
The Helios Anamorphic series includes focal lengths from 35mm to 250mm with a constant aperture of f/2.8. The characteristic cylindrical front lens element exclusively compresses the horizontal image axis, while vertical resolution remains unchanged. The lenses operate with the 35mm film format and produce a horizontal resolution of effectively 1.4 times the sharpness compared to spherical lenses of the same focal length. The minimum focusing distance is 1.2 meters, and the filter thread is M82x0.75.
Three main variants exist: Helios-44 Anamorphic (58mm), Helios-103 Anamorphic (100mm), and Helios-135 Anamorphic (135mm). All use the M42 screw mount and weigh between 680g (58mm) and 1,240g (135mm).
Development began in 1958 in the Soviet Union as a response to the Western CinemaScope format. LOMO Leningrad developed the first prototypes, with series production starting in 1962 at Carl Zeiss Jena. By 1975, approximately 12,000 units of all focal lengths had been produced. After German reunification, production ended in 1991. Soviet films such as "War and Peace" (1966-67) established the system internationally.
The last batch from 1989-1991 received coated front lenses and more precise mounts, but is considered rarer due to low production numbers of under 500 units per focal length.
Sergei Bondarchuk's "War and Peace" was the first to systematically use Helios Anamorphic lenses for battle scenes and ball sequences. The characteristic horizontal lens flares and oval bokeh shaped the look of Soviet epic films of the 1960s and 70s.
Modern productions like "Mad Max: Fury Road" (2015) utilize restored Helios Anamorphic lenses for specific sequences to achieve a vintage, analog look. The workflow requires specially calibrated de-squeeze monitors on set and appropriate post-production software for 2:1 distortion correction.
Helios Anamorphic lenses differ from modern anamorphic systems like Panavision or Zeiss Anamorphic through stronger optical aberrations and less corrected distortion. Compared to Isco-Anamorphot attachments, they offer better integration and more even sharpness distribution.
Today's alternatives include Cooke Anamorphic or Atlas Orion, which are technically superior but more character-neutral. Helios Anamorphic remains relevant for productions consciously aiming for the Soviet film aesthetic or facing budget constraints – used units cost 800-1,500 Euros compared to 15,000+ Euros for modern systems.
Ich schätze an den Helios-Anamorphot-Linsen besonders die charakteristischen blauen horizontalen Flares, die bei Gegenlicht entstehen - ein Look, den moderne Anamorphics nicht mehr haben. Die ungleichmäßige Schärfeverteilung über das Bildfeld zwingt mich zu präziserer Bildkomposition, da die Bildränder merklich weicher werden. Bei Nahaufnahmen erzeugt die ovale Bokeh-Charakteristik eine sehr spezielle, nostalgische Anmutung.
Diese Objektive geben mir visuell sofort eine Zeitebene - der leicht "gebrochene" Look eignet sich perfekt für Rückblenden oder um historische Atmosphäre zu schaffen. Die horizontale Kompression verstärkt die Gesichtsbreite in Nahaufnahmen und macht Portraits emotionaler, während Landschaftsaufnahmen durch das 2,35:1-Format epischer wirken. Ich setze sie gezielt ein, wenn ich bewusst von der digitalen Perfektion wegmöchte.
Mit 1.200 Euro pro Objektiv koste ich etwa ein Zehntel moderner Anamorphic-Sets, muss aber 2-3 Reservelinsen einplanen, da Reparaturen schwierig sind. Die längeren Setupzeiten durch manuelle Fokussierung und die notwendige Kalibrierung der Monitore bedeuten etwa 15% mehr Drehtage. Dafür spare ich bei der Postproduktion, da der Look bereits "in camera" entsteht und weniger Grading benötigt.
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