Pentax Takumar 135mm f/2.5 telephoto lens prized for natural portraiture and creamy bokeh in 16mm film production from the 1960s–70s.
The Takumar 135mm series comprised several optical designs: The Auto-Takumar 135mm f/2.5 consisted of 5 lenses in 4 groups, while the later SMC Takumar 135mm f/2.5 featured a 6-lens design in 5 groups. The minimum focusing distance was 1.5 meters, and the filter diameter was 49mm. The lens weighed approximately 420 grams and measured 65mm in length. The Super-Multi-Coated (SMC) versions from 1971 significantly reduced reflections and flare through multi-layer coating. The aperture automation worked via a mechanical lever on the bayonet mount.
The first Takumar 135mm f/3.5 appeared in 1957 for the M37 mount of the Asahi Pentax. In 1958, the K-mount version for the Pentax K-series followed. The faster f/2.5 model was introduced in 1962 and was considered a technical breakthrough for affordable telephoto lenses. In 1971, the series received the SMC coating, which significantly improved contrast and color saturation. Production ended in the early 1980s with the introduction of the Pentax-A series.
Cinematographers appreciated the Takumar 135 for portraits with a natural perspective and creamy bokeh. The 135mm focal length allowed for expressive close-ups without intrusive proximity to the subject. In documentary productions, the lens proved to be a discreet alternative to longer telephoto lenses. Its compact dimensions and moderate weight made it a standard telephoto lens in 16mm film productions of the 1960s and 70s, often adapted via mechanical extension tubes.
Compared to contemporary Zeiss or Leica telephoto lenses, the Takumar 135 offered a cost-effective alternative with respectable optical quality. Modern equivalents such as the Pentax-DA 55-300mm or Sigma 135mm f/1.8 achieve higher sharpness and aperture, but lose the characteristic "vintage look" with slightly softer rendering. For today's film productions, Takumar lenses are often used on digital cameras via adapters to reproduce the specific optical character of the era.
Ich nutze das Takumar 135 für seine charakteristische Bokeh-Qualität, die besonders bei f/2.5 eine schöne Freistellung ohne hartes Abschneiden erzeugt. Die leichte chromatische Aberration verleiht Hauttönen einen warmen, organischen Look, den moderne Objektive oft vermissen lassen. Bei Gegenlicht entstehen dezente Flares, die dem Bild eine nostalgische Atmosphäre geben.
Das Takumar 135 hilft mir, intime Momente zu schaffen, ohne dass sich Schauspieler von der Kamera bedrängt fühlen – der natürliche Arbeitsabstand entspannt die Situation erheblich. Die leicht weiche Zeichnung bei Offenblende unterstützt emotionale Szenen durch eine traumhafte Bildqualität. Für Flashback-Sequenzen oder Erinnerungsszenen setze ich es gezielt ein, um visuell zwischen Zeitebenen zu unterscheiden.
Ein gebrauchtes Takumar 135 kostet zwischen 80-150 Euro plus Adapter, während moderne Alternativen das Zehnfache kosten können – bei kleineren Produktionen eine erhebliche Kostenersparnis. Die robusten Objektive sind wartungsarm und überstehen auch harte Drehtage problemlos. Allerdings benötige ich bei digitalen Kameras zusätzlich Fokus-Pulling-Equipment, da der manuelle Fokus präzise Bedienung erfordert.
1. Zu welchem Department gehört „Takumar 135"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.