We continue our long-running Creative Forces series with East New York cinematographer Jendra Jarnagin.

For this blog, we go on location in Stockholm, Sweden with U.S. and Europe-based cinematographer Rose Bush to discuss the Canon C500 Mk II full frame digital cinema camera, Sumire Prime lenses, and her most recent project Love Child.

ZEISS today unveiled their new Nano Primes, a line of fast, compact, full frame cinema lenses initially available for Sony’s full frame E-mount with other shallow flange depth mounts planned to come later. Equally at home on Sony mirrorless cameras or their dedicated Cinema Line bodies, these new primes are offered in a classic selection of focal lengths: 18mm, 24mm, 35mm, 50mm, 75mm, and 100mm. All lengths open to a fast T1.5 maximum aperture and feature common geared focus and iris ring locations – as well as common 95mm fronts – for quick and easy lens changes. The lenses can also accept an M86x1 (86mm standard) front screw-in filter, natively.

We sat down with Los Angeles-based cinematographer Nick Matthews to dive into his experience as a filmmaker and discuss the long road that led him to lensing Saw X.

Lens testing is like learning – it never stops! Keeping up with the latest technology can be a daunting task, but one that’s important in our field. Back in 2017, I did a Behind the Lens series looking at a wide range of documentary zooms to see how they can achieve specific needs for a project. The options for cinema glass have certainly grown since then, so I decided to add a few more lenses to the list.

AbelCine teamed up with NYC-based director and cinematographer Theo Stanley for a brief study of the similarities and differences between TRIBE7's BLACKWING7 B-Tuned (Bespoke) and S-Tuned SKIN 2000 prime lenses.

AbelCine teamed up with ARRI and Dylan George to explore the application of ARRI Signature Zooms in the world of high-end fashion production. Two-time Academy Award-nominee Djimon Hounsou lent his commanding presence and undeniable charm to the shoot, which was directed by Kwaku Alston and shot by DP Bartosz Nalazek, PSC, with color grading by Picture Shop.

Sony recently unveiled an exciting new camera – the FR7, part of their Cinema Line – that combines the DNA of their Alpha 7-series of full-frame mirrorless cameras with the flexibility, precision and control of a remote-controlled studio camera.

We recently had the chance to test Sony's new FE 70-200mm F2.8 GM OSS II lens on the FX3 Full Frame Cinema Camera.