Development of Modern Anamorphic (Widescreen) Lenses from the Original “Cinemascope” Lenses of the 1950s

Introduced in the 1950s as a response to the rising popularity of television, anamorphic lenses allowed filmmakers to capture images in a wider aspect ratio without sacrificing image quality. This innovation enabled the creation of the iconic widescreen “CinemaScope” format, which not only elevated the visual spectacle of films but also helped differentiate the theater experience from watching TV at home. By “squeezing” a wider field of view onto standard 35mm film and then “un-squeezing” it during projection, anamorphic lenses allowed for grander compositions, expansive landscapes, and more immersive visual storytelling—all crucial elements for drawing audiences back into cinemas.

Beyond the technical advancements, anamorphic lenses profoundly influenced the emotional and aesthetic impact of films. The unique characteristics they introduce— such as horizontal lens flares, oval-shaped bokeh, and a distinct shallow depth of field— all contribute to a cinematic look that many associate with truly epic storytelling and increased emotional depth. Directors and cinematographers have embraced these visual traits to create a sense of grandeur and intimacy simultaneously, allowing audiences to feel more connected to the narrative and characters. From sweeping science fiction epics to intimate dramas, anamorphic cinematography has become synonymous with high-caliber filmmaking. Its enduring popularity demonstrates how a technological innovation, when paired with artistic vision, can redefine not only how films are made but also how they are experienced by audiences around the world.

What is an anamorphic lens, and how does it differ from conventional spherical lenses?

The main difference between spherical and anamorphic lenses lies in how they bend and shape light, especially in the horizontal dimension. Here’s a breakdown of the key differences in design and function:

Spherical Lens Design:

Anamorphic Lens Design:

Summary:

Original CinemaScope Lenses (1950s):

Photo ^© https://www.widescreenmuseum.com/widescreen/wingcs1.htm

• Used a spherical taking lens in the rear paired with a separate anamorphic attachment (called a “front anamorphic”) on the front.
• The anamorphic element sat in front and only compressed the horizontal field of view. You can see the side-to-side curve of the lens in the above photo of the original CinemaScope lens invented by Henri Chrétien.
• A 50mm spherical lens on the rear “saw” a 25mm field of view horizontally and the unaffected 50mm view vertically. So, the anamorphic lens on the front essentially squeezed the 25mm horizontal view onto the film. This required a very careful selection of the particular 50mm spherical lens elements.

• Early lenses used single-cylinder elements that compressed the image uniformly.
• Typically fixed compression (2x squeeze).

• The taking lens and anamorphic element had to be focused separately, which made the operation cumbersome.

• Heavy distortion, chromatic aberration, and soft corners were common.
• Horizontal flares and oval bokeh were present, but often unintentional.

• These setups were physically large and awkward, limiting movement and close focusing.

Modern Anamorphic Lens Design:

• The anamorphic and spherical optics are designed together in a single lens housing.
• This results in tighter integration, better image quality, and easier handling.

• Uses multiple cylindrical elements (sometimes front and rear groups) to correct aberrations and control squeeze.

• Available in 1.33x, 1.5x, 1.8x, and 2x, depending on the look and sensor format.

• Modern lenses allow for single-ring focusing, even with complex anamorphic groups.

• Reduced distortion, improved corner sharpness, and better chromatic control.

• Lenses are now tailored for “vintage look”, flare control, bokeh shape, etc.

• Especially with digital mirrorless and cinema camera systems, modern anamorphic lenses are lighter and more practical.

Comparison Table:

The development of anamorphic lenses revolutionized the art and technology of filmmaking, offering a wider visual canvas that reshaped cinematic storytelling. By enabling filmmakers to craft more immersive, emotionally resonant images, anamorphic lenses helped define the aesthetic of modern cinema. Their influence extends beyond technical enhancement, fostering a deeper connection between audiences and the stories on screen. As both a creative tool and a symbol of cinematic grandeur, anamorphic technology continues to play a vital role in how films are envisioned, shot, and experienced – solidifying its place as a cornerstone in the evolution of visual storytelling.

REFERENCES

1. Ray, Sidney F., Applied Photographic Optics (Focal Press, various editions)
2. Kingslake, Rudolf, A History of the Photographic Lens (Academic Press, 1989)
3. Cook, David S., A History of Narrative Film
4. Brown, Blain, Cinematography: Theory and Practice (Routledge)
5. Smith, Warren J., Modern Optical Engineering
6. Kingslake, Rudolf and Kingslake, Hilda Conrady, Lens Design Fundamentals
7. Greivenkamp, John E., Field Guide to Geometrical Optics (SPIE Field Guides)
8. Baker, H. E., “Design of Cylindrical Lenses for Anamorphic Systems” Journal of the Optical Society of America, Vol. 45, No. 2, 1955.
9. Kidger, M. J., “Anamorphic lens design for cinematographic applications” Proceedings of SPIE, Vol. 1354, 1990.
10. Tozer, Jim, “Anamorphic Lenses: Past, Present and Future”, Film and Digital Times, various issues.
11. Belton, John, Widescreen Cinema (Harvard University Press, 1992)
12. Salt, Barry, Film Style and Technology: History and Analysis
13. American Cinematographer Magazine Archives, (https://ascmag.com/)
14. Society of Motion Picture and Television Engineers (SMPTE) Journal
15. SPIE Digital Library, (https://www.spiedigitallibrary.org/)