The Kowa SET R2: A leaf shutter SLR system that became a movie star!
You can snag the camera for a pittance, but the lenses can be quite pricey.
By Jason Schneider
Kowa was founded in Nagoya, Japan’s third largest city, in 1894 as a textile shop, and entered the spinning industry as a textile manufacturer in 1919. In 1939, the trading and spinning activities were separated, and the trading company was incorporated as Kōwa K.K. After 1945, the company diversified its activities, creating Kōwa Kōki Seisakusho (Kowa Optical Works) that soon produced high value products such as opera glasses, binoculars, rifle scopes, and spotting scopes, some of which were bought by the U.S. occupation forces.
Kowa began producing cameras in 1954, starting with the high-spec (and high priced) Kalloflex 6×6 cm TLR, with concentric film-wind crank and focusing knob. Then came a series of 35mm cameras with leaf shutters, some with a fixed wide-angle or tele lens, some with interchangeable lenses. Many of these were rebadged in the U.S. by the American company Graflex as the Century 35 series, which included both scale focusing and rangefinder cameras
In 1960, Kowa brought forth a series of well-made, broad-spectrum 35mm SLRs cameras, all with leaf shutters, that steadily evolved, eventually culminating in the Kowa SET and SET R2, both with bayonet (R-mount) interchangeable Kowa lenses. The range included the following models:
Second version of the Kowaflex has a fixed 50mm f/2 Kowa lens and built-in selenium light meter.
Kowaflex (fixed lens/no light meter)
Kowa/Kowaflex Model E (fixed lens/external coupled Selenium meter)
Kowa H (fixed lens/external coupled Selenium meter with auto-exposure system)
Kowaflex H: A simplified 35mm autoexposure SLR with selenium cell meter, fixed 48mm f/2.8 Kowa lens.
Kowa SE (fixed lens/external coupled CdS meter)
Kowa SE fixed lens SLR with 50mm f/1.9 Kowa lens, non-TTL metering with CdS cell in prism housing.
Kowa SER (interchangeable lens/external coupled CdS meter)
Kowa SET (fixed lens/internal TTL coupled CdS meter)
Kowa SET with fixed 50mm f/1.8 Kowa lens, open aperture TTL metering.
Kowa SETR (interchangeable lens/internal TTL coupled CdS meter)
Kowa SET R of 1968 was first with R-mount lenses. It also had open aperture TTL metering via an internal CdS cell.
Kowa SET R2 (interchangeable lens/internal TTL coupled CdS meter)
Kowas SET R2. The final version of the Kowa SE series of leaf shutter SLRs replaced the SET R in 1970 and had minor upgrades including a film speed reminder.
Kowa UW 190 (an SLR with noninterchangeable ultra-wide-angle 19mm f/4 lens and an internal TTL coupled CdS meter).
While all these Kowa SLRs are innovative, fascinating, and fitted with fine quality optics (a Kowa tradition) the Kowa SET and SET R2 are technically unique in being part of a 7-lens “R-mount” SLR system consisting of prime lenses ranging from 28mm to 200mm. The system was designed to compete with the focal plane shutter SLRs fielded by the big boys, Nikon, Canon, Pentax, Minolta, and later Fuji. The fact that Kowa was able to offer these mechanically more complex, behind-lens leaf shutter SLRs at lower prices than most if their rivals was a stunning achievement. Even more remarkable is that these Kowa-R lenses are now avidly sought by professional cinematographers who pay big bucks for Kowa-R lenses converted to PL (positive lock), LPL (large positive lock) or other mounts for use on the leading cine cameras.
Kowa SET R front view showing details of R-mount with lens removed. Both the SET R and SET R2 have behind-lens leaf shutters.
In 1968, Kowa announced another ambitious project: the Kowa Six 6×6 cm SLR, which, like the Hasselblad 500s has a leaf shutter in every lens, sold reasonably well, and was widely referred to as the “poor man's Hasselblad.” It was upgraded in 1974 as the Kowa Super 66 with interchangeable L-shaped film magazines, a camera that turned out to be Kowa's last camera of the 20th century.
In 2005, Kowa, which had continued to sell optical observation equipment for birdwatchers, hikers, and others, marketed a spotting scope with an integrated digital camera, the Kowa TD-1. thereby technically becoming a camera manufacturer once again. In early 2009 the company described this item as discontinued but still in stock. At the time, Kowa was also marketing a variety of adapters to mate its spotting scopes with cameras from other manufacturers.
The Kowa SET R and SET R2: Specs and evolution
The Kowa SET R of 1968 (aka SETR or seTr) was a version of the Kowa SET but enhanced with interchangeable lenses (as was the case with the SER vs. the SE). By using a complex behind-the-lens leaf shutter arrangement it continued to offer open-aperture TTL metering and an instant-return mirror. This of course required a unique proprietary lens mount (the Kowa R-mount) with the aperture ring located concentrically behind the lens on the camera body. Kowa offered a rather complete lens lineup from 28mm through 200mm, equaled only by the Kodak Retina Reflex S series, the only other leaf shutter 35mm SLR to offer fully interchangeable lenses from 28mm to 200mm.
The final version of Kowa's SE series of leaf-shutter SLRs was the Kowa SER R2 that replaced the SET R in 1970. The differences between the two are minimal: the SET-R2 has a black plastic cap atop the film advance lever, a film reminder at the base of the rewind crank, and (when first introduced a 50mm f/1.8 standard lens with black filter threads in place of the old chrome-nose f/1.9. Both these lenses are classic 6-element, 4-group double Gauss: designs that deliver outstanding image quality.
Other Kowa SET R2 features: The shutter is a Seiko SLV with speeds of 1 - 1/500, plus B and a self-timer. The TTL meter covers a film speed range of ASA 10 to 800 and displays center-the-needle controls in the finder, with both the shutter speed and aperture settings coupled to the exposure system. The viewfinder screen combines a matte Fresnel screen and condenser and has a central microprism spot in the center for fine focusing. There is a single flash terminal, an M/X selector switch, and the X-sync speed is 1/30 sec. When introduced in 1970 the SET R2 was among the least expensive new SLRs sold in the USA for about $100 with 50/2 lens or $835 in 2025 allowing for inflation,
List of Kowa lenses made for the Kowa SET-R2:
All interchangeable lenses for Kowa leaf-shutter SLR cameras including focal lengths from 28mm to 200mm for the SET R and SET R2, share the same proprietary Kowa R-mount. Specific Kowa-R lenses made available for the SET R2 include the 50mm f/1.9, 35mm f/2.8, 135mm f/4, and the 200mm f/4.
The SET-R2 used a unique Kowa Type R proprietary bayonet mount with a special behind-the-lens leaf shutter system.
Iris ring. The aperture ring is located on the camera body, not the lens itself, requiring a specific lens design.
These lenses were designed to cover the full-frame (24 x 36mm) format on 35mm film.
Rehousing services: While original Kowa-R lenses were designed for the Kowa SET R and SET-R2, some vintage full-frame Kowa-R lenses have been rehoused by various companies (see partial list below) for use on modern cinema cameras.
Kowa R-mount lenses for the Kowa SET-R2 include:
The practice of rehousing vintage still camera lenses for cinema goers back decades, with early examples of rehousing classic lenses like the Cooke Speed Panchro starting in the mid-20th century. However, the trend gained significant momentum in the 2000s and 2010s, driven by digital cinema and the desire for the unique "look" of older glass combined with the reliability and precise mechanics of modern cine housings.
Early examples: Some of the earliest examples of rehousing focused on lenses like the Cooke Speed Panchro, which were popular from the 1930s to the 1960s.Initially, they could only be adapted to PL mount cameras using adapters, which was not ideal, leading to the need for rehousing for better performance.
Digital cinema's influence: The transition to digital cinema cameras in the 2000s created a new demand for high-quality lenses that could be used on modern systems.
Surge in 2000s-2010s: The late 2000s and 2010s saw a major surge in this practice as cinematographers sought the specific optical qualities of vintage lenses but required the more robust, precise, and cinema-specific mechanics (like geared focus and aperture rings) that modern re-housings provide.
Modern rehousing services: Today, there is a large and active market for rehousing services (see partial list below) with many specialized companies offering conversions of various vintage still camera lenses to make them cine camera ready.
Why rehouse vintage still lenses for cinema? Filmmakers often rehouse still lenses to achieve a "vintage" or "cinematic" aesthetic that modern, clinically sharp cinema lenses cannot replicate. The imperfections of vintage optics—like unique flareing, smooth focus fall-off, and subtle chromatic aberrations—are embraced for their character.
Rehousing also improves a lens's usability for professional film sets by incorporating several standard cinematic features listed below
Standardized mechanics: Modern housings provide a uniform size, weight, and front diameter, which allows cinematographers to quickly swap lenses without rebalancing or re-rigging their camera setup.
Enhanced focus: The process adds a cine-style focus mechanism with a longer, more precise focus throw. This allows for smooth and accurate focus pulls during a shot, which is difficult to do with the short focus throws of still photography lenses.
Modern mounts: The rehousing process allows the lens to be fitted with standard cinema lens mounts, such as PL, making it compatible with a wide range of professional cameras.
Robust construction: A new, durable housing protects the original, delicate vintage glass and ensures reliability for demanding on-set use.
The concept of reconfiguring vintage camera lenses for cine cameras
Essentially lens rehousing is either modifying an old cine lens to meet new standards or adapting a still lens for cinema use. It's a practical way to breathe new life into a lens that's been sitting on the shelf. If you find yourself in a similar situation, below is a handy guide of companies (alphabetically) who specialize in the service. We've used some of them with great success. A better solution for some users: a few companies offer rentals of their rehoused lenses which is a good way to step into a unique visual aesthetic without a full financial commitment.
Companies specializing in rehousing vintage lenses for cinematography
Duclos Lenses: The Los Angeles-based company might have the most recognizable name on the West Coast. Duclos offers maintenance, repair, polishing, recoating, and several types of modifications including Cine-Mod, where they take still lenses and make them cine friendly, and a Multi-Mount service where users can switch from Canon, Nikon, Panavision, PL, and Sony mounts quickly. They also convert Canon CN-E lenses to PL among others.
P+S Technik: The German company can rehouse just about any cine lens, most notably the Canon K35s. Angenieux, Cooke Panchro, Kinoptik, Kowa Anamorphic, Leica and Zeiss, among others can also be rehoused by the team.
Simmond Lens: Transformed from a passion project into a full-fledged business, Canadian-based cinematographer Ron Sim's company Simond Lens can rehouse any vintage lens to be used with mirrorless, DSLR, or film camera. The company offers services to add de-click, follow focus gears and EF conversion mounts.
TLS (True Lens Services): If you're in the UK, TLS is a stellar rehousing source. The company can convert, service, or repair pretty much any film, broadcast or projection lens you give them.
Van Diemen Optics: This UK-based company does it all: service, repairs, maintenance, lens conversions, and everything in between. Besides service, they also has used lenses available for sale.
Whitepoint Optics: This outfit specializes in professional cine lens design, manufacturing, and vintage lens rehousing. One if the company’s missions is to transform legendary lenses into cinema-ready tools, maintaining their character while upgrading them to today’s film making standards. Whitepoint’s headquarters and manufacturing facilities are in Helsinki, Finland, and it has offices in Berlin, Germany and San Francisco USA.
Zero Optik” ZERØ OPTIK is a Los Angeles-based design and engineering firm that specializes in modifying and customizing lenses for cinematography. They offer a range of rare and classic lenses, reimagined for modern use. Their products cater to filmmakers and cinematographers looking for unique lens options. The company emphasizes quality and innovation in their lens modifications.
What does lens rehousing cost? It depends on your goals and budget.
Heartfelt thanks to Yiorgos Jun Tryfonas for the following info gleaned from his incisive Facebook post of December 22, 2022:
Level 1 – Cinema modification with or without a sleeve. Cost: a few hundred dollars. Procedure: “Cinema mod” components like a front ring and a focus gear are added on top of the original lens. In the case of a “sleeve”, the same two main components are added but with some extra material that shrouds the lens, giving it the esthetic appearance of being a regular cinema lens, which of course it is not. Other than perhaps removing the mount for iris de-clicking and installing a hard mount the lens is not touched in any other way. The quality for both can vary depending on whether the parts are plastic or metal, and on whether an expert or a user installed them. High-quality technician installed sleeves have been used in full cinema production environments for decades. These kinds of additions make the lens more comfortable to use with the film making process, but in no way change the underlaying mechanics that were designed for photography use. The main advantages of this option are that it can usually be done by the lens owner with a relatively small effort, and it's fully reversible, providing any extracted parts are retained and no control pins were severed.
Level 2 – Block rehousing. Cost: $1500 to $5000 and up. Essentially a lens consists of two main elements: the mechanical part, which includes the various frames, the focusing mechanism, the iris control and mount, and the optical which includes all the elements installed at a precise distance from each other on a (usually) metal block, with the iris in the middle. In block rehousing, only the optical block is retained, and integrated into a brand-new focusing system, essentially replacing the most problematic aspect of vintage camera lenses, the focusing mechanism that designed for still photography. New interface parts are also created, like the focusing and iris rings. If designed well, the whole outer body of the lens can now be independent to the inner block, so any mechanical tension caused by the weight of front- mounted accessories (such as a matte box) or a focusing motor, can be more easily borne by the to the mount, enhancing stability .The original iris is usually kept as-is as part of the block. Depending on design this can have any type of focusing mechanism (helical or cam), and it allows any lens to be adapted to any mount (PL for example). It can also allow for re-assigning the focusing range.
While this is a proper and “full” rehouse, it can still contain parts of the original focusing mechanism for some lenses. Although these secondary parts often play a much lesser role, they still mat not have the required tolerances for top cinema production use. Depending on the brand and lens choices, there can be sets of lenses that do not have any secondary focusing mechanics, with others having almost all their lenses with them. Rehouses of this type can also vary a lot quality wise, depending on the design of the mechanics, the skill of the technician and the installation. The benefit of this rehousing method is that while it gives the lens new focusing mechanics and allows for PL mount conversion, it doesn’t require an extensive study of the lens and design of a new block, meaning any lens can be rehoused with some minimal additional parts to fit the main rehousing design, even if the technician has never worked on that lens before.
Level 3 – Block re-design. Cost: $4000 and up. Here the problems alluded to above in a Level 2 block rehousing are solved by completely redesigning new optical blocks. In this case, the only thing that is kept from the original lens are the lens elements, and optionally the original iris. Creating a new block is extremely demanding as the distance between elements must be extremely precise – something that on the other hand allows customization by adjusting elements at different distances than those originally specified. The original iris can be replaced with a newer one, with more blades and better tolerances. In essence, mechanically speaking, a bran- new lens is created, something that requires additional skillsets, machinery, and work hours. This kind of rehousing used to be very rare but has become more common as more companies started offering it. It’s the most expensive type of rehousing with a good reason. The downside of this kind of rehousing is that it requires an extensive pre-study of the lens and the design of the new block, which means a company can offer only a limited selection of lenses to rehouse and it can take years to configure new options.
Kowa R-mount lenses Original and Rehoused: A chaotic marketplace!
Because many cinematographers have been drawn to the unique rendition of Kowa R-mount lenses and are willing to pay handsome sums to have them professionally rehoused for cine use, the present market for original and rehoused examples is chaotic. Here’s a partial list are some original unmodified examples currently listed on eBay:
50mm f/1.8, $100 or best offer
50mm f/1.8, various listings at $100 to $200
50mm f/1,9, S149.95 buy it now
50mm f/1.9, $350 or best offer
35mm f/2.8, $325 or best offer
35mm f/2.8, $489.99 or best offer
35mm f.2.8, $500 or best offer
35mm f/2.8, $850 or best offer
35mm f/2.8, $1,125 or best offer
135mm f/4, $75 or best offer
135mm f/4, $180 or best offer
100mm f.3.5, $599.00 buy it now
As you can see, the prices are all over the place, so check the seller’s rating and the description and terns carefully before pulling the trigger!
At the other end of the spectrum is a complete set of 7 Kowa lenses (including the 19mm T/4 lifted from a Kowa UW 190) professionally rehoused to a high standard by TLS. Herewith the informative description provided by the seller, FJS International of Lake Worth FL:
Used Kowa-R Full Frame PL Set of 7 for Sale
Image from eBay listing by fjs of Lake Worth FL for a set of 7 Kowa R-mount lenses rehoused in PL cine mount by TLS.
USD $ 111,000 FOB or best offer
Kowa-R Full Frame 19mm T 4.0 CF 0,3m / 12“ Front 110mm 1,02 KG / 2.25 lbs PL FF
Kowa-R Full Frame 28mm T 3.6 CF 0,26m / 9“ Front 110mm 0,93 KG / 2.06 lbs PL FF
Kowa-R Full Frame 35mm T 2.9 CF 0,3m / 11“ Front 110mm 0,92 KG / 2.02 lbs PL FF
Kowa-R Full Frame 50mm T 1.9 CF 0,4m / 16“ Front 110mm 0,91 KG / 2.00 lbs PL FF
Kowa-R Full Frame 85mm T 2.9 CF 0,8m / 2’ 3″ Front 110mm 1,22 KG / 2.68 lbs PL FF
Kowa-R Full Frame 100mm T 3.6 CF 0,95m / 3’ Front 110mm 1,26 KG / 2.78 lbs PL FF
Kowa-R Full Frame 135mm T 3.6 CF 1,2m / 3’ 9“ Front 110mm 1,41 KG / 3.12 lbs PL FF
KOWA-R FULL FRAME TLS REHOUSED lenses are unique optics that combine the classic look of vintage lenses with the functionality of modern equipment. Here’s a breakdown of their features and benefits:
Features:
Vintage Image Quality: These lenses capture images with a distinct aesthetic, often described as having lower contrast, unique bokeh (background blur), and a propensity for creating pleasing lens flares.
Full Frame Compatibility: Rehoused for modern cameras with full-frame sensors, these lenses can capture a wider field of view compared to lenses designed for smaller APS-C sensors.
Upgraded Mechanics: The rehousing process by TLS typically improves the focusing and aperture control mechanisms, making them smoother and more enjoyable to use than their original versions.
Lightweight and Compact: Originally designed for film cameras, these lenses are often smaller and lighter than their modern counterparts.
Available Focal Lengths: These lenses typically come in a variety of focal lengths, ranging from wide-angle (around 19mm) to telephoto (around 200mm), offering options for various shooting scenarios.
Benefits:
Unique Aesthetic: If you’re looking for a distinctive look with a touch of vintage character, these lenses can deliver a special effect that modern lenses often lack.
Improved Usability: The rehousing enhances the user experience with smoother focusing and aperture control.
Portability: Their compact size and lightweight design make them ideal for photographers on the go or those who prefer a more streamlined kit.
Versatility: With a range of focal lengths available, you can find a KOWA-R TLS lens suitable for various photography styles, from landscapes and portraits to street photography and telephoto work.
A better deal from Brooklyn, NY? Maybe.
Incredibly enough a dealer in Brooklyn, New York is currently offering a complete set of 8 (count ‘em) Kowa R-mount lenses rehoused by TLS in PL mount on eBay at a paltry $49,995 Buy It Now! The set includes not only the 19mm T/4 but also the Kowa R 200mm T/4.1 that is not included in the 7-lens set referenced above. And it all comes in what is inelegantly described as an “8-Hole Innerspace Case.”
A Brooklyn Bargain? 8-lens Kowa lens set rehoused in PL cine mount offered at a tad under $50K. Note lenses range from 19mm to 200mm.
Maybe I’ll just spring for that untested “As Is” Kowa SET R2 with 50mm f/1.8 Kowa lens currently listed on eBay at $19.95 plus $10 shipping and take my chances!
Rumors that Leica Cine lenses are being rehoused as Kowa for higher resale have not been confirmed.
You can snag the camera for a pittance, but the lenses can be quite pricey.
By Jason Schneider
Kowa was founded in Nagoya, Japan’s third largest city, in 1894 as a textile shop, and entered the spinning industry as a textile manufacturer in 1919. In 1939, the trading and spinning activities were separated, and the trading company was incorporated as Kōwa K.K. After 1945, the company diversified its activities, creating Kōwa Kōki Seisakusho (Kowa Optical Works) that soon produced high value products such as opera glasses, binoculars, rifle scopes, and spotting scopes, some of which were bought by the U.S. occupation forces.
Kowa began producing cameras in 1954, starting with the high-spec (and high priced) Kalloflex 6×6 cm TLR, with concentric film-wind crank and focusing knob. Then came a series of 35mm cameras with leaf shutters, some with a fixed wide-angle or tele lens, some with interchangeable lenses. Many of these were rebadged in the U.S. by the American company Graflex as the Century 35 series, which included both scale focusing and rangefinder cameras
In 1960, Kowa brought forth a series of well-made, broad-spectrum 35mm SLRs cameras, all with leaf shutters, that steadily evolved, eventually culminating in the Kowa SET and SET R2, both with bayonet (R-mount) interchangeable Kowa lenses. The range included the following models:
Second version of the Kowaflex has a fixed 50mm f/2 Kowa lens and built-in selenium light meter.
Kowaflex (fixed lens/no light meter)
Kowa/Kowaflex Model E (fixed lens/external coupled Selenium meter)
Kowa H (fixed lens/external coupled Selenium meter with auto-exposure system)
Kowaflex H: A simplified 35mm autoexposure SLR with selenium cell meter, fixed 48mm f/2.8 Kowa lens.
Kowa SE (fixed lens/external coupled CdS meter)
Kowa SE fixed lens SLR with 50mm f/1.9 Kowa lens, non-TTL metering with CdS cell in prism housing.
Kowa SER (interchangeable lens/external coupled CdS meter)
Kowa SET (fixed lens/internal TTL coupled CdS meter)
Kowa SET with fixed 50mm f/1.8 Kowa lens, open aperture TTL metering.
Kowa SETR (interchangeable lens/internal TTL coupled CdS meter)
Kowa SET R of 1968 was first with R-mount lenses. It also had open aperture TTL metering via an internal CdS cell.
Kowa SET R2 (interchangeable lens/internal TTL coupled CdS meter)
Kowas SET R2. The final version of the Kowa SE series of leaf shutter SLRs replaced the SET R in 1970 and had minor upgrades including a film speed reminder.
Kowa UW 190 (an SLR with noninterchangeable ultra-wide-angle 19mm f/4 lens and an internal TTL coupled CdS meter).
While all these Kowa SLRs are innovative, fascinating, and fitted with fine quality optics (a Kowa tradition) the Kowa SET and SET R2 are technically unique in being part of a 7-lens “R-mount” SLR system consisting of prime lenses ranging from 28mm to 200mm. The system was designed to compete with the focal plane shutter SLRs fielded by the big boys, Nikon, Canon, Pentax, Minolta, and later Fuji. The fact that Kowa was able to offer these mechanically more complex, behind-lens leaf shutter SLRs at lower prices than most if their rivals was a stunning achievement. Even more remarkable is that these Kowa-R lenses are now avidly sought by professional cinematographers who pay big bucks for Kowa-R lenses converted to PL (positive lock), LPL (large positive lock) or other mounts for use on the leading cine cameras.
Kowa SET R front view showing details of R-mount with lens removed. Both the SET R and SET R2 have behind-lens leaf shutters.
In 1968, Kowa announced another ambitious project: the Kowa Six 6×6 cm SLR, which, like the Hasselblad 500s has a leaf shutter in every lens, sold reasonably well, and was widely referred to as the “poor man's Hasselblad.” It was upgraded in 1974 as the Kowa Super 66 with interchangeable L-shaped film magazines, a camera that turned out to be Kowa's last camera of the 20th century.
In 2005, Kowa, which had continued to sell optical observation equipment for birdwatchers, hikers, and others, marketed a spotting scope with an integrated digital camera, the Kowa TD-1. thereby technically becoming a camera manufacturer once again. In early 2009 the company described this item as discontinued but still in stock. At the time, Kowa was also marketing a variety of adapters to mate its spotting scopes with cameras from other manufacturers.
The Kowa SET R and SET R2: Specs and evolution
The Kowa SET R of 1968 (aka SETR or seTr) was a version of the Kowa SET but enhanced with interchangeable lenses (as was the case with the SER vs. the SE). By using a complex behind-the-lens leaf shutter arrangement it continued to offer open-aperture TTL metering and an instant-return mirror. This of course required a unique proprietary lens mount (the Kowa R-mount) with the aperture ring located concentrically behind the lens on the camera body. Kowa offered a rather complete lens lineup from 28mm through 200mm, equaled only by the Kodak Retina Reflex S series, the only other leaf shutter 35mm SLR to offer fully interchangeable lenses from 28mm to 200mm.
The final version of Kowa's SE series of leaf-shutter SLRs was the Kowa SER R2 that replaced the SET R in 1970. The differences between the two are minimal: the SET-R2 has a black plastic cap atop the film advance lever, a film reminder at the base of the rewind crank, and (when first introduced a 50mm f/1.8 standard lens with black filter threads in place of the old chrome-nose f/1.9. Both these lenses are classic 6-element, 4-group double Gauss: designs that deliver outstanding image quality.
Other Kowa SET R2 features: The shutter is a Seiko SLV with speeds of 1 - 1/500, plus B and a self-timer. The TTL meter covers a film speed range of ASA 10 to 800 and displays center-the-needle controls in the finder, with both the shutter speed and aperture settings coupled to the exposure system. The viewfinder screen combines a matte Fresnel screen and condenser and has a central microprism spot in the center for fine focusing. There is a single flash terminal, an M/X selector switch, and the X-sync speed is 1/30 sec. When introduced in 1970 the SET R2 was among the least expensive new SLRs sold in the USA for about $100 with 50/2 lens or $835 in 2025 allowing for inflation,
List of Kowa lenses made for the Kowa SET-R2:
All interchangeable lenses for Kowa leaf-shutter SLR cameras including focal lengths from 28mm to 200mm for the SET R and SET R2, share the same proprietary Kowa R-mount. Specific Kowa-R lenses made available for the SET R2 include the 50mm f/1.9, 35mm f/2.8, 135mm f/4, and the 200mm f/4.
The SET-R2 used a unique Kowa Type R proprietary bayonet mount with a special behind-the-lens leaf shutter system.
Iris ring. The aperture ring is located on the camera body, not the lens itself, requiring a specific lens design.
These lenses were designed to cover the full-frame (24 x 36mm) format on 35mm film.
Rehousing services: While original Kowa-R lenses were designed for the Kowa SET R and SET-R2, some vintage full-frame Kowa-R lenses have been rehoused by various companies (see partial list below) for use on modern cinema cameras.
Kowa R-mount lenses for the Kowa SET-R2 include:
- Kowa R 28mm f/3.5: A wide-angle lens.
- Kowa R 35mm f/2.8: An additional wide-angle option.
- Kowa-R 50mm f/1.8: This was the standard lens included with the Kowa SET-R2.
- Kowa-R 50mm f/1.9: A different version of the standard lens. The SET-R2 updated this to the f/1.8 model.
- Kowa R 100mm f/3.5: A moderate telephoto lens.
- Kowa R 135mm f/4.0: A telephoto lens.
- Kowa-R 200mm f/4: A longer telephoto lens.
The practice of rehousing vintage still camera lenses for cinema goers back decades, with early examples of rehousing classic lenses like the Cooke Speed Panchro starting in the mid-20th century. However, the trend gained significant momentum in the 2000s and 2010s, driven by digital cinema and the desire for the unique "look" of older glass combined with the reliability and precise mechanics of modern cine housings.
Early examples: Some of the earliest examples of rehousing focused on lenses like the Cooke Speed Panchro, which were popular from the 1930s to the 1960s.Initially, they could only be adapted to PL mount cameras using adapters, which was not ideal, leading to the need for rehousing for better performance.
Digital cinema's influence: The transition to digital cinema cameras in the 2000s created a new demand for high-quality lenses that could be used on modern systems.
Surge in 2000s-2010s: The late 2000s and 2010s saw a major surge in this practice as cinematographers sought the specific optical qualities of vintage lenses but required the more robust, precise, and cinema-specific mechanics (like geared focus and aperture rings) that modern re-housings provide.
Modern rehousing services: Today, there is a large and active market for rehousing services (see partial list below) with many specialized companies offering conversions of various vintage still camera lenses to make them cine camera ready.
Why rehouse vintage still lenses for cinema? Filmmakers often rehouse still lenses to achieve a "vintage" or "cinematic" aesthetic that modern, clinically sharp cinema lenses cannot replicate. The imperfections of vintage optics—like unique flareing, smooth focus fall-off, and subtle chromatic aberrations—are embraced for their character.
Rehousing also improves a lens's usability for professional film sets by incorporating several standard cinematic features listed below
Standardized mechanics: Modern housings provide a uniform size, weight, and front diameter, which allows cinematographers to quickly swap lenses without rebalancing or re-rigging their camera setup.
Enhanced focus: The process adds a cine-style focus mechanism with a longer, more precise focus throw. This allows for smooth and accurate focus pulls during a shot, which is difficult to do with the short focus throws of still photography lenses.
Modern mounts: The rehousing process allows the lens to be fitted with standard cinema lens mounts, such as PL, making it compatible with a wide range of professional cameras.
Robust construction: A new, durable housing protects the original, delicate vintage glass and ensures reliability for demanding on-set use.
The concept of reconfiguring vintage camera lenses for cine cameras
Essentially lens rehousing is either modifying an old cine lens to meet new standards or adapting a still lens for cinema use. It's a practical way to breathe new life into a lens that's been sitting on the shelf. If you find yourself in a similar situation, below is a handy guide of companies (alphabetically) who specialize in the service. We've used some of them with great success. A better solution for some users: a few companies offer rentals of their rehoused lenses which is a good way to step into a unique visual aesthetic without a full financial commitment.
Companies specializing in rehousing vintage lenses for cinematography
Duclos Lenses: The Los Angeles-based company might have the most recognizable name on the West Coast. Duclos offers maintenance, repair, polishing, recoating, and several types of modifications including Cine-Mod, where they take still lenses and make them cine friendly, and a Multi-Mount service where users can switch from Canon, Nikon, Panavision, PL, and Sony mounts quickly. They also convert Canon CN-E lenses to PL among others.
P+S Technik: The German company can rehouse just about any cine lens, most notably the Canon K35s. Angenieux, Cooke Panchro, Kinoptik, Kowa Anamorphic, Leica and Zeiss, among others can also be rehoused by the team.
Simmond Lens: Transformed from a passion project into a full-fledged business, Canadian-based cinematographer Ron Sim's company Simond Lens can rehouse any vintage lens to be used with mirrorless, DSLR, or film camera. The company offers services to add de-click, follow focus gears and EF conversion mounts.
TLS (True Lens Services): If you're in the UK, TLS is a stellar rehousing source. The company can convert, service, or repair pretty much any film, broadcast or projection lens you give them.
Van Diemen Optics: This UK-based company does it all: service, repairs, maintenance, lens conversions, and everything in between. Besides service, they also has used lenses available for sale.
Whitepoint Optics: This outfit specializes in professional cine lens design, manufacturing, and vintage lens rehousing. One if the company’s missions is to transform legendary lenses into cinema-ready tools, maintaining their character while upgrading them to today’s film making standards. Whitepoint’s headquarters and manufacturing facilities are in Helsinki, Finland, and it has offices in Berlin, Germany and San Francisco USA.
Zero Optik” ZERØ OPTIK is a Los Angeles-based design and engineering firm that specializes in modifying and customizing lenses for cinematography. They offer a range of rare and classic lenses, reimagined for modern use. Their products cater to filmmakers and cinematographers looking for unique lens options. The company emphasizes quality and innovation in their lens modifications.
What does lens rehousing cost? It depends on your goals and budget.
Heartfelt thanks to Yiorgos Jun Tryfonas for the following info gleaned from his incisive Facebook post of December 22, 2022:
Level 1 – Cinema modification with or without a sleeve. Cost: a few hundred dollars. Procedure: “Cinema mod” components like a front ring and a focus gear are added on top of the original lens. In the case of a “sleeve”, the same two main components are added but with some extra material that shrouds the lens, giving it the esthetic appearance of being a regular cinema lens, which of course it is not. Other than perhaps removing the mount for iris de-clicking and installing a hard mount the lens is not touched in any other way. The quality for both can vary depending on whether the parts are plastic or metal, and on whether an expert or a user installed them. High-quality technician installed sleeves have been used in full cinema production environments for decades. These kinds of additions make the lens more comfortable to use with the film making process, but in no way change the underlaying mechanics that were designed for photography use. The main advantages of this option are that it can usually be done by the lens owner with a relatively small effort, and it's fully reversible, providing any extracted parts are retained and no control pins were severed.
Level 2 – Block rehousing. Cost: $1500 to $5000 and up. Essentially a lens consists of two main elements: the mechanical part, which includes the various frames, the focusing mechanism, the iris control and mount, and the optical which includes all the elements installed at a precise distance from each other on a (usually) metal block, with the iris in the middle. In block rehousing, only the optical block is retained, and integrated into a brand-new focusing system, essentially replacing the most problematic aspect of vintage camera lenses, the focusing mechanism that designed for still photography. New interface parts are also created, like the focusing and iris rings. If designed well, the whole outer body of the lens can now be independent to the inner block, so any mechanical tension caused by the weight of front- mounted accessories (such as a matte box) or a focusing motor, can be more easily borne by the to the mount, enhancing stability .The original iris is usually kept as-is as part of the block. Depending on design this can have any type of focusing mechanism (helical or cam), and it allows any lens to be adapted to any mount (PL for example). It can also allow for re-assigning the focusing range.
While this is a proper and “full” rehouse, it can still contain parts of the original focusing mechanism for some lenses. Although these secondary parts often play a much lesser role, they still mat not have the required tolerances for top cinema production use. Depending on the brand and lens choices, there can be sets of lenses that do not have any secondary focusing mechanics, with others having almost all their lenses with them. Rehouses of this type can also vary a lot quality wise, depending on the design of the mechanics, the skill of the technician and the installation. The benefit of this rehousing method is that while it gives the lens new focusing mechanics and allows for PL mount conversion, it doesn’t require an extensive study of the lens and design of a new block, meaning any lens can be rehoused with some minimal additional parts to fit the main rehousing design, even if the technician has never worked on that lens before.
Level 3 – Block re-design. Cost: $4000 and up. Here the problems alluded to above in a Level 2 block rehousing are solved by completely redesigning new optical blocks. In this case, the only thing that is kept from the original lens are the lens elements, and optionally the original iris. Creating a new block is extremely demanding as the distance between elements must be extremely precise – something that on the other hand allows customization by adjusting elements at different distances than those originally specified. The original iris can be replaced with a newer one, with more blades and better tolerances. In essence, mechanically speaking, a bran- new lens is created, something that requires additional skillsets, machinery, and work hours. This kind of rehousing used to be very rare but has become more common as more companies started offering it. It’s the most expensive type of rehousing with a good reason. The downside of this kind of rehousing is that it requires an extensive pre-study of the lens and the design of the new block, which means a company can offer only a limited selection of lenses to rehouse and it can take years to configure new options.
Kowa R-mount lenses Original and Rehoused: A chaotic marketplace!
Because many cinematographers have been drawn to the unique rendition of Kowa R-mount lenses and are willing to pay handsome sums to have them professionally rehoused for cine use, the present market for original and rehoused examples is chaotic. Here’s a partial list are some original unmodified examples currently listed on eBay:
50mm f/1.8, $100 or best offer
50mm f/1.8, various listings at $100 to $200
50mm f/1,9, S149.95 buy it now
50mm f/1.9, $350 or best offer
35mm f/2.8, $325 or best offer
35mm f/2.8, $489.99 or best offer
35mm f.2.8, $500 or best offer
35mm f/2.8, $850 or best offer
35mm f/2.8, $1,125 or best offer
135mm f/4, $75 or best offer
135mm f/4, $180 or best offer
100mm f.3.5, $599.00 buy it now
As you can see, the prices are all over the place, so check the seller’s rating and the description and terns carefully before pulling the trigger!
At the other end of the spectrum is a complete set of 7 Kowa lenses (including the 19mm T/4 lifted from a Kowa UW 190) professionally rehoused to a high standard by TLS. Herewith the informative description provided by the seller, FJS International of Lake Worth FL:
Used Kowa-R Full Frame PL Set of 7 for Sale
Image from eBay listing by fjs of Lake Worth FL for a set of 7 Kowa R-mount lenses rehoused in PL cine mount by TLS.
USD $ 111,000 FOB or best offer
Kowa-R Full Frame 19mm T 4.0 CF 0,3m / 12“ Front 110mm 1,02 KG / 2.25 lbs PL FF
Kowa-R Full Frame 28mm T 3.6 CF 0,26m / 9“ Front 110mm 0,93 KG / 2.06 lbs PL FF
Kowa-R Full Frame 35mm T 2.9 CF 0,3m / 11“ Front 110mm 0,92 KG / 2.02 lbs PL FF
Kowa-R Full Frame 50mm T 1.9 CF 0,4m / 16“ Front 110mm 0,91 KG / 2.00 lbs PL FF
Kowa-R Full Frame 85mm T 2.9 CF 0,8m / 2’ 3″ Front 110mm 1,22 KG / 2.68 lbs PL FF
Kowa-R Full Frame 100mm T 3.6 CF 0,95m / 3’ Front 110mm 1,26 KG / 2.78 lbs PL FF
Kowa-R Full Frame 135mm T 3.6 CF 1,2m / 3’ 9“ Front 110mm 1,41 KG / 3.12 lbs PL FF
KOWA-R FULL FRAME TLS REHOUSED lenses are unique optics that combine the classic look of vintage lenses with the functionality of modern equipment. Here’s a breakdown of their features and benefits:
Features:
Vintage Image Quality: These lenses capture images with a distinct aesthetic, often described as having lower contrast, unique bokeh (background blur), and a propensity for creating pleasing lens flares.
Full Frame Compatibility: Rehoused for modern cameras with full-frame sensors, these lenses can capture a wider field of view compared to lenses designed for smaller APS-C sensors.
Upgraded Mechanics: The rehousing process by TLS typically improves the focusing and aperture control mechanisms, making them smoother and more enjoyable to use than their original versions.
Lightweight and Compact: Originally designed for film cameras, these lenses are often smaller and lighter than their modern counterparts.
Available Focal Lengths: These lenses typically come in a variety of focal lengths, ranging from wide-angle (around 19mm) to telephoto (around 200mm), offering options for various shooting scenarios.
Benefits:
Unique Aesthetic: If you’re looking for a distinctive look with a touch of vintage character, these lenses can deliver a special effect that modern lenses often lack.
Improved Usability: The rehousing enhances the user experience with smoother focusing and aperture control.
Portability: Their compact size and lightweight design make them ideal for photographers on the go or those who prefer a more streamlined kit.
Versatility: With a range of focal lengths available, you can find a KOWA-R TLS lens suitable for various photography styles, from landscapes and portraits to street photography and telephoto work.
A better deal from Brooklyn, NY? Maybe.
Incredibly enough a dealer in Brooklyn, New York is currently offering a complete set of 8 (count ‘em) Kowa R-mount lenses rehoused by TLS in PL mount on eBay at a paltry $49,995 Buy It Now! The set includes not only the 19mm T/4 but also the Kowa R 200mm T/4.1 that is not included in the 7-lens set referenced above. And it all comes in what is inelegantly described as an “8-Hole Innerspace Case.”
A Brooklyn Bargain? 8-lens Kowa lens set rehoused in PL cine mount offered at a tad under $50K. Note lenses range from 19mm to 200mm.
Maybe I’ll just spring for that untested “As Is” Kowa SET R2 with 50mm f/1.8 Kowa lens currently listed on eBay at $19.95 plus $10 shipping and take my chances!
Rumors that Leica Cine lenses are being rehoused as Kowa for higher resale have not been confirmed.
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