DZOFILM Arles Zooms Announced – 25-75mm and 65-180mm T2.6 With Prime-Matched Color

by Alexandra ThompsonSeptember 13^th, 2026

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DZOFILM used IBC 2026 to put its two new Arles zooms in front of people: a 25-75mm and a 65-180mm, both at a constant T2.6, both parfocal, and both under 1.8kg. We spoke to Susanne Wu at the booth about the deliberate overlap between them, the color matching to the Arles Primes, and where the set sits against the company’s existing zooms.

The lenses themselves were announced a few days before the show, so the specifications were already public when we arrived. What the booth conversation added was the reasoning behind the design choices, how the zooms fit into the existing Arles system, and the kinds of shooters DZOFILM expects to use them.

Both cover full frame with a 43.5mm image circle, and both carry a 95mm front diameter with M86 filter threads, matching the rest of the Arles line. The 25-75mm is a 3x zoom, the 65-180mm a 2.8x, which together give you 25mm to 180mm on two lenses with no gap anywhere in between.

The overlap is the point

Many two-lens zoom sets leave a hole. The wide zoom ends where the long one begins, or worse, stops short of it, and the shooter discovers the gap at the least convenient moment. DZOFILM ran the 25-75mm past the 65mm start of the long lens on purpose.

Susanne framed the 65mm to 75mm crossover as a working convenience rather than a specification: it lets an operator switch lenses mid-sequence and pick up at the same focal length rather than recomposing, and because the two share their color rendering, the cut between them does not shift. For documentary work in particular, which is where she expects a lot of these to end up, that is the difference between swapping lenses and avoiding the swap entirely.

Matched to the primes, by design

The stronger claim DZOFILM is making is about image quality parity with its own primes. Susanne described the target as prime-level rendering, high resolution with an organic character, using a color science shared with the Arles Primes so that a shooter can cut between a prime and a zoom without correcting for it in post.

That is worth taking seriously in context, because the Arles Prime range is 11 lenses from 14mm to 180mm at T1.4 to T2.4, all with the same 95mm front diameter and weights between roughly 1.4kg and 1.9kg. The zooms slot into that set physically as well as optically, which means a matte box, a follow focus, and a set of filters carry across the whole system without a rebuild between shots.

Compact, parfocal, and the weight question

Both lenses are parfocal, so focus holds through the zoom, and Susanne pointed out that DZOFILM reworked the internal mechanics to get there without the usual size penalty. The result is a T2.6 aperture, brighter than the company’s previous full-frame zooms, in bodies that are close to the same size and weight as what came before.

The published figures back that up. The 25-75mm weighs about 1,767g (3.9lb) and measures 178mm (7.0in) in PL, while the 65-180mm is 1,782g (3.9lb) and 190.8mm (7.5in). Close focus is 0.51m (1ft 8in) on the wide zoom and 0.89m (2ft 11in) on the long one. Zoom rotation is 100° on both, and DZOFILM lists 270° of focus rotation.

On breathing, Susanne said the effect is minimal on both lenses and barely noticeable in use, with slightly more of it at the long end than the wide, which is the usual pattern. She also made the point that breathing control is precisely what makes zooms harder to build than primes, where the difficulty is instead matching color across separate focal lengths.

Mounts, and adapting to mirrorless

The zooms ship in PL. An EF mount kit is available separately for anyone shooting on Canon bodies, and users can swap it themselves rather than sending the lens in.

Beyond that, DZOFILM points users to its own Octopus adapter for mirrorless bodies, which is the practical route for Sony E, Nikon Z, Leica L, and Canon RF cameras. Please note that native mirrorless mounts are not offered for the Arles zooms.

Where these sit in the lineup

DZOFILM already offers full-frame zooms in the Catta Ace line, but the Arles zooms are a different proposition, aimed at shooters who want broader focal coverage and a closer visual match to the existing Arles primes.

Asked about the customer, she described a market that keeps shifting toward content creators moving up from consumer gear, alongside the documentary and feature work the brand has served for years. It’s also worth remembering that DZOFILM began with zooms, the Pictor series, rather than primes, which is the reverse of how many lens brands grow.

Price and availability

Each lens is €2,500, with US retail listings at $2,899. Preorders are open, and DZOFILM expects shipping to begin within roughly two weeks of the show, which puts the first deliveries in late September.

Two zooms, 25mm to 180mm, no gap. Would you run these next to your primes? Don’t hesitate to let us know in the comments below!