The first vintage lens I loved was an Angienux 25-200 T3.9 that one of the co-producers on our first feature owned. We used it to shoot the end credits with a “vintage Italian cinema feel,” (live, quick, super-zooms, lens flair, etc.). This is actually the same lens that Kubrick used quite a bit on Barry Lyndon. Incidentally, here’s an article from American Cinematographer where John Alcott (
