The Canon Sumire are what happens when you move some lens element air gaps around and add a different coating to the the popular CN-E series. They have a pleasing vintage type look with a traditional yet diffused modern green flare when used wide open.

In my experience they are indistinguishable from from CN-E series when stopped down past T2. This makes them versatile but also limiting in the same regard.

The extended coverage and compatibility with extended data particularly when combined with Canon C series cameras makes them a great choice if you are seeking a lightly touched up look on a precision Japanese lens.

Canon Sumire primes are the next evolution of the popular Canon CN-E primes. They are well-built, relatively compact, sharp, lenses. I find their flares very nice for modern lenses. Canon swapped the CN-E's EF mounts for PL mounts and seems to have de-tuned the lenses in some way. Wide open, the Sumire primes have a bit more bloom to them, and chromatic aberration is more apparent.

Stopped down just one stop, and they are basically indistinguishable from CN-Es. There have been some comparisons made (mostly for marketing reasons) to K-35s. I think anyone can see form our lens tests, that although they share some DNA, Sumire primes look quite different than their K-35 predecessors. If you want a set of PL mount CN-Es that have a bit more flavor wide open than CN-Es, then these are a great choice.

Check out our CN-E reviews for more detail about these lenses' character.

In recognizing its rich history of glass, Canon decided to revisit their lineage after creating modern lenses for a decade or so. Though the Sumires are modern lenses in every sense of the word and embody a lot of the same characteristics to their CN-E's and L-series lenses, they stand out when you open the iris up to a T1.5. Every lens has its pluses and minuses when shooting "wide-open." And though I think shooting wide-open, in general, is a distinct and purposeful choice due to the "lower" performance a lens may yield, Canon seems to be inviting its consumers to explore this unique style the Sumires bring when shot wide open.

They become "dreamy" with a smooth silky drop-off in focus, tons of chromatic aberration, and an overall softer image.

The Sumire Primes from Canon were an attempt to provide a more “artistic” look for cinematographers. While they do provide a different look, I don’t know that it’s something I enjoy. The Sumire Primes did retain nearly the same resolution as the CN-E primes, but suffered… Er.. Exhibited more pronounced spherical aberration which reduced overall contrast and produces a more pleasing bokeh.

The internal mechanics and nearly all of the optical designs are identical to the original CN-E. One of the biggest differences, aside from the price, is the standard ARRI PL mount included on the Sumire Primes.

The revolutionary 1970s DNA in the Canon FDs and K-35s carries through Canon lenses to this day and though it has evolved and improved over the subsequent decades, I still see its fingerprints in the more modern CN-E line, which are derived from their L-Series still-lens counterparts.

And though lens manufacturers have had to abandon the use of lead and thorium in their glass types for the newer lenses, the Sumire lenses strive to acknowledge their 70s Aspherical/K-35 lineage, albeit with mixed results, by detuning the lenses in the attempt to induce some aberrations and evoke a more vintage feel.