THE BEST ZOOM LENS FOR 16 MM PROJECTORS? EIKI f/1.3 30–70 mm

Although "MI MUNDO EN SÚPER-8" (My World in Super-8) was born with the intention of focusing exclusively on the cinematic gauge launched by Kodak in 1965 —and which, against all odds, remains more alive and relevant than ever in the 21st century— over the years (and with more than a million readings behind it), this blog has gradually widened its gaze to other film widths.

Today, we turn to a variable focal length lens for 16 mm projectors that I consider —without exaggeration— the finest zoom ever made for this format: the Eiki f/1.3 30–70 mm.

A FOCAL RANGE AS USEFUL AS IT IS VERSATILE

The main virtue of this lens lies in its range: from a 30 mm wide-angle, ideal for large screens at short throw distances, up to 70 mm, perfect for long-throw projections where other zooms —such as the typical Isco or Kern models that stop at 65 mm— fall short.
This range makes the Eiki an extremely flexible lens, adaptable to almost any projection environment.

CONSTANT BRIGHTNESS f/1.3 THROUGHOUT THE RANGE

Another outstanding feature is that it maintains a constant f/1.3 aperture across the entire zoom range —a rarity even among top-tier optics.
Most zooms lose effective brightness as the focal length increases, but the Eiki retains its luminous power, ensuring a bright, uniform image from start to finish.

SHARPNESS AND CONTRAST OF THE HIGHEST ORDER

The sharpness and contrast of the Eiki 30–70 mm are truly impressive.
In my own tests over the years, it easily matches the renowned Swiss-made Kern, while offering greater brightness at longer throws, where the Kern drops to f/1.6 despite not exceeding 65 mm.

It’s worth noting that the Eiki zoom was built by Kowa, the legendary Japanese manufacturer of high-quality optics and anamorphic lenses —many of which were also sold under other prestigious brands.

IMPECCABLE MECHANICAL CONSTRUCTION

Mechanically, the Eiki is a marvel. It is solidly built, precisely machined, and perfectly sealed —a true precision instrument designed to endure decades of professional use without losing smoothness in focus or precision in zoom control.

ONLY ONE MINOR FLAW

If one must mention a weakness, it would be a slight darkening in the corners when used at the widest 30 mm setting.
It’s barely noticeable —visible only to the most demanding eyes— and in no way detracts from the overall excellence of the lens.
In fact, its overall performance even surpasses certain fixed-focal Isco Kiptaron lenses, which says much about the optical mastery achieved by this Japanese engineering gem.

CONCLUSION

When it was still in production, the Eiki f/1.3 30–70 mm was an expensive lens, intended for high-end projection setups.
Eiki still offers it today, from remaining stock, at around four thousand US dollars. On the second-hand market it is now rare, but any unit in good condition found for under 500 euros can be considered a true bargain.

It stands as proof that 16 mm —like Super-8— remains a realm where optical excellence can still deliver astonishing results from the smallest of frames.

Note: Although the Eiki f/1.3 30–70 mm is fitted with the standard European 42.5 mm mount, it will not focus properly on Fumeo projectors unless the mechanical head is modified —a “major surgery” I once performed on one of my own machines.