Samyang for Canon EOS 16mm f2 F2.0 ED AS Ultra Wide Angle Lens in Box

Ultra Wide Angle Prime Lens. Made in Japan. Lens with two caps. S/n: last photo Fully tested in excellent working condition. EMS 50 baht, Cash on Delivery Available (COD เก็บเงินปลายทางได้) or meeting in North Pattaya. More photos and questions via Line ID: gnnick https://www.zeiss.com/content/dam/consumer-products/downloads/historical-products/photography/zm-lenses/en/datasheet-zeiss-zm-distagon-418mm-en.pdf From KenRockwell.com. : Ideal Uses Could be the only wide lens you need for your Leica. Like all Leica M lenses, Zeiss 18mm f/4 ZM works on every Leica M camera, as well as Minolta CLE , Voigtländers, Konica Hexar Ms and Zeiss Ikons. This Zeiss 18mm lens is perfect for use on any Leica. It's super-sharp, free from distortion and easy to shoot, especially with filters. It comes in silver or black and couples to the rangefinder of every Leica or similar rangefinder camera. When I finally got one of these in my hands, it's much, much nicer than I had expected. This Zeiss 18mm's optics are superb, and it takes normal 58mm filters. It's small enough so that there is very little blockage of the image in the 18mm finder, so it's easy to go shoot well. This Zeiss lens feels great in hand, just like Leica lenses. Focus and aperture rings turn with the same smoothness and precision I expect from Leica, and even better than Leica's cheap new Summarit-M lenses. By comparison, the new Leica 18mm f/3.8 ASPH  is a dream lost. It's too big for practical use. The Leica 18mm is a poorer choice for photography because you have to use a special  Leica 14 484 filter adapter  to use filters, and then you have to use 77mm filters which will block your viewfinder. You can't compose well when you can't see what you're doing. Why bother? The  Leica Man  demands the Leica 18mm for his collection, but for actual photographers, the Zeiss 18mm is a better lens because it shoots better. I still need to have a shoot-out to compare optics; when I've had my hands on the Leica 18mm I wasn't at my optical test range. I'm unsure if the Leica will be as good optically as this Zeiss, but we'll see when I get a sample of the Leica 18mm with which to run a head-to-head shoot-out, hopefully in a few weeks. The Leica man doesn't trifle the price, and at any price, the Zeiss makes more sense for its superlative optics and superior usability. Photographers do consider price, and for them, this Zeiss costs less than half of the Leica 18mm. How does Zeiss make such a great lens so inexpensively? Efficiency. Zeiss puts its brilliance in the design, as Mozart and Beethoven put theirs in their scores, and Zeiss then has the performance (manufacture) done efficiently by Cosina in Japan for these consumer lenses. While Leica makes nothing optically more exotic than single-user camera lenses, survey equipment, instruments and scopes, Zeiss also makes enterprize-level optics used in cinematography, satellites and computer chip manufacturing. Zeiss Master Prime cine lenses, rented in Hollywood for $300 a day, sell for $20,000 - $25,000 each. The Zeiss lenses used in  ASML steppers  sell for close to seven figures each, and are made in the cleanest clean rooms in Germany. Leica doesn't even make medium-format lenses, as Zeiss has been doing for Hasselblad since forever. Whose lenses are used in spy satellites that can read the brand name off a golf ball — from space? Zeiss. What lenses did man take with him to record his most crowning achievement of all, the moon landings? Zeiss. Zeiss tests every single one of these lenses, including the 18mm ZM reviewed here, for MTF before it's sold to us. The MTF Zeiss specifies are actual tested, typical MTFs from actual lenses, not the pie-in-the-sky computed MTFs that other companies parade around but can't necessarily manufacture. With Zeiss, we the customers aren't paying for promotional cameras and lenses  given away to celebrities every other month. Zeiss is unsurpassed, but Zeiss doesn't attract the religious extremists that Leica does to tell you about it. Zeiss calls this the Zeiss Distagon  T*  4/18 ZM. "Distagon" is a trademark simply meaning "Zeiss retrofocus wide-angle lens;" it means nothing more specific about the design. T*  is a brand name for Zeiss' excellent multicoating. ZM means it fits the eternal M series of Leica rangefinder cameras, as well as the Voigtländer Bessas, Zeiss Ikons and  Minolta CLE . Ergonomics are perfect. The aperture flicks with a fingertip, and the settings are obvious by feel. Focus flicks with a fingertip, and it's easy to use two fingers for precise focus. The focus ring feels great. One fingertip is all it takes to flick it. Focus is very fast and sure. A small twist of the ring leads to a huge movement in the rangefinder. Focus is faster and less precise than Leica's standard. The focus ring goes from infinity to 0.5 meters in just 100,º which is almost twice as fast as most Leica lenses. There is no focus tab; just a knurled ring. You can use one or two fingers, unlike with Leica, where you have only the tab for focus The Zeiss 18 4 is made very well, much better than Leica's Summarit M lenses . Everything is tight, smooth and solid. Unlike AF lenses, this lens feels like one solid ball of metal. Nothing wiggles, vibrates or clatters. Filter Threads: Chromed metal. Barrel: Silver anodized aluminum. Focus Ring: Anodized aluminum with triangular ribbing. Focus Tab: None. Aperture Ring: Anodized aluminum. Focus Helicoids: Brass. Other Internals: Metal. Mount: Chromed brass. Mounting Index Dot: Blue plastic ball. Markings: Engraved and filled with paint. Made in: Japan. This Zeiss 18mm f/4 lens is sharp! It's sharp even at f/4, and even in the far corners of the full 35mm frame. The half-frame M8's corners are still in the middle of this lens' image. The only way to make this lens unsharp is to stop down too far, like f/22 if you don't need it, in which case diffraction limits performance as it does with every lens. The 10-bladed diaphragm begets sharp, 10-pointed sunstars . Panoramas, landscapes, architecture, photos with dominating foreground and wide background, photography in confined spaces is the profession of this lens. It offers excellent optical performance in a 100 degree diagonal field angle and it’s distortion is almost invisible. Despite it’s comfortable F4 maximum aperture the photographer will enjoy the compactness and light weight of the lens. A full metal barrel, 1/3 f-stop’s, a sophisticated operating concept mark it distinctively as a member of the Carl Zeiss ZM lens family. This lens still provides an astonishing wide angle effect even when used with digital rangefinder cameras. Because of its wide field angle and the need of an external viewfinder this lens is ideally combined with the Zeiss Ikon SW camera body. A versatile wide-angle prime designed for M-mount rangefinder cameras, the silver  Distagon T* 18mm f/4 ZM Lens  from  ZEISS  provides an immense 98° angle of view to suit photographing wide-open expanses or tight, narrow interior locations with dimensional fidelity. Employing a Distagon optical design, distortion is significantly reduced for a realistic portrayal of scenes and both brightness and sharpness are maintained from edge to edge and three anomalous partial dispersion glass elements are also used to help control chromatic aberrations and color fringing for improved clarity and color fidelity throughout the aperture range. A T* anti-reflective coating has been applied to individual lens elements to control flare and ghosting when working in strong lighting conditions for increased contrast and color neutrality. Additionally, the lens's manual focus design permits working with subjects as close as 1.6' away. Employing a Distagon optical concept, this lens delivers virtually distortion-free performance that pairs well with the broad angle of view. Three anomalous partial dispersion elements reduce chromatic aberrations and color fringing for improved color accuracy and clarity. Zeiss T* anti-reflective coatings have been applied to each lens surface to help minimize reflections in order to provide greater image clarity, contrast, and color fidelity. Manual focus design enables a minimum focusing distance of 1.6'.

Made in Japan. Original, genuine, in excellent condition. Lens, two original caps. Professional-quality tele-converters to extend the range of your lenses Using this compact tele-converter lens, you can extend the photographic range of your primary lens by 2X -- allowing you to cover more distance and capture more subjects without the burden of extra equipment. Designed to support Sony G-Series 70-200mm f/2.8 G Telephoto Zoom and Sony G Series 300mm f/2.8 G Telephoto lenses as well as the unique Sony 135mm f/2.8 STF (Smooth Transition Focus) lens. Lighten Your Load - Carrying this versatile tele-converter lens allows you to increase your telephoto shooting capability without carrying extra equipment -- a significant advantage on long wilderness treks or while traveling on vacation. Superb Optical Performance - With these precision Sony tele-converter lenses, youll preserve both the accuracy and the image quality of your primary lens. Open Aperture Settings - When using these tele-converter lenses, remember to compensate for their reduced light transmission by opening your aperture two steps with the 2X converter. Key Features ● A-Mount Teleconverter/Full-Frame Format ● 2.0x Magnification Factor ● Communication Between Lens & Camera ● Maintains Metering and Autofocus Extend the effective focal length of your telephoto Sony lens with this 2.0x Teleconverter, which doubles the reach of your system. The dedicated design maintains full communication between the lens and A-mount cameras, including auto-exposure metering and autofocus. 2.0x teleconverter doubles the reach of the lens with only a two-stop loss in exposure. Dedicated design maintains a high degree of image quality as well as full electronic communication to support the use of AE and AF. Compatible Lenses 70-200mm f/2.8 G SSM II 300mm f/2.8 G SSM II 70-400mm f/4-5.6 G SSM II (manual focus only) 135mm f/2.8 STF (manual focus only) 500mm f/4 G SSM (manual focus only) The SAL20TC teleconverter is compatible with the following lenses: SAL500F40G, SAL300F28G2, SAL70400G2, SAL70200G2, SAL135F28. Extends focal length of lens by 2.0x Increase focal length without degrading resolution. A handy tool for minimizing gear. Compatible with a range of lenses Compact alternative to bulky additional lenses WEIGHT200g (7.1oz.)

https://www.youtube.com/watch?v=ivZrAATdAUo Possibly the first zoom you’ll need. The SAL1680Z is a superb single-lens solution for many APS-C format photographers. Its 35mm equivalent 24-120mm range may be all you’ll ever need for day-to-day shooting. And of course it delivers acclaimed ZEISS optical performance and handling, with image quality that rivals the best prime lenses at any focal length. An ideal introduction to ZEISS quality for A-mount APS-C format bodies. For Sony A-Mount cameras: Professional Full frame: α900 α99 α99 II α850 APS-C High-end: DG-7D α700 α77 α77 II Midrange: α65 α68 Upper-entry: α55 α57 α100 α550 α580 α58 DG-5D α500 α560 α450 Entry-level: α33 α35 α37 α350 α380 α390 α300 α330 α200 α230 α290 For Sony E-Mount cameras with adapter! Made in JAPAN. Very good working condition! Includes : Lens, two caps, Sony Soft Lens Bag. S/n: last photo. EMS 50 baht, Cash on Delivery Available (COD เก็บเงินปลายทางได้) or meeting in North Pattaya. More photos and questions via Line ID: gnnick https://www.sony-asia.com/electronics/camera-lenses/sal1680z Sony Vario-Sonnar T* DT 16-80mm f/3.5-4.5 ZA Overview Have all your bases covered with the Vario-Sonnar T* DT 16-80mm f/3.5-4.5 ZA Lens from Sony, which offers an extremely versatile 24-120mm equivalent zoom range on APS-C format A-mount cameras. Benefitting from a Zeiss design that incorporates two aspherical elements and the renowned T* coating, this zoom will help capture sharp, aberration-free images. Also, due to the use of a variable f/3.5-4.5 maximum aperture the overall size and weight is kept to a minimum. Handling and operation is intuitive, especially with an Auto Clutch mechanism that prevents the focusing ring from rotating when autofocus is engaged. Additionally, the internally focusing lens has a minimum focus distance of 1.1' and it has a seven-blade circular diaphragm for smooth bokeh. Based on the Zeiss Sonnar optical concept, this lens uses a design with 14 elements in 10 groups that helps provide a maximum aperture range of f/3.5-4.5 while simultaneously reducing flare and improving contrast. A standard-length zoom designed for Sony A-mount APS-C-format cameras, the 16-80mm will provide a versatile wide-angle to telephoto 24-120mm equivalent focal length. Two aspherical elements are incorporated in the lens design to reduce astigmatism, field curvature, coma, and other monochromatic aberrations. Zeiss T* anti-reflective coatings have been applied to each lens surface to help minimize reflections in order to provide greater image clarity, contrast, and color fidelity. An Auto Clutch mechanism prevents the focusing ring from rotating when the lens is set to autofocus, allowing for easier, and more natural feeling control over the lens. An internal focus design enables fast autofocus as well as a minimum focus distance of 1.1'. Rounded seven-blade diaphragm contributes to a pleasing bokeh quality when employing selective focus techniques. About this item ● 5x zoom designed specifically for DSLR APS-size ● Superb performance from wide angle to telephoto ● 2 glass-molded aspherical lenses for extra precision ● Circular aperture for pleasing defocused effects.Equivalent 35mm when mounted on an APS format DSLR - 24 - 120mm ● Auto clutch to stop manual focus ring rotation, wide focus ring for a solid feel in manual focusing Vario-Sonnar T* DT 16-80mm F3.5-4.5 ZA Zoom Lens The lightest and most compact zoom in the Carl Zeiss lineup, this lens offers the greatest zoom range making it a superb single-lens solution for many photographers. It delivers acclaimed Carl Zeiss optical performance and handling with image quality that rivals the best prime lenses at any focal length. Technology Circular Aperture When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. α lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result. Aspherical lens elements Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight. Advanced Aspherical (AA) elements are an evolved variant, featuring an extremely high thickness ratio between the center and periphery. AA elements are exceedingly difficult to produce, relying on the most advanced molding technology to consistently and precisely achieve the required shape and surface accuracy, resulting in significantly improved image accuracy and quality. Carl Zeiss T* (T-star) coating Coated optics were pioneered by Carl Zeiss - and this superb lens features the Carl Zeiss T* (T-Star) coating that virtually eliminates lens flare, internal reflection and light scattering that can otherwise occur at glass-to-air surfaces. The T* coating contributes to outstanding image quality, with high contrast and uniformly excellent resolution right out to the image edges. Not simply applied to any lens - the T* symbol only appears on multi-element lenses in which the required performance has been achieved throughout the entire optical path, therefore guaranteeing the highest quality. Distance encoder The distance encoder plays an integral part in ADI flash metering, which delivers high precision flash metering that is unaffected by the reflectance of subjects or backgrounds. The distance encoder is a lens component that directly detects the position of the focusing mechanism, and sends a signal to the CPU in order to measure distance to the subject. During flash photography, this data is very useful in calculating how much flash output is appropriate to the scene. Additional Features Internal focusing Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.

https://www.youtube.com/watch?v=tPgNR4oggF8 Fully tested in very good working condition. Includes : Lens, two caps. S/n: last photo. Compatibility: E-mount Full Frame cameras E-mount APS-C cameras 7Artisans 35mm f1.4 • Full Frame ไม่ต้องครอป + APS-C • เมาท์ตรงไม่ต้องใช้ตัวแปลง • มีทั้ง SONY FE Sony 35mm lenses are pretty good but their E-Mount f1.4 offering is a Zeiss T* optic that is very expensive indeed! This fast compact lens is a great artistic choice for environmental portraiture, street and landscape photography, to say nothing of the value that it brings to your equipment bag. This lens also works fine with Sony's APS-C E-mount cameras and provides 53mm full-frame equivalent coverage. In a departure from other 7Artisans optics, this lens features a clicked aperture ring. HIGHLIGHTS 1. E-Mount Lens/Full-Frame Format 2. Manual Focus Design 3. Minimum Focus Distance: 1.3' 4. Aperture Range: f/1.4 to f/16 7artisans 35mm f/1.4 II Overview A comfortable wide-angle with a fast design, the Sony E-mount 7artisans 35mm f/1.4 is a versatile prime well-suited for a variety of shooting applications. Its bright f/1.4 maximum aperture suits working in low-light conditions and also offers increased control over depth of field for isolating subjects and producing selective focus effects. Its manual focus design permits working with subjects as close as 1.3' away and an 11-blade diaphragm contributes to a pleasing bokeh quality. ● Compact wide-angle prime is designed for full-frame Sony E-mount mirrorless cameras, however can also be used with APS-C models where it provides a 52.5mm equivalent focal length. ● Fast f/1.4 maximum aperture benefits working in difficult lighting conditions and also offers improved control over depth of field for selective focus applications. ● Manual focus design permits working with subjects as close as 1.3' away. ● An 11-blade diaphragm contributes to a smooth and pleasing bokeh quality. I’d never appreciated how much fun there was to be had with a manual focus lens until I received the 7artisans 35mm f/1.4. This small, heavy, rather simple piece of gear brings a huge amount of joy — and bokeh — to your shooting thanks to an insanely fast maximum aperture and some quirks that give every image a healthy dose of character. Sony cameras can feel devoid of soul, and this is a lens that can make you feel like even the most mundane scenes or details are worthy of being photographed. If you’re a pixel peeper that wants crisp, perfect images, this lens is not for you – Sony has plenty of others that fit that bill. If you want to rediscover some simple joys in your photography — or if you simply want to experience f/1.4 without spending an insane amount of money — this lens could be a perfect choice. In addition, other than truly vintage lenses that require an adapter, there’s nothing else on the market quite like it.