Canon EOS RP Full Frame Vlogging Portable Digital Camera

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'.

The IBELUX lens with the biggest aperture of 0.85 in the world and focal length of 40mm are initially available for Sony E mount systems. NEW in Box. Lens, rear lens cap, screw-on metal cap, plastic cap with snaps, built-in hood, User Manual, Pouch, Box. Kipon announces $1,780 40mm F0.85 Ibelux lens for six APS-C mirrorless mounts Published May 23, 2022 | Gannon Burgett Optics manufacturer Kipon has announced an updated version of its 40mm F0.85 ultrafast prime, the Ibelux 40mm F0.85 Mark III. This third-generation lens improves upon its predecessor with an updated optical construction that consists of ten elements in eight groups. Compared to the Ibelux 40mm F0.85 Mark II, KIPON says the Mark III version ‘has totally new coatings both inside and out’ to reduce flares and ghosting, and fixes ‘the irregular light reflection/diffusion problem’ that led to purple fringing. The lens, which is available with mounts for Canon EOS R, Fujifilm X, Leica L, Micro Four Thirds, Nikon Z and Sony E-mount APS-C camera systems, features a 10-blade aperture diaphragm, has a minimum focusing distance of 75cm (29.5"), uses a 67mm front filter thread and has an aperture range of F0.85 through F22. Manual focus is driven by a Swiss-German mechanism and the focus ring offers 270º of rotation. The Kipon Ibelux 40mm F0.85 Mark III is constructed of an aluminum outer barrel with a brass core and stainless steel mount. It measures 74mm (2.9") in diameter by 128mm (5") long and weighs 1,150g (2.5lbs). Preconceptions I try to start these articles by putting my preconceptions out there first. Every reviewer or blogger has them, they affect our opinions, and you have a right to know them. So I’m writing this introduction the day before our first copies arrive. The HandeVision IBELUX 40mm f/0.85 is designed by IB/E Optics GmbH in Germany and manufactured by Kipon (aka Shanghai Transvision Photographic Equipment Co. Ltd). IB/E has developed a number of lenses and adapters for the Cinema world and other optics, so I figured the design would be good; probably a telecentric lens with a built-in Speedbooster-type element or group. Kipon is known as a lens adapter company, although Shanghai Transvision has also manufactured and distributed video and photo accessories. They are rumored to manufacture lenses for other brand names, so they have some lens manufacturing experience.  But, I have to say, my expectations for build quality weren’t great. I expected a lot of variation between copies. I don’t know if I even had any expectations regarding image quality. Okay, so much for what I expected. There are now five new copies sitting on my desk so let’s take a look. Look and Feel I can guarantee that you’ll see “built like a tank” posts all over the forums when people start handling this lens. Why? Because people say “built like a tank” when anything is really heavy, and this lens is really heavy at 2.65 pounds. (To put it in perspective, a Canon 70-200mm f/2.8 lens weighs 2.85 pounds.) Tanks are cool and all, but I generally remind people they need an overhaul every 2,000 miles and get about 0.25 miles per gallon of fuel. I also remind people that I’ve never seen tanks used to deliver eggs – no matter how thick the armor plating is, delicate things inside are still delicate things. But definitely, this lens is built like a tank for whatever that’s worth. The lens has a nice built-in sliding hood, which I’m always a fan of. The aperture ring moves easily and is “lightly clicked.” You can barely perceive the slight click with each stop. It’s not nearly as distinct as, for example, a Zeiss or Nikon manual aperture ring, but it’s certainly sufficient to tell by feel when you’ve changed the aperture. I kind of like it. The focusing ring is very smooth and turns with minimal resistance compared to most manual focus lenses, with clear hard stops at either end of the focus range. I kind of liked this ring, too. You will have to be careful where you place your hands on the lens when shooting, though, because an errant finger can easily move the focusing or aperture rings. We hit our first snag at this point: one of the five lenses we received had a focus ring that popped past the infinity hard stop on the first turn. In looking at things a bit, it became apparent that the focusing ring has three tiny set screws which connect to the hard stops for the focus ring. We tightened them just a bit and all was well after that. (To some degree you can also tighten them a bit further to make the focus ring have a bit more resistance when turning.) A Quick Geek Point I end up knowing a lot of stuff about lenses I probably wish I didn’t. One of those things is that a lot of “specialty” lenses designed by one company and manufactured by another have absolutely no compensating or adjusting elements. The lens is assembled basically by stacking all the elements in place. If the company does any quality control, it consists of taking some shots after the lens is assembled. If it’s awful, it gets disassembled and the parts get put back in their bins with the hope they’ll match up better with other parts when they get put in another assembly. And yes, I know this first hand. Because of inevitable manufacturing tolerances, this means some lenses are pretty good optically, some are absolutely crap optically, and buying one is like a box of chocolates – you never know what you’re going to get. And whatever you get is what you got. There are no optical adjustments that can be made. This is what I thought we might see with the Ibelux 40mm. But we did open one up, not to do a complete teardown, but just to peek inside. What we found was most reassuring – there were shims to adjust tilt and centering associated with several of the elements. That not only means the optics can be adjusted. It also means someone was checking each element as it was placed, determining if it needed to be shimmed and how much. Which means my hopes for this lens as I headed to the test bench increased exponentially. This was a real optical device assembled with some care, not a bunch of glass elements stacked together on a hope and a prayer.  By Roger Cicala (about Mark I) KIPON Ibelux 40mm f/0.85 Mark III Overview By B&H Photo's Matt Cottom Sporting one of the largest apertures available for the SONY E mount , the KIPON Ibelux 40mm f/0.85 Mark III Lens is an elegant artistic lens designed to expand your creative potential. The Ibelux features a 10 blade iris and a massive f/0.85 maximum aperture for gorgeous bokeh and excellent low-light performance. This versatile, dreamy lens can excel in a wide variety of scenarios, especially those demanding a unique look or with little available light. Optical Performance One of the fastest artistic lenses, the Ibelux 40mm Mark III is the product of a collaboration between KIPON founder Xiaoming Zhang and Klaus Eckerl of IB/E Optics, a German company noted for their manufacturing and mechanical design. The 10 blade diaphragm and extremely fast speed make this lens an ideal low-light performer. ● Mark III version features improved optical design that better corrects for chromatic abberrations and other visual distortions ● Enormous maximum aperture of f/0.85 ● Dreamy light rendering, especially at fully open aperture, perfect for artistic applications ● Telecentric optical design produces high quality images ● Nice and creamy bokeh Physical Design ● SONY E mount lens is designed for APS-C format cameras ● Special concave design for front element  ● Highly versatile 40mm focal length (equivalent to 60mm full frame lens) ● Manual aperture ring  ● Smooth and precise manual focus system  ● Close focus distance of 2.5'  2013, in a beautiful border town, Passau in Bavaria state, Germany, Kipon founder Xiaoming Zhang met Klaus Eckerl in a mountain restaurant by the Danube river, reached agreement to make a world fastest artistic lens for all the photographers, at that moment, they gave the name IBELUX, which stands for a lens for extremely low light shooting, designed by IB/E OPTICS, with many years of experience for precision manufacturing and mechanic designing, after 200 days and nights sample making and testing again and again, KIPON launched first version IBELUX 40mm f0.85, this high sophisticated product called a great flutter at that time in the field. When aperture widely open, especially for those high speed lenses, some situations usually occur like chromatic aberration, purple fringe, also under strong light environment, irregular glare easily happens when point the lens towards light source, Based on the improvement of Mark II, Mark III has made a great progress in these optic difficulties, in addition to higher resolution comparing to former versions, Ibelux mark3 comes out to be a dreamy lens for artistic creative photography. ● fastest lens in the world for cameras with APS-C Sensor ● suitable for Sony E-Mount bayonet ● optimal luminous exposure in any situation due to the lens speed of 0.85 ● standard focal length of 40 mm for many different applications ● low focal depth and unique bokeh ● 100 % developed in Germany ● 10 multi-coated lenses for optimal photo results ● long lasting and extremely robust metal structure ● with integrated lens hood

Panasonic 4K Camcorder HC-VXF1 Panasonic Europe: https://www.youtube.com/watch?v=jNJjO7D8wR8 6-year-old Panasonic HC-WXF1 is Best New 4K Camcorder for 2024: https://www.youtube.com/watch?v=7KouM5IC_yA Panasonic HC-VX1 Menu Overview: https://www.youtube.com/watch?v=Fa0pvqfdPPA Panasonic HC VXF1 Review - Still the best you could be for video blogging?: https://www.youtube.com/watch?v=loWca784ImA [NEW] Introducing Panasonic 4K Camcorder HC-VXF1/VXF11/WXF1/WXF1M: https://www.youtube.com/watch?v=MHShS5z1sGI Excellent condition camera with hand strap, battery and charger. English / Thai + menu. S/n: last photo. Offering several cine-style features not often found in a consumer camcorder, the Panasonic HC-WXF1 UHD 4K Camcorder combines UHD 4K capture with support for up to four picture-in-picture video feeds. The HC-VX1's integrated f/1.8 to f/4 24x Leica Dicomar zoom works with the back-illuminated 1/2.5" MOS sensor to provide optimal imaging, even at lower light levels. Use the HC-WXF1 to record UHD 4K video at 24 or 30 fps, Full HD video at rates up to 1080p 60 fps, and up to 26MP still photos. In addition to its 3" flip-out, touchscreen LCD, the HC-WXF1 has an electronic viewfinder (EVF) with a rubber eyecup which enables you to clearly view your shots, even when shooting outside in bright light. A control ring on the zoom gives you greater creative control over your shots, letting you adjust focus and iris manually. Two quick-access buttons enable you to quickly control functions like white balance, focus peaking, and expanded focus. A secondary camera built into the LCD screen neatly captures a shot of the user, or an alternate view of your subject or scenery. This Twin Camera can be tilted up or down a total of 40°, and has a limited number of independently adjustable controls. The secondary image is captured as a PiP shot, and can be displayed along with PiP shots using the Multicamera feature for a total of four PiP shots. The wireless Multicamera feature enables you to record feeds from up to three smartphones as PiP shots. When using a Class 10 SD card, a separate, clean main camera image can be recorded in addition to the PiP/main image combo. It is not possible to record the PiP images separately. The HC-WXF1's 24x optical zoom lens features a focal length of 25 to 600mm and a 32x Intelligent Zoom in 4K, expanding to 48x in HD. For steadier handheld shooting, the HC-WXF1 features three optical stabilizer technologies including Panasonic's HYBRID OIS+, Ball OIS, and Adaptive OIS. An Active Contrast feature smooths out gradations in high-contrast scenes, and an HDR Movie mode provides a wider dynamic range for more lifelike reproductions. Additional HC-WXF1 features include integrated Wi-Fi, SD/SDHC/SDXC card recording, and multiple creative effects modes. The Panasonic HC-WXF1 features an integrated 5.1-channel, wind-shielded zooming microphone for optimal audio capture, and a Narration mode when in Twin Camera. UHD 4K and Full 1080p HD Recording Captures UHD 4K video at 24 or 30 fps, Full HD video at rates up to 1080p60, and up to 26MP still photos. In-camera audio is recorded using a 5.1-channel, wind-shielded zooming microphone. 24x Optical Zoom and 1/2.5" BSI MOS Sensor A Leica Dicomar 24x optical zoom lens (25 to 600mm, 35mm-equivalent) and large 1/2.5" BSI MOS sensor provide impressive image capture, even in low light. With Intelligent Zoom, a 32x zoom is offered in 4K and a 48x range in Full HD. Twin-Camera and Wireless Multicamera Capture Record up to four camera angles simultaneously using the integrated Twin Camera, and up to three smartphones as your additional cameras. Twin- and multicamera views are displayed in picture-in-picture (PiP) format, and are recorded simultaneously. A clean feed of the main camera image can be recorded as a backup when recording to a Class 10-speed SD card. Advanced Cine-Style Functions Pro-style features include an electronic viewfinder (EVF), a manual focus/iris lens ring, and on-camera quick-access buttons. Triple Optical Image Stabilization (OIS) Systems Three OIS technologies—5-Axis HYBRID OIS Plus, Ball OIS, and Adaptive OIS—work together to provide impressive stability in various shooting situations. Active Contrast and HDR Movie Modes The Active Contrast feature smooths out gradations in high-contrast scenes, and an HDR Movie mode provides a wider dynamic range for more lifelike imagery.

Made in Japan. Fully tested in good condition. 100% workable. Canon EOS 5D Body, Eyecup, Battery Pack, Travel Battery Charger, Body cap. EMS 50 baht, Cash on Delivery Available (COD เก็บเงินปลายทางได้) or meeting in North Pattaya. More photos and questions via Line ID: gnnick https://th.canon/th/support/6200028000 21 megapixel CMOS sensor (very similar to the sensor in the EOS-1Ds Mark III) Automatic LCD brightness adjustment (ambient light sensor) Live view with three mode auto-focus (including face detection) Permanent display of ISO on both top plate and viewfinder displays AF micro adjustment (up to 20 lenses individually) Three custom modes on command dial, Creative Auto mode Automatic LCD brightness adjustment (ambient light sensor) Live view with three mode auto-focus (including face detection) No mirror-flip for exposures in Live View if contrast detect AF selected Two mode silent shooting (in live view) HDMI and standard composite (AV) video out Full audio support: built-in mic and speaker, mic-in socket, audio-out over AV (although not HDMI) IrPort (supports IR remote shutter release using optional RC1 / RC5 controllers) Water resistance: 10 mm rain in 3 minutes https://th.canon/th/support/6200028000 The Canon EOS 5D Mark II succeeds the EOS 5D which marked the first digital SLR camera for advanced-amateur users to incorporate a 35 mm full-frame CMOS sensor and enjoyed lasting market acclaim. The EOS 5D Mark II features a newly developed full-size 21.1-megapixel CMOS sensor that not only realizes outstanding resolution performance and rich gradation expression, but also offers an expanded standard ISO sensitivity range of ISO 100-6400*1 which, in extended mode, can be expanded to ISO 50, 12800 and 25600, enabling optimal performance in a diverse range of shooting situations. The EOS 5D Mark II incorporates the next-generation DIGIC 4 image processor, which enables the high-speed processing of the increased amount of data generated by the high-pixel-count image sensor. The technology supports high resolution imaging performance while making possible a continuous shooting speed of up to approximately 3.9 frames per second*2 and bursts of up to approximately 310 shots.*3 Other features facilitating optimal shooting performance include a newly designed high-performance viewfinder that realizes approximately 98% coverage, and a high-speed, high-precision AF (AutoFocus) system with 9 AF points + 6 Assist AF points. Making possible the recording of full HD (1,920 x 1,080 pixels) video at 30 frames per second (fps), the EOS 5D Mark II is the first model in the EOS series to offer a movie function, which also includes a standard recording mode (640 x 480/30 fps). Also, further expanding the boundaries of digital SLR photographic expression, the camera incorporates a Live View function with three AF modes — Quick Mode, Live Mode, and Face Detect Live Mode — and a lens peripheral illumination correction function that compensates for light falloff around the image perimeter in response to the characteristics of the type of lens used when shooting. The EOS 5D Mark II is equipped with a 920,000-dot, 3.0-inch Clear View LCD monitor with a multi-coating that reduces reflections and resists smudging and smearing. With enhanced color reproduction performance, the LCD monitor delivers natural image display, supporting improved image verification, even in bright sunlight. Canon’s EOS Integrated Cleaning System, a comprehensive dust-reduction system, combines measures for preventing and eliminating dust. On the EOS 5D Mark II, the technology features an improved Self Cleaning Sensor Unit that includes a fluorine coating on the surface of the low pass filter, which realizes further protection by minimizing dust adhesion. The EOS 5D Mark II backs up high performance with strength and durability. The camera’s rugged shutter unit boasts an impressive 150,000-cycle shutter life while the body features a highly rigid magnesium alloy exterior that ensures reliable performance in the face of challenging shooting conditions. Additionally, the EOS 5D Mark II’s new Battery Pack LP-E6 realizes 1.3x the battery capacity of its predecessor, providing users with higher levels of mobility. In addition to the EOS 5D Mark II, Canon today also announced the introduction of the Wireless File Transmitter WFT-E4/E4A, which enables the transfer of images to a server or computer via wireless LAN or Ethernet.