NOT COMPATIBLE WITH:  DZO Vespid Primes

Solid brass construction with chrome-plated mounts creates a precision fit with no gap, play, or wiggling.

This adapter is designed to reach infinity focus while retaining the proper registration distance for maintaining optical quality when you are using vintage and modern lenses or other lenses with floating elements.

Because your camera’s body cap cannot attach to the lens adapter, a rigid-and-removable locking dust cover is provided that allows you to disconnect your lens, leave the adapter mounted, and keep your camera’s sensor protected during transportation. Additionally, a removable Arca-type tripod foot is included for use with heavier lenses.  Fine-tuning and adjustments are made possible with the supplied set of shims.

COMPATIBLE LENSES:

Some PL Mount Lens (16mm or 35mm) with a shorter base (<14mm).

Many of the Angenieux, Canon and Nikkor PL mount lenses will fit without a problem as they all have a shorter lens base (too long, and the rear lens element will hit the inside of the adapter or the camera mirror).
The adapter has been tested on the following:

• • SIMMODED MAMIYA SEKOR C LENSES USING SIMMOUNT PL CONVERSION
• • Canon 20-35mm T4
• • Ruby 14-24mm T2.8
• • Angenieux Optimo 15-40 mm T 2.6
• • Angenieux Optimo 17-80 mm T 2.2
• • Angenieux Optimo 28-70 mm
• • Angenieux Optimo 24-290 mm
• • Angenieux 24-290 mm T 2.8
• • Angenieux 17-102 mm T 2.9
• • Angenieux 7-81 mm T 2.4 HR
• • Angenieux 20-120 mm
• • Canon 300 mm T 2.8
• • Canon 400 mm T 2.8
• • Canon 800 mm T 5.6
• • Canon Century 200 mm T 2
• • Cooke 18-100 mm T 3
• • Nikkor 200 mm T 2
• • Nikkor 300 mm T 2
• • Nikkor 800 mm T 5.6
• • Nikkor Micro 200 mm T 4
• • Canon Century Optics S2000 150-600mm

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​Designed with a unique structure, the lens squeezes images down 1.33 times horizontally to fit onto the camera sensor, which you then have to desqueeze in post. Images produced in this way would be in 2.4:1 wide-screen aspect ratio and of high resolution, way better than that of just cropping and adding black bars.

In terms of application scenario, 24mm lens is suitable for wide-angle shots, 35mm for humanistic shots, and 50mm for subject separation shots. When trying to portray characters in a subtle way or enhance emotional rendering, those lenses seem a bit insufficient in expression. In this case, getting a portrait lens will render the narrative more natural and coherent.

This lens is free from obvious perspective distortion relative to wide angle lens, hence characters are presented in a more natural way, as if seeing right through your eyes. The 75mm focal length guarantees not only a good distance between the photographer and the model, but also an easy switch between a bust portrait and a full-length portrait.

The lens is good at filling the frame with the subject and throwing the background out of focus. Also, sharp and high-resolution imaging contributes to the depiction of subtle emotions.

The 75mm focal length excels at revealing overlooked details in a chaotic scene, providing a fresh and unique perspective for film interpretation.

Focal length of 75mm equals better long-range shooting capability, which renders long-distance shooting a worry for photographers no more.

Spatial compression created by the lens narrows the distance between the background and the subject, amplifying the background while highlighting the subject, delivering a compact yet plump effect.

This lens has got what it takes to produce a cinematic blockbuster – high-quality images without deformation, natural and saturated blue lens flares as well as elliptical bokeh.

Fast F1.8 aperture guarantees a sufficient amount of light, and the image remains sharp even with the aperture wide open. The enhanced shutter speed is favorable both for low-light shooting and snapshot taking, readily turning a casual shot into a cinematic poster.

Images produced by this lens are high in sharpness, small in chromatic aberration and curve of field, displaying distinctive Anamorphic features.

Aircraft aluminum housing, CNC machining parts, German Schott Glass with multi-layer nano coating, focus and aperture rings with anti-slip teeth and filter spec of M67*0.75 all indicate that the 75mm lens intercuts seamlessly with the entire line of Sirui Anamorphic primes in terms of appearance.

Five mounts, M4/3, Sony E, Fuji X, Nikon Z and Canon EF-M, are designed for the 75mm lens, which is durable and lends images higher resolution.

As the lightest and most affordable mirrorless Anamorphic lenses on the market today, Sirui Anamorphic lenses are perfect companions for commercial directors, studio photographers, vloggers, cinematographers, and cinematic enthusiasts.

The post Sirui 75mm f/1.8 1.33x Anamorphic Lens appeared first on Cinegear Amsterdam.

The Tamron SP 90mm Macro is available in the Canon and Nikon mounts and later for Sony.

The post Tamron SP 90mm F/2.8 Di VC USD macro 1:1 Canon EF appeared first on Cinegear Amsterdam.

Senza fili, leggero e con protezione elettronica sono le caratteristiche principali che rendono il nuovo adattatore superiore alle versioni precedenti.

Montare l'adattatore EF su KineMOUNT è molto semplice e affidabile, proprio come montare un obiettivo EF su un attacco EF.

Nuovo sistema di montaggio con bloccaggio: migliora notevolmente le prestazioni meccaniche;
Senza fili: il nuovo adattatore non necessita di cavi quando montato su KineMOUNT;
Sostituzione a caldo: sostituisci gli obiettivi mentre la fotocamera è accesa;
Contatti elettronici: supportano la maggior parte degli obiettivi EF con controllo dell'iride;
Collegamento semplice ma affidabile: il nuovo adattatore di montaggio si adatta perfettamente a KineMOUNT senza alcun cavo;
Leggero: progettato appositamente per TERRA, pesa solo 150 g, ma è comunque affidabile e robusto.

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