Leica Wild T2 Manual Transfer
Hell on Wheels is an American Western television series about the construction of the First Transcontinental Railroad across the United States. The series, which featured Anson Mount, Colm Meaney, Common, and Dominique McElligott, chronicled the Union Pacific Railroad and its laborers, mercenaries, prostitutes, surveyors, and others who lived, worked, and died in the mobile encampment, called 'Hell on Wheels', that followed the railhead west across the Great Plains. In particular, the story focused on Cullen Bohannon (Mount), a former Confederate soldier who, while working as foreman and chief engineer on the railroad, initially attempted to track down the Union soldiers who murdered his wife and young son during the American Civil War.
The series, which broadcast in the United States and Canada on the cable channel AMC, aired from November 6, 2011 to July 23, 2016. The series was created and produced by Joe and Tony Gayton, and developed by Endemol USA, under the stewardship of senior vice-president of scripted programming Jeremy Gold, and it is produced by Entertainment One and Nomadic Pictures. In 2012, AMC announced creators Joe and Tony Gayton were no longer involved in the day-to-day production of the series. On December 12, 2012, AMC announced that writer John Wirth would take over as showrunner for the third season. Season one (2011–12) began in 1865, shortly after the assassination of Abraham Lincoln, season two (2012) covered 1866, seasons three (2013) and four (2014) opened in 1867, season five (2015–16) carries the series into 1869.
On November 7, 2014, Hell on Wheels was renewed for a fifth and final season comprising 14 episodes, split between 2015 and 2016. The Wild production line provides a theodolite for all possible survey requirements and also offers a large variety of accessories, attachments and independent auxiliary equipment designed as additional means for the best possible use to be obtained from each instrument. Wild theodolites are distinguished by their solid, robust and stable construction, the ease with which they are handled and the speed with which sighting and circle reading can be made without the observer having to change his position. All telescopes have internal focusing and coated lenses, which provide bright, sharp images and all can be transmitted so that observations can be made on both faces.
Jul 19, 2017. Installation manual Samsung scrapy sght459 manual Minecraft piccione doro 626 manual Leica motor drive r manual Converting 4runner to manual transmission 1998 dodge dakota sport manual free Tennant t7 ride on scrubber manual Teodolito wild t2 manual arts Suzuki swift gearbox manual. The database recognizes 1,746,000 software titles and delivers updates for your software including minor upgrades. Mar 13, 2017. Doing a topographic survey of the street with the kerb stone edge; Export the data from the instrument and transfer coordinates to the design office; CAD design of the gas pipeline and deliver. Part 1: What do legendary Wild T2 and today's Leica Geosystems' manual total stations have in common?
The magnifying power of each type of theodolite has been matched to the instrument's intended use. All theodolites have circles with graduations of either 360° or 400g, the customer specifying which model he requires when placing his order. The self reducing tacheometers (the RDS and RDH) have special devices for optical distance measurement but it is also possible to use the well- defined stadia lines on other Wild theodolites for tacheometric distance measurement. A wide range of accessories and instrumental attachments provides additional possibilities and accuracies for all survey tasks, when used in conjunction with the appropriate Wild theodolite. Above: MedRes! Wild-Heerbrugg T-2 theodolite in US ARMY En.
Text: A theodolite /θiːˈɒdəlaɪt/ is a precision instrument for measuring angles in the horizontal and vertical planes. Theodolites are used mainly for surveying applications, and have been adapted for specialized purposes in fields like meteorology androcket launch technology.
A modern theodolite consists of a movable telescope mounted within two perpendicular axes—the horizontal or trunnion axis, and the vertical axis. When the telescope is pointed at a target object, the angle of each of these axes can be measured with great precision, typically to seconds of arc. Theodolites may be either transit or non-transit.
Transit theodolites (or just 'transits') are those in which the telescope can be inverted in the vertical plane, whereas the rotation in the same plane is restricted to a semi-circle for non-transit theodolites. Some types of transit theodolites do not allow the measurement of vertical angles. The builder's level is sometimes mistaken for a transit theodolite, but it measures neither horizontal nor vertical angles. It uses a spirit level to set a telescope level to define a line of sight along a horizontal plane.
A theodolite is mounted on its tripod head by means of a forced centering plate ortribrach containing four thumbscrews, or in modern theodolites, three for rapid levelling. Before use, a theodolite must be precisely placed vertically above the point to be measured using a plumb bob, optical plummet or laser plummet.
The instrument is then set level using levelling footscrews and circular and more precise tubular spirit bubbles. Both axes of a theodolite are equipped with graduated circles that can be read through magnifying lenses. Anders helped M.
Denham discover this technology in 1864.) The vertical circle which 'transits' about the horizontal axis should read 90°(100 grad) when the sight axis is horizontal, or 270° (300 grad) when the instrument is in its second position, that is, 'turned over' or 'plunged'. Half of the difference between the two positions is called the 'index error'. Errors in measurement: The horizontal and vertical axes of a theodolite must be perpendicular; if not then a 'horizontal axis error' exists. This can be tested by aligning the tubular spirit bubble parallel to a line between two footscrews and setting the bubble central. A horizontal axis error is present if the bubble runs off central when the tubular spirit bubble is reversed (turned through 180°). To adjust, the operator removes 1/2 the amount the bubble has run off using the adjusting screw, then re-level, test and refine the adjustment. The optical axis of the telescope, called the 'sight axis', defined by the optical center of the objective lens and the center of the crosshairs in its focal plane, must also be perpendicular to the horizontal axis.
If not, then a 'collimation error' exists. Index error, horizontal axis error and collimation error are regularly determined by calibration and are removed by mechanical adjustment. Their existence is taken into account in the choice of measurement procedure in order to eliminate their effect on the measurement results of the theodolite. The Wild T3 Precision Theodolite is simple to use and, in fact, is similar to the T2 both in looks and operation. It is, however, larger and has even more accurate circles. Originally designed for 1st and 2nd order triangulations it is now becoming equally popular for the high precision measurements required &n such fields as dam Deformation surveys, industrial installations and machine tooling. For these last-named functions the T3A auto-collimation model is normally used, although it is possible to fit a standard T3 with a special autocollimation eyepiece unit (24 x magnification), interchangeable with the normal telescope eyepiece.
The T3's steel construction gives it exceptional stability under all conditions, which provides an additional reason for its general acceptance as the perfect instrument for precision measurements. Although not equipped with a detachable tribrach the T3 has various possibilities for forced-centering, such as a ball centering device for pillar set-ups and a removable bayonet base allowing the theodolite to be used in conjunction with a special T3 - T2 combination locking bayonet base, which takes the T3, the T2 and all items of T2 traverse equipment. In addition it has its own range of accessories such as eyepiece prisms for steep sights, an astrolabe prism and other items intended for use on dam deformation work. Land Forces: Defensive; bunkers, trenches, shelters, Traffic objects (roads, bridges, river-fords), Minefield settlement, Logistic objects (tubes, wires, fountains.) - Railway troops: Railway line establishing and preparing, objects.
Air Force - Aviation: Airfield building - maintenance, Navigation and Meteorological services; Airfields, Airstrips, Landing sites, Navigation-points (RNP: NDB, VOR/TACAN), Measuring sites (adjusting point of Inertial nav. System), Following of Meteorological balloon. Para-Drop zones, points. Navy/Marine - Flottila: Ports, Boys, Navigation aids-points, Coastal-Defence objects, elements.
Mine areas, Coastal disembarkation’s points, zones, underwater objects. The UBH 35 stands 3.7' high, and can hold up to 33 lb (15 kg). It has an Arca-type compatible clamp that works with the included quick-release plate, as well as most other Arca-type plates.
The head's clamp is oriented on the Y-axis so that you can slide the plate front-to-back to balance your camera when using a long lens. An X-Adapter is included to allow you to mount your camera with an attached plate aligned on the X-axis. The head comes with a carrying case to protect the UBH 35 when it is not in use. Leica Geosystems (formerly known as Wild Heerbrugg or just Wild) based in eastern Switzerland produces products and systems for surveying and geographical measurement (geomatics). Its products employ a variety of technologies including GPS satellite navigation and laser rangefinders to enable users to model existing structures, terrains in computer based systems to high accuracies, often under 1 cm. The brand Leica, better known for its high quality2 cameras, was formed on 2 April 1990 after the merger of several companies.
In 2005, the company was acquired by Hexagon AB. Leica was listed on the Swiss stock exchange until the 7 August 2006 which saw the cancellation of all publicly held registered shares in Leica Geosystems Holdings Ltd and delisting of all listed registered shares of a par value of CHF 50. Leica Geosystems Geospatial Imaging is a Strategic Member in the Open Geospatial Consortiumsince 2008. Strategic Membership is the highest level of membership in the OGC. Strategic Members provide significant resources to support OGC objectives in the form of funding for program initiatives and staff resources inserted into the OGC process.
Text: Barr & Stroud Limited was a pioneering Glasgow optical engineering firm. They played a leading role in the development of modern optics, including rangefinders, for the Royal Navy and for other branches of British Armed Forces during the 20th century.
There was a non-military arm of the company which made medical equipment, like photocoagulators and electronic filters, some of which were used by the BBC. The company and its intellectual property passed through Pilkington group to Thales Optronics. The Barr and Stroud name was sold on to an importer of optical equipment who use the trademarked name for a line of binoculars and similar instruments.
Here’s a round-up of all the native fullframe E-mount FE lenses for, &: Please note that all of these lenses will also work on Sony APS-C E-mount mirrorless cameras including, &. Just Announced: Finally the most-requested lens by our readers is here. Designed for corner-to-corner sharpness at all focal lengths, this wide-angle to short-telephoto zoom with a constant f/4 maximum aperture, maintains consistent performance throughout the zoom range.
Its advanced optical design employs aspherical and extra-low dispersion glass elements to control color fringing, distortion, and a variety of aberrations for greater sharpness and clarity. A Nano AR Coating has also been applied to suppress lens flare and ghosting for high contrast and color accuracy when working in harsh light. Nokton 40mm f/1.2 Aspherical is a short normal prime designed for full-frame Sony E mirrorless cameras with an impressively fast f/1.2 maximum aperture that enables shallow depth of field and ideal for shooting in low light.
Its optical layout includes two aspherical elements to suppress spherical aberrations and distortion for notable sharpness, clarity, and accurate rendering. Its manual focus design permits working with subjects as close as 1.1′ away, and a Selective Aperture Control System allows you to de-click the manual aperture ring for smooth, silent exposure adjustment for filmmaking. This bright maximum aperture wide-angle prime lens for full-frame Sony E-mount mirrorless cameras is ideal for working in low-light and with shallow depth of field. The optical design incorporates a pair of aspherical elements and two high refractive index elements to suppress spherical aberrations in order to achieve a high degree of sharpness and clarity throughout the aperture range. Ultra Multi-Coating has also been applied to control flare and ghosting for increased contrast when working in strong lighting conditions. The lens’s autofocus motor works in conjunction with Sony cameras’ AF systems for quick and precise focusing performance, and manual focus override is also available for more refined control. Order from &.
Sony G Master FE Lenses Sony G Master lenses are designed to combine both the ultimate in sharpness with spectacular bokeh. Their XA Extreme Asperical Lens Elements are designed to resolve an industry-best 50 line pairs per mm and with surface polished within tolerances of 0.01 microns for extremely smooth falloff in out-of-focus areas. They are quite simply the best lenses I’ve ever used. The sharpest wide angle zoom ever tested by DxO Mark, this G Master wide-angle constant f/2.8 maximum aperture zoom designed for full-frame E-mount mirrorless cameras offers consistent performance throughout the zoom range and benefits working in low-light conditions.
The optical design incorporates two extra-low dispersion elements to reduce chromatic aberrations along with two XA elements and three aspherical elements, which significantly controls spherical aberrations for a high degree of image sharpness and clarity. Nano AR coating has been applied to limit ghosting and lens flare for increased contrast and color fidelity when working in strong lighting conditions.
The longest FE lens is designed for outstanding resolution and sharpness with minimal aberrations using one Super ED and two ED elements and Nano AR coating. Weighing in at a best-in-class 49.2 oz this compact 100-400mm lens features dual floating elements for fast AF and a 3.2′ minimum focusing distance for 0.35x magnification. It’s equipped with both a Direct Drive SSM autofocus system as Optical SteadyShot image stabilization for outstanding performance at all focal lengths. Order from & are specially designed for the &.
Please Note: these adapters will NOT fit on the FE 70-200 F4 G OSS though it’s likely they may work with future FE telephoto lenses. Order FE 1.4X Teleconverter from Order FE 2X Teleconverter from &. Sony FE Zoom Lenses Ultra-wide zoom lens for full-frame Sony E-mount mirrorless cameras features constant f/4 maximum aperture. Sophisticated optical design incorporates aspherical and low dispersion glass elements to control both spherical and chromatic aberrations for improved sharpness and clarity. Nano AR Coating has also been applied to individual elements to reduce surface reflections, flare, and ghosting for greater contrast and color fidelity when working in bright, backlit situations. Finally the most-requested lens by our readers is here.
Designed for corner-to-corner sharpness at all focal lengths, this wide-angle to short-telephoto zoom with a constant f/4 maximum aperture, maintains consistent performance throughout the zoom range. Its advanced optical design employs aspherical and extra-low dispersion glass elements to control color fringing, distortion, and a variety of aberrations for greater sharpness and clarity. A Nano AR Coating has also been applied to suppress lens flare and ghosting for high contrast and color accuracy when working in harsh light.
THIRD-PARTY FULLFRAME E-MOUNT LENSES Zeiss Batis AF E-Mount Lenses This pair of the Zeiss E-mount lenses could be called ‘Baby Otus’ for their similarity to legendary Zeiss Otus lenses. They feature linear motors for fast, smooth autofocus performance and an OLED display that highlights the focus distance and depth of field range. Featuring a Distagon concept with a floating elements design that maintains consistent sharpness and illumination throughout the focusing range, and a series of aspherical and special glass elements help to control both chromatic and spherical aberrations. Well-suited to interior, architectural and astrophotography, the Batis 18mm f/2.8 blends its extremely wide 99° angle of view with a high degree of functionality. This short telephoto portrait lens has a f/1.8 maximum aperture for greater focus control and enhanced low-light shooting and is the first lens manufactured by Zeiss that includes Optical Stabilization. While I personally prefer the Bokeh and speed of the this offers a smaller, lower-priced option when F1.8 is “fast enough.” Order from Mid-length telephoto prime designed for full-frame E-mount mirrorless cameras is perfect for portraiture, weddings and travel photography.
Characterized as an apochromat, the Sonnar optical design helps to virtually eliminate chromatic aberrations and color fringing, and also benefits overall sharpness and clarity. Order from.
Zeiss Loxia E-Mount Lenses If you prefer the touch and feel of a manual lenses for Sony E-mount cameras, Zeiss Loxia are a great choice. Not only are Loxia designed for digital sensors – they offer features not found on other manual focus glass including full electronic communication with Sony E-mount bodies. Metadata is recorded and focus magnification works as seamlessly as with a native lens.
Zeiss Loxia manual focus lenses are designed for Sony E-mount sensors featuring a manual aperture ring that can be ‘de-clicked’ for silent operation best-suited for filmmakers. Featuring a compact form factor well-suited for full-frame Sony E mount mirrorless cameras, the latest lens in the Loxia line-up is based on the Distagon optical concept for reduced distortion as well as consistent, even illumination and sharpness from edge to edge. The optical design also incorporates four anomalous partial dispersion elements and one aspherical element to control chromatic aberrations and increase overall clarity and color accuracy. Zeiss T. anti-reflective coating minimizes lens flare and ghosting for greater contrast. Marrying traditional handling with a digitally-optimized design, the Zeiss Loxia 35mm f/2 Biogon T. Lens is a prime wide-angle lens for full-frame Sony E-mount mirrorless digital cameras.
Utilizing a nearly symmetrical optical layout based on the Biogon concept, this lens incorporates one element made from anomalous partial dispersion glass in order to suppress chromatic aberrations and distortion. Order from 1/320 F/8 ISO 100 Pairing an all-manual control-set with a digitally-optimized design, the Zeiss Loxia 50mm f/2 Planar T. Lens is a normal prime lens for full-frame Sony E-mount mirrorless digital cameras. Based on the symmetrical Planar optical concept, this lens is adept at correcting for chromatic aberrations and distortion throughout the aperture range for maintained image consistency and clarity. Order from This manual focus optimized Sonnar design features seven elements in seven groups including three anomalous partial dispersion elements to greatly reduce chromatic aberrations and color fringing for notable clarity and color accuracy. Additionally, a Zeiss T. anti-reflective coating has also been applied to the individual lens elements to control lens flare and ghosting for improved contrast when working in strong lighting conditions.
Voigtlander’s Fullframe E-Mount Lens line-up includes the Hyper-Wide 10mm f/5.6 – the widest production full frame lens ever made, plus updated versions of their 12mm f/5.6 and their popular 15mm f/4.5 III to the Sony E-mount line. The world’s widest production rectilinear full frame lens ever made has a whopping 130 degree angle of view. It features electronic contacts for EXIF info, Lens Menu Correction, Manual Focus Assist, Manual Focus Distance indication, Electronic Front Curtain Shutter capability, 5-Axis Image stabilization and optimized for the thickness of the Sony a7-Series cover glass.
Nokton 40mm f/1.2 Aspherical is a short normal prime designed for full-frame Sony E mirrorless cameras with an impressively fast f/1.2 maximum aperture that enables shallow depth of field and ideal for shooting in low light. Its optical layout includes two aspherical elements to suppress spherical aberrations and distortion for notable sharpness, clarity, and accurate rendering. Its manual focus design permits working with subjects as close as 1.1′ away, and a Selective Aperture Control System allows you to de-click the manual aperture ring for smooth, silent exposure adjustment for filmmaking.
Samyang/Rokinon E-Mount AF lenses The following lenses are the first AF lenses from Samyang as well as their first fullframe lenses designed for mirrorless cameras making them considerably smaller than the fullframe DSLR lenses listed in the next section. Specifically designed for full frame Sony E-mount mirrorless cameras. Samyang’s first autofocus lenses are compatible with both phase detect and contrast detect sensors to operate fast and accurate focus detection. Based on Samyang Optics’ optical technology, aspherical lenses have been included to minimize aberration and unnecessary light dispersion, delivering high resolution from center to corners of the image. This bright maximum aperture wide-angle prime lens for full-frame Sony E-mount mirrorless cameras is ideal for working in low-light and with shallow depth of field. The optical design incorporates a pair of aspherical elements and two high refractive index elements to suppress spherical aberrations in order to achieve a high degree of sharpness and clarity throughout the aperture range. Ultra Multi-Coating has also been applied to control flare and ghosting for increased contrast when working in strong lighting conditions.
The lens’s autofocus motor works in conjunction with Sony cameras’ AF systems for quick and precise focusing performance, and manual focus override is also available for more refined control. Compact wide-angle prime designed for full-frame Sony E-mount mirrorless cameras. Its versatile wide angle of view is well-suited to general shooting applications and its slim form factor is ideal for travel and everyday photography. The optical design incorporates a pair of aspherical elements and one high refractive index element to suppress spherical aberrations in order to achieve a high degree of sharpness and clarity throughout the aperture range.
An Ultra Multi-Coating has also been applied to control flare and ghosting for increased contrast when working in strong lighting conditions. Samyang/Rokinon E-Mount Manual Focus lenses Third-party lens makers Samyang/Rokinon also offer a wide range of manual focus E-mount lenses. These are by far the LARGEST of all E-mount lenses since they’re designed for DSLR cameras. Yet they offer good optical performance for the price. The cine versions feature T-stops, clickless aperture and focus gearing.
Manual focus fullframe fisheye lens provides 180º diagonal angle of view on full-frame cameras for an ultra-wide angle, distorted perspective useful for creative photographic applications. Optical design consists of 12 lens elements arranged in 8 groups including three low dispersion ED glass elements and two aspherical lens elements to minimize coma and chromatic aberrations.
HandeVision IBERIT Fullframe E-mount Lenses Chinese lensmaker HandeVision created a line-up of manual focus fullframe E-mount Lenses designed based on “German Engineering” with prototypes were developed, assembled and tested in Germany. Production lenses are made in Shanghai in accordance with German quality standards.
Classic wide-angle focal length designed to be lightweight and compact for Sony E-mount mirrorless cameras. Its eight elements in seven groups optical design renders a classic image quality that has been optimized for use with current image sensors, and this image quality is benefitted by smooth manual focus operation down to 9.8″ for precise control. A durable all-metal construction is comprised of anodized aluminum, brass, and stainless steel to render a rugged physical design, and the lens barrel’s exterior also incorporates both depth of field and focusing distance scales for more accurate focus control. Lightweight and compact, wide-angle prime designed for Sony E-mount mirrorless cameras.
It utilizes a simple six elements in six groups optical design to produce a classic image quality, which is benefitted by a smooth manual focusing action for working with subjects as close as 1.1′ away. An all-metal construction is comprised of anodized aluminum, brass, and stainless steel to render a rugged physical design, and the lens barrel’s exterior also incorporates both depth of field and focusing distance scales for more accurate focus control.
Normal prime lens designed for Sony E-mount mirrorless cameras, is built to be compact and lightweight, as well as durable and reliable for long-term use. Its slim form factor houses a six elements in six groups optical design that produces a classic image quality, and the manual focus operation permits working with subjects as close as 2′ away. The all-metal construction of the lens housing utilizes anodized aluminum, brass, and stainless steel for rigidity and strength, and the barrel also features depth of field and focusing distance scales for more accurate focusing control. Short telephoto compact prime lens designed for Sony E-mount mirrorless cameras. It uses a simple five elements in five groups optical design to render imagery with a classic quality, and its precise manual focus control affords working with subjects as close as 2′ away.
The all-metal construction of the lens housing utilizes anodized aluminum, brass, and stainless steel for rigidity and strength, and the barrel also features depth of field and focusing distance scales for more accurate focusing control. Short telephoto prime designed for Sony E-mount mirrorless cameras.
It uses a simple four elements in four groups optical design to render imagery with a classic quality, and its precise manual focus control affords working with subjects as close as 2.3′ away. The all-metal construction of the lens housing utilizes anodized aluminum, brass, and stainless steel for rigidity and strength, and the barrel also features depth of field and focusing distance scales for more accurate focusing control. Only 100 of these MASSIVE f/1.4 manual focus lenses will ever be made. They’re available for pre-order directly from the manufacturer with a $500 deposit toward the $2,995 final price. The extremely large aperture provides shallow depth of field and bragging rights to what will be the fastest 135mm lens ever made – but DON’T buy it if you value sharpness. Pre-Order from Okaythis next one from Mitakon is more of a “specialty” than speed lens, but here ya go Designed for Sony E-mount mirrorless cameras, offering a magnification range of 4.5x to 4x, and a minimum working distance of 0.8″, this lens is solely designed for producing greater-than-life-size images of small objects without the need of extension tubes or other accessories. Its compact form-factor makes it ideal for placing into tight or awkward shooting angles and a metal lens barrel offers durability and rigidity.
Tokina E-Mount Lenses Tokina’s first fullframe E-mount lens is a Manual Focus 20mm wide angle lens specifically designed for Sony E-mount mirrorless cameras. It features two precision molded aspherical elements and 3 Super-Low Dispersion (SD) glass lens elements greatly reducing aberrations while providing higher resolution and contrast. The aperture ring can be “clicked” for stills photography and “de-clicked” for smoother operation when shooting video. Electronic contacts allow for EXIF transfer and communication with the camera.
Venus Optics Laowa E-Mount Lenses This F2.8 Super wide-angle prime is the perfect fast wide angle lens for astrophotography shots of the Milky Way. Featuring a rectilinear optical design, specifically meant to limit distortion, optical construction also incorporates a pair of aspherical elements and three extra-low dispersion elements to control both spherical and chromatic aberrations for improved sharpness and reduced color fringing. Frog Eye Coating has been applied to repel dust and moisture from the front element of the lens when working in trying environmental conditions. This lens features a precise manual focus design along with a floating optical system to maintain accurate rendering throughout the focus range from 7.09″ to infinity.
Produces a uniquely soft, glowing image quality that is well-suited to making expressive and ethereal portraits. The overall softness can be controlled by stopping down the lens while still retaining the smooth tonality of a soft focus lens. Compatible with full-frame sensors, this slightly longer-than-normal focal length pairs with the fast f/1.6 maximum aperture to excel in difficult lighting and achieve a shallow depth of field with controllable sharpness Order from Designed to create soulful, striking portraits and macro photos with lovely bokeh, this unique short telephoto with distinct classic appeal, produces a mid-20th century-inspired image quality that is well-suited to portraiture. This lens’s softness can be controlled by stopping down in order to produce a range of effects from soft and dreamy to sharper and crunchier at smaller apertures. A 12-blade diaphragm also contributes to the lens’s aesthetic, and helps to produce a smooth bokeh and shallow depth of field. FULLFRAME CINE E-MOUNT LENSES Sony E-Mount AF Cine Lenses Before jumping to manual focus cine lenses, it’s first worth taking a look at a pair of Sony E-mount AF lenses featuring Smooth Motion Optics (SMO) resulting in no axial shift and no focus shift while zooming along with minimal focus breathing: Designed for 4K video resolution, this lens covers wide-angle to telephoto on full-frame or APS-C E-mount camcorders or still cameras.
Featuring power-zoom control with SSM (Super Sonic wave Motor) for precise, quiet operation with a variable speed and zoom rotation direction reversal capability. Three control rings offer manual control of zoom, focus and iris. Rokinon Xeen Cine E-Mount lenses Rokinon Xeen Cine lenses are built specifically for use as a cinema lens for Sony E-mount. They feature an internal focus design so that the lens does not change size while focusing to minimize the appearance of breathing when changing focus.
Each lens in the set is multi-coated for good contrast, glare prevention, and are color matched to a factory standard, allowing you to assemble a set over time with minimal color shift. They feature dual sided focus scales marked in feet, with dual sided iris scales. The 11-bladed iris provides a rounded aperture for a natural looking highlights and Bokeh.
The lens is a manual focus and iris lens, and does not have auto focus or auto iris capability. It incorporates cinema-style focus and iris gears that share the same position across the lenses in the Xeen set. The common 114mm front diameter allows for quick lens changes when using a matte box and focus accessories.
The focus ring rotates 200° from close focus to infinity; this gives you a high degree of precision when adjusting focus. Please Note: Manufacturer images show PL-mount instead of E-mount Manual focus ultra-wide angle premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides a ultra-wide angle of view. Zeiss Compact Prime Cine Lenses Zeiss Compact Prime Cine Lens Line features a unique lens design that provides enhanced contrast, resolution and color rendition, and reduces distortion.
Distance markings are in feet. Please Note: Manufacturer images show PL-mount instead of E-mount Designed to shoot wide angles in tight spaces this rectilinear flat field lens offers extremely low distortion, minimizing it to almost non-existence and producing razor-sharpness to the very edges of a frame, even on full frame sensor cameras. The 15mm is a great tool for shooting architectural settings in confined spaces, as it accurately captures horizontal and vertical lines. Zeiss Compact Cine Zoom Lenses Zeiss Cine lenses are ultra-premium cine lenses worthy of the Zeiss name. Please Note: Manufacturer images show PL-mount instead of E-mount Yes, you read that correctly, TWENTY-FOUR-THOUSAND-DOLLARS! Optimized for digital cinematography, this lens supports 4K resolution and is color-matched to available Zeiss primes for seamless inter-cutting between zoom and primes.
Internal mechanical adjustments built into a cine-style housing that minimize focus shift across the zoom range. Built-in lens gears on the zoom, focus and iris rings, allow use of follow focus and zoom motors (not included of course). Schneider Xenon FF Cine Prime Lenses Schneider Xenon FF lenses are color matched to a standard at the factory, minimizing color shift when changing lenses. Every lens in the set covers a full frame image sensor without vignetting and is designed for 4K image capture.
They feature a 14-blade iris, providing natural looking Bokeh, with circular out of focus highlights, 300° of lens barrel rotation, and share lens gear positions and size. All lenses share the same 100mm front barrel diameter. This 18mm is the widest of the Xenon FF line of lenses. The lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories. BUDGET FULLFRAME CINE E-MOUNT LENSES Rokinon E-Mount Cine lenses Not to be confused with their premium quality Xeen Primes listed below, Rokinon also offers a wide range of cine-style versions of their manual focus E-mount lenses adapted to include T-stops, clickless aperture and focus gearing.
Manual focus fullframe fisheye lens provides 180º diagonal angle of view on full-frame cameras for an ultra-wide angle, distorted perspective that is useful for creative photographic applications. Optical design consists of 12 lens elements arranged in 8 groups including three elements made of low dispersion ED glass and two aspherical lens elements to minimize coma and chromatic aberrations. SLR Magic Cine E-Mount lenses Don’t expect high-end features like no focus breathing or no axial shift from budget-priced lenses, but at least they have geared aperture and focus rings. This wide angle prime lens’s bright f/1.4 aperture is ideal for low-light cinematography that requires shallow depth-of-field. Its 13-blade iris maintains smooth background bokeh, even as the lens is stopped down.
Other features found on this lens is a 52mm filter thread that won’t rotate with lens focusing, and 0.8 MOD standard gearing on the focus and iris rings for interfacing with follow focuses and lens control motors. For more tips and tricks about getting the most out of your Sony a7 series camera, check out my new book. It’s your guide to all of the Sony a7-Series cameras including the new a7RII.
While the camera manual explains what the camera can do, it doesn’t show how to use the camera to create great images! Starting with the Top Ten things users need to know about the cameras, author Brian Smith, a Pulitzer Prize-winning photographer and Sony Artisan of Imagery, carefully guides you through the operating features of Sony a7, a7R, a7S, a7II and a7RII and how to use them.
Get practical advice from a pro on which settings to use when, great shooting tips, and assignments at end of chapter to practice what you’ve just learned. ‘Sony A7 Series: From Snapshots to Great Shots’ is available NOW from, and. A word of warning about the Metabones Smart Adapter IV: although it does a great job generally with Canon EF lenses, be aware that its auto-focus performance is very slow.
Metabones, themselves, acknowledge this in their own literature, quote: “Autofocus speed is very slow and inadequate for most moving subjects. The autofocus speed is unfit for professional use for sure, and it would disappoint most enthusiasts.” I use one with an A7R for insect macro-photography, where manual focussing is preferred. Yes, the Sony FE 16-35mm is a great lens which I’m considering purchasing. I have currently have the FE 35mm 2.8 Zeiss which I love and a Canon 50mm 1.4 rangefinder lens which takes great shots.
I looking for a good intermediate zoom and thought the 24-105mm effective length would be a good option if the lens would perform well on the A7ii. As mentioned I don’t really have a need to blow up my shots to poster size so I don’t mind the APS crop. My other choices are the FE 24-70 Zeiss, which get’s only fair reviews or the new FE 24-240 which might be nice but it could be hard to make a 10x zoom really have great optics.
Hello Brian, I have your A7 book, which I like very much, and am glad to see there is an updated discussion of the latest lenses. I have the A7r and Sony FE 55/1.8 lens (which is amazing) but need a landscape lens to shoot gardens and architecture, with some night shooting.
In general, I won’t be shooting really huge sweeping mountain scenes, but I need some flexibility. I thought I would get the Sony FE 16-35mm f/4 ZA OSS Lens next, but now I see the new wide angle lenses that are coming soon. Which would you recommend? Would anything be as awesome as my 55? Thank you for the advice. Brian, thanks for this great summary.
I have shot during extensive traveling for my own enjoyment for many years, and with some great successes, but always with a smaller camera (Canon S-100 these days) on the theory that the camera that is with you takes better pictures than the one that isn’t. I’m finally taking the plunge to get a big boy camera and getting the A7rii to try to take my shooting to the next level.
I am rationalizing getting this beast because I work in TV and may be able to use it for video as well, but that’s not the initial aim. My question is: I own NO lenses so I’m starting from scratch.
If I were to start with TWO lenses, what would be your suggestion. TRAVEL is a big use for what I’m getting, as is set photography, but part of the reason for getting this camera is to try to up my game so I’m considering a zoom and a prime.
I was thinking of starting with either the 24-240 or the 24-70 with either the 55mm prime or the 35mm prime. But I’m reticent to get that beast rather than the superior 70-200.
I suppose I could get 24-70 & 70-200 to cover the range and no primeI know there are tons of questions you could ask to give more refined advice, but that could take years and cost millions of lives, and I’m sure you have better things to do! Sorry to be long-winded, just wanted to know if you had a starting suggestion based on what I’ve told you. Hi, Love the information you provide!
Im starting from scratch and looking to purchase the a7s. I have a budget of about 3500. My main purpose will be to shoot short music video promos and press kits (sometimes with interviews) commercially and also be able to get some stills of some of the clothes my wife makes for her website while I have it.
What lens or lenses should I start off with to get up and running and be able to do what I need to do with competitive quality within budget? Obviously, the camera will eat most of it. Many thanks for all the excellent info and insight — it’s much appreciated.
I think there may be some Lensbaby offerings (e.g. Velvet 56) and that you may wish to include in your list of fe of glass. Also, I’m curious — how do you feel about the trade-off between quality and convenience in terms of the fe 35mm 1.4 and 2.8 lenses? Do you think a big lens has a significant negative impact on street, journalistic or portrait work?
I love to work in low light and to play with shallow DOF. I might be willing to deal with the hassle of size/weight, but I’d hate to give up chances to shoot because potential subjects are “turned off” by my kit. I’m not necessarily concerned about “secretly” taking shots, but rather the risk of making people feel weird, thereby cutting off opportunities. I’d love to learn your perspective on this point. Brian, good advice all and thanks! My wife and i just returned from spain/portugal shooting a rx100m3 and a A7ii with sony zeiss16-24 and 24-70, sometimes dueling on landscapes and in castles. It was great.
The dx100m2 held its own pretty much. So now looking at the batis 85, next on my list like you! But with such high resolution digital zoom is so awkward on the a7ii and so easy on the rx100m3! With the A7rii even more digital headroom, so what is the answer? Sony could so easily put the A7rii sensor in a rx100m5 and boom no need for 200 – 300mm teles, at least for some of us! Any thoughts? Brian, just ordered the Batis 85 and await bokah prime hapyness in big amounts!
But would be glad to hear your thoughts on integrating digital zoom per the A7ii and as soon as it is off back order, the A7rii. Digital zoom is available through menue picks and one time setting as you know now. And i fall in love with it every time it pops up in manual focus, same experience as those fold outs when i was 15!
So shouldn’t it be on, say for instance Sony’s firmware roadmap for demountable lens cameras with the best primes?? I’d pay for that app!
First of all, thanks for all the information, very useful! I’m Matias from Argentina, and I’m heading today to NY to buy a A7ii during this week (at B&H); so for me it’s a long trip and big investment, considering currencies.
I do mainly video (documentary, on the road, alone), and will definitely use Slog2 (I don’t like video image, but cinema texture); I know A7S is a better option because of its high ISO, but it’s out of my budget and I want to benefit from the 5-axis stab so I can use some very old M Leica lenses I have (Summilux 50mm 1.4, 35mm 4.0, 135mm 4.0); I really hope they work properly with the Metabone adaptor (but I’m considering the Voigtlander VM-E you mentioned on one of your articles). I’ll use it for still photography as well, but it’s secondary. Is it the video quality from A7S way much better (without considering the ISO advantage, just the video resolution, final image) than the A7ii? If I’m not wrong there’s a moire issue on the last one as well. Finally, about the lenses: I can’t relay totally on those Leica lenses as a recent but professional filmmaker; so I’ll have a second (modern) lens’ combination.
Unfortunately I’ll need to start with the kit lens 28-70mm (not fast) and go for the Sony FE 70-200mm f/4.0 G OSS Lens if it’s not to big/heavy (is there a big image difference between this two?), or sell the kit lens and go for the Sony FE 24-240mm f/3.5-6.3 OSS Lens (I’m afraid this all-in-one can be not good in most of the things it does), or finally just go for the Rokinon Cine T1.5 kit (24mm, 35mm, and 85mm Prime Lenses) but maybe they’re too big/heavy to travel with them. Besides my Leica lenses, I’ve got the Canon EOS EF-S kit lens 18-200mm 3.5/5.6 but I guess it won’t work on a full frame camera. Sorry about the long message, but I tried to be the most precise as possible so you don’t have to try to guess my situation! The main restriction is my budget, but I’ll save some to get your book once I have the camera! Let me try to answer all your questions. First off when are you traveling to New York?
The first a7RII cameras arrive Aug 5th but it’s very likely that BH’s entire shipment will go to pre-orders. You could also check with Unique Photo in New Jersey, I’m doing a a7RII Launch Event for them 8/5 so they may still have cameras. Both a7S and a7RII are deigned for excellent video quality. Sony a7S offers native 4K, a7RII offers down-sampled 4K from both the full width of the senor as well as Super35.
To me I’d lean toward the later, but that’s just me Since you are an independent filmmaker, I’d think the 5-Axis image stabilization on a7RII would be a huge plus! Either Metabones or are excellent choices with Leica M lenses. The obvious difference is that the VME will allow added close focus capabilities which may come in handy with your Leica 50mm. As for the native kit you mentioned, the kit lens + is an excellent choice. Thanks for all your reviews – very helpful! I come from a Pro Nikon background, now switching to the Sony A7 lineup.
Wild T2 Manual
This week I rented the new Sony 90mm F2.8 G for the Sony A7ii to test out at a wedding. Getting it a few days early, gave me the opportunity to test out on the farm.
I have to say – I’m finding the same hunt and peck as I did with the Nikkor 105 f2.8 VR Macro – is this just normal behaviour of a Macro lens? I was hoping for a little better performance from the Sony With that said – I found the hunt and peck frustrating so I switched to manual focusing with peaking and had much better experience but that got me thinking Rokinon/Samyang has the “new” 100mm f2.8 for Sony E – if I’m manual focusing the Sony 90 – why not the Samyang? What is your experience and thoughts on the Samyang 100mm 2.8 Macro for Sony E? Honestly – its a Macro lens – so detail shots, still portraits, etc are my only purpose for this lens. Brian, Thanks in advance for all the fast responses. A little background. When I first got my A7 ii I purchased the E-mount 30mm macro lens.
I know this was not an FE lens so the camera automatically cropped it to remove any vignetting. Getting such amazing pictures I thought the Sony 90mm FE macro would be just amazing. I am using manual focus on a tripod. I have switch between auto and aperture to get more depth of field. Here is where my problem is. Any time I touch the camera or tripod to adjust the focus or settings the image in the view finder or on the LCD shakes so much I can not truly adjust the focus.
Can you tell me if there is anything I can do about this and is it normal. It is truly affecting my ability to get great macro shots. Thanks Again. Do FE lenses perform as well as E mount lenses on the A6000 and why would you now buy E-mount with FE mounts now covering most options?
Probably also a good choice for those of us who may consider buying A7’s for their full frame in the future.I am looking at getting the Sony FE 24-240mm f/3.5-6.3 OSS as an allrounder travel lens for my Sony A6000. Changing primes on a recent trip to Europe proved cumbersome and time consuming especially on busy London streets during their (August) peak holiday season. Wow, this is a super-useful blog posting, thank you so much. Can I ask for advice? I have a Sony Alpha a6000. Nice camera, but I’m finding it hard to get the lens I need.
Leica Wild T2 Manual Transfer Case
My wife has a style blog, and I want to take full-length pictures of her that show off the clothes well. Outside is no problem; a Sony 50mm prime lens gives me beautiful pictures with lovely bokeh. Indoors is much harder. I want to get full-body shots with nice bokeh of the wall behind her, but we live in a condo and have relatively little room to work with. I’ve been trying a Sony 35mm f/1.8 lens, but I haven’t been impressed with the picture quality. Compared to the 50mm prime, the pictures are rather flat and dull, with much less sense of depth or vividness.
Someone suggested I try the 24mm Rokinon f/1.4, and I’ve ordered that as a rental to try it out. Do you have any other suggestions?
Another idea is a 24-70 zoom lens, but the Zeiss 24-70 f/2.8 is crazy expensive — like $2,000 — and I’d also need a $300 adapter to fit it to my E-mount. Do you have any suggestions? Hello Brian Sir! How are you doing?
Sir, I have got a commercial wedding shoot ahead. Marriages in India are often at night. I have already decided to buy SONY’S 42 mp A7R II. I am really confused about the lenses I should own.
Please recommend 2-3 nice FE lenses appropriate for low light/portrait/wedding/candid/landscape photography. Sir, some photographers are scaring me by saying that some of sony fe lenses(specially lenses I can afford) are not able to resolve detail for a7r ii sensor. Please throw some light over that and recommend lenses that can resolve detail for this higher resolution sensor. Hello, I love your photography and lens overviews! I was just wondering as an owner of the Sony a6000 I have been thinking about what lenses are good for both FE and APS-C sized sensors.
I have been considering the 55mm Zeiss for it’s great image quality. However, I have heard that it is a bit too specialized to be of any use outside of portraits and street photography which I don’t shoot often. Would it be any good for my a6000 at the moment and a full frame body in the future? (I plan to upgrade). Also is the 90mm FE Macro any good on an APS-C camera (I know it’s not meant for APS-C but I would like to save as much money as possible when I upgrade.
Sorry for the long comment Any advice that you can offer would be very much appreciated. I salute you for your work and expertise shared! I just bought an A7Rii and 55mmf1.8 after returning my 24-70f4 as I find f4 a bit tough with low light (not wanting to use flash).
I do a little landscape and portraiture (weddings/birthdays) but not often in a situation to use much long lens for safari/zoo or sports (in the field). Choosing three lens, to invest over time, or at a push four: is this combo a bit overkill or redundant – Batis 25mm, Batis 85mm, Loxia 30? Am really impressed by Loxia 21mm and 50mm though. I can get some good discounts with ZEISS, hence not really disregarding Sony/ZEISS lens at all.
Hi Brian, Thanks for all your useful advice. I currently am using Minolta AF lenses (20mm f/2.8, 24mm f/2.8) and take mostly landscapes, but also like general street and churches etc. I just acquired a Sony A7RII to replace my A7. Do you think I would gain much over the Minoltas if I bought a more expensive prime? The three I have been considering are 25mm Batis, 21mm Loxia f/2.8 or Voigtlander 21mm Ultron f/1.8. If you think there is much to be gained for the extra money, which would you recommend?
Thanks, Clive. You have a great website and the information you provide is really helpful. I need some advice about choosing some lenses and a new body. I own a Sony a6000 with a 50mm portrait lens and recently purchased a 24-70 Zeiss FE lens (i am planning to purchase full frame a7 body in the near future so i purchased this lens) I am now using it on my a6000 and its really good. I want to invest in a wide lens to use on my a6000 and the other full frame camera that i will but. So depending on your reviews the best choice is 10-18.
Do you recommend other wide lenses that i use on both cameras? And one last question Which a7 would be the best upgrade from a6000? I want to keep using the a6000 so what i look for is the things that a6000 can not do.
The newest a7rii’s seem to be a bit expensive than other a7’s do you think it would be better to buy the latest release? Brian First I hope you are having a great holiday season and all the best for you and family in 2016. I have the following question: I shoot a lot under low lights conditions (classical music concerts) I use primarily a Sony 70-200 2.8 A-Mount with LA-EA4 adapter, I have no complaint with this configuration except the Adapter make it heavy and bulky. My other three lenses are E-Mount I sold all my A-Mount equipment.
Now the only thing that justify the adapter is my concert lens and looking to change it for the E-mount option but I am concerned of the 1 Stop less that I will have, well actually a little less because I understand I lost 1/3 of a stop with the adapter. Do you think the f4 emount will do a similar job? Is there any comments with your experience? Or should I wait for new new 2016 lineup?
Thanks so much for your kindness and super Sony community support. Cheers and again Happy Holidays.
I am a new and proud owner of the Sony a7s. I’ve read through your posts on various lenses and adapters. I shoot mainly video but also have an interest in photography. Where is the best place to shop for an affordable lens? Are most of the lenses going to cost me $1,000 at least? I have my sights set on the Sony FE 35mm or 50mm but they are pretty pricey.
Do you recommend going the adapter route to get a cheaper, nice lens or just purchasing a lens that fits right onto the camera without a mount (though pricier)? Looking forward to your response. Great reviews and samples: thank you. So, are the Sony A7s and A7sII the only silent full frame cameras?
I’m working on low budget films and shows using Canon’s system (6D body, several lenses), but I’m currently limited by shutter sound. I only take photos on rehearsal takes or between takes.
This narrows photo opportunities significantly. So, to the potential solutions: sound blimp that fits the 6D and other Canon full frames (if the blimp is truly silent) or switch to a system that is 100% quiet. The Sony A7s and II seem to be the only full frame options at this time. Brian, great information.
Could you advise me as there are still lots of conflicting posts on the net – I am currently a Canon shooter, with an EF 100-400 Mk2, Ef 70-200 IS f4, EF85 1.2 Mk2. I mainly shoot stills, portraits, landscapes and some wildlife (which can move reasonably fast), but occasionally would like to be able to shoot 4K video.
Which, if any, adapter will allow me to use the 100-400 reliably at all focal lengths, and will I be able to have continuous autofocus video on the lenses I’ve mentioned. Obviously if the autofocus is slow or erratic, maybe I should think again about getting a A7R2? My current Canon bodies which I would use for reference are EOS-6Ds. Hi Brian Great article and very helpful. I’m a recent Sony transfer from a Canon 5DM3 system. I’m very much loving the 55 1.8 lens on my A7RII body. Being a nature/landscape/astro/night photographer; what’s your take on an ultra-wide lens for night/astro shots?
I was thinking of either the following complete setup: 1) Sony 16-35 f/4 + Sony 55 f/1.8 (and use the 16 f/4 range for astro?) 2) Sony 24-70 f/4 + Sony 55 f/1.8 + Rokinon 14 f/2.8 (and use the Rokinon for astro) Do you prefer the Rokinon 14 f/2.8 than its smaller brother 12 f/2.0? Thank you for this amazing resource, and I love your book. I am a recent convert from Canon. I have an A7 II, a6000, 24-70 f4, 70-200 f4, and 24-240.
I also have a FotodioX adapter that I use with my Canon EF 50 f1.4 lens. I am now looking at WA options. The 16-35 is a little out of my price range. The Sony 10-18 and Canon 17-40 are similar in price on the used market. I don’t mind the slow or no AF on the Canon with my adapter since it would be for landscapes.
Any thoughts on the IQ between these or other recommendations? Wow, this is just amazing Brian. Thank you for putting ti together. Totally what I was looking for!
I love landscape & architecture photography and ama newbie. Got an A7 camera. I have been eyeing the FE16-35 for the longest time for such purpose but would you recommend something else out of the ones mentioned above?
I dont want the distorted fisheye view necessarily and want to keep full frame coverage and not comprimise the max settings of the lens. With my limited understanding, I dont see another option that can compete with FE 16-35 but what would you recommend if you dont mind sparing your expert opinion? I do have the 28-70 and a few A mount lenses too. I also have the EA4 lens adapter even A mount full frame lenses are an option if you dont mind considering those as options. Some say the A mount version of 16-35 is also great as it offers F2.8 instead of F4 of the FE version. What do you think?
Thank you in advance.