{"title":"Prime Lenses","description":null,"products":[{"product_id":"bronica-zenzanon-mc-150-3-5-regular","title":"Bronica Zenzanon MC 150mm","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eBronica Zenzanon MC 150mm f\/3.5\u003c\/strong\u003e is a \u003cstrong\u003emedium-format \u003c\/strong\u003etelephoto prime made for Bronica's ETR 6×4.5 camera system.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn 645 format, 150mm gives a short-to-medium telephoto perspective that's particularly well suited to \u003cstrong\u003eportraits, studio work and tighter compositions\u003c\/strong\u003e. It gives you more working distance than a standard lens while keeping the distinctly medium-format look that makes the Bronica ETR system such a good portrait setup.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eLike other lenses in the ETR system, the 150mm incorporates a \u003cstrong\u003eleaf shutter inside the lens\u003c\/strong\u003e rather than relying on a focal-plane shutter in the camera body. This allows flash synchronisation across the available shutter-speed range when used with the appropriate Bronica body and flash setup.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003eMC designation refers to Bronica's multi-coating\u003c\/strong\u003e, while focusing and aperture selection are fully manual.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMedium-format portraits\u003c\/li\u003e\n\u003cli\u003eStudio photography\u003c\/li\u003e\n\u003cli\u003eFashion\u003c\/li\u003e\n\u003cli\u003eHead-and-shoulders portraits\u003c\/li\u003e\n\u003cli\u003e6×4.5 film photography\u003c\/li\u003e\n\u003cli\u003eBronica ETR system users\u003c\/li\u003e\n\u003cli\u003eFlash photography\u003c\/li\u003e\n\u003cli\u003eControlled portrait work\u003c\/li\u003e\n\u003cli\u003eCollectors building a Bronica system\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e150mm focal length on 6×4.5 medium format\u003c\/strong\u003e gives you a classic telephoto perspective that's especially useful for portraits. It provides more subject distance and tighter framing than the standard lenses normally used with the ETR system.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts \u003cstrong\u003ef\/3.5 maximum aperture\u003c\/strong\u003e also gives you useful control over depth of field, particularly at portrait distances.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis isn't an autofocus lens. Focusing, aperture selection and the rest of the shooting process are manual, making it very much part of the traditional medium-format experience.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBecause the shutter is built into the lens, its operation is also important to the overall condition of the lens, not just the optics and focusing mechanism.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens is designed for the \u003cstrong\u003eBronica ETR 6×4.5 film system\u003c\/strong\u003e, so developing depends on the film loaded into the camera.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWith colour negative film, this will commonly mean C-41 processing. Black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be adapted for some digital setups, in which case no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701182447670,"sku":"3848914","price":180.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Bronica-150mm-3.5-seiko-2.png?v=1790158052"},{"product_id":"bronica-zenzanon-mc-200-4-5-regular","title":"Bronica Zenzanon MC 200mm","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eBronica Zenzanon MC 200mm f\/4.5\u003c\/strong\u003e is a classic medium-format telephoto prime made for Bronica's modular ETR 6×4.5 camera system. The ETR system launched in 1976 and became a complete professional medium-format system with interchangeable lenses, backs, finders and accessories. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn 6×4.5 format, the 200mm gives a field of view roughly comparable to a \u003cstrong\u003e120mm lens on 35mm format\u003c\/strong\u003e, making it a natural choice for portraits, studio work and more distant subjects. Later Bronica documentation lists the same 120mm-equivalent field of view for its 200mm ETR-system lens. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe shutter is built into the lens. This leaf-shutter design makes the system particularly useful for flash photography, with flash synchronisation available at shutter speeds up to 1\/500 sec. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's a slower and more deliberate way to shoot than a modern autofocus telephoto, but that's exactly where the appeal lies. Manual focus, medium-format film and a longer focal length make this a lens for considered portraits and carefully composed images.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMedium-format film photography\u003c\/li\u003e\n\u003cli\u003ePortraits\u003c\/li\u003e\n\u003cli\u003eStudio work\u003c\/li\u003e\n\u003cli\u003eFashion\u003c\/li\u003e\n\u003cli\u003eHeadshots and tighter portraits\u003c\/li\u003e\n\u003cli\u003eDistant subjects\u003c\/li\u003e\n\u003cli\u003eFlash photography\u003c\/li\u003e\n\u003cli\u003eBronica ETR system users\u003c\/li\u003e\n\u003cli\u003eCollectors building a Bronica 645 kit\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e200mm focal length\u003c\/strong\u003e is firmly telephoto on 6×4.5, with an approximately \u003cstrong\u003e120mm-equivalent\u003c\/strong\u003e field of view compared with 35mm format. That makes it particularly useful when you want tighter framing and more distance between the camera and subject. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts maximum aperture is \u003cstrong\u003ef\/4.5\u003c\/strong\u003e, with a minimum aperture of \u003cstrong\u003ef\/32\u003c\/strong\u003e, while minimum focusing distance is around \u003cstrong\u003e2 metres\u003c\/strong\u003e. The MC version uses a 62mm filter thread and weighs approximately 700g. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFocusing is completely manual. There is no image stabilisation, so at 200mm you'll want to pay attention to shutter speed or use a tripod when the light starts dropping.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens was designed for the \u003cstrong\u003eBronica ETR 6×4.5 film system\u003c\/strong\u003e, so developing depends on the film loaded into the camera.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eColour negative film will commonly use C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be adapted to some digital camera systems. When used digitally, no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701182513206,"sku":"9189834","price":300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Bronica200mm-4.5-seiko-2.png?v=1790158870"},{"product_id":"bronica-zenzanon-mc-250-5-6-regular","title":"Bronica Zenzanon MC 250mm","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eBronica Zenzanon MC 250mm f\/5.6\u003c\/strong\u003e is a long telephoto prime made for Bronica's ETR 6×4.5 medium-format system.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn 645 format, its 250mm focal length gives a field of view roughly comparable to a \u003cstrong\u003e150mm lens on 35mm\u003c\/strong\u003e, making it a useful choice for tighter portraits, distant subjects, landscapes and studio work where you want plenty of working distance. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe MC version uses Bronica's multi-coated optics and incorporates the ETR system's leaf shutter into the lens. That gives the system one of its most useful features for studio photography: flash synchronisation across the shutter-speed range, up to 1\/500 sec. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is a substantial manual-focus lens at around 820g, and its longer focal length rewards a considered shooting style. For portraits, it offers strong subject isolation and compressed perspective without moving away from the distinctive look and larger negative of 6×4.5 film.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMedium-format portraits\u003c\/li\u003e\n\u003cli\u003eStudio photography\u003c\/li\u003e\n\u003cli\u003eFashion\u003c\/li\u003e\n\u003cli\u003eDistant subjects\u003c\/li\u003e\n\u003cli\u003eLandscape details\u003c\/li\u003e\n\u003cli\u003e6×4.5 film photography\u003c\/li\u003e\n\u003cli\u003eFlash photography\u003c\/li\u003e\n\u003cli\u003eBronica ETR system users\u003c\/li\u003e\n\u003cli\u003eCollectors building a Bronica kit\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e250mm focal length\u003c\/strong\u003e is firmly in telephoto territory on 6×4.5, giving an approximately \u003cstrong\u003e150mm-equivalent\u003c\/strong\u003e field of view compared with 35mm format. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWith a maximum aperture of \u003cstrong\u003ef\/5.6\u003c\/strong\u003e, this isn't a particularly fast lens. In lower light, a tripod or other support can be useful, especially given the longer focal length and lack of image stabilisation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe original MC version focuses to approximately \u003cstrong\u003e3.5 metres\u003c\/strong\u003e, uses a \u003cstrong\u003e62mm filter thread\u003c\/strong\u003e and weighs around \u003cstrong\u003e820g\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere were different 250mm versions produced for the ETR system, including a later optical version and the subsequent Zenzanon-E and PE lenses. The specifications here are for the original \u003cstrong\u003eZenzanon MC 250mm f\/5.6\u003c\/strong\u003e recorded in the SS8 inventory. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens is designed for the \u003cstrong\u003eBronica ETR 6×4.5 film system\u003c\/strong\u003e, so developing depends on the film loaded into the camera.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eColour negative film will commonly use C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be \u003cstrong\u003eadapted\u003c\/strong\u003e to some digital camera systems. When used digitally, no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701182611510,"sku":"H950600","price":180.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Bronica250mm-5.6-seiko-1.png?v=1790159441"},{"product_id":"canon-lens-fd-85mm-1-1-2-s-s-c-aspherical-regular","title":"Canon FD 85mm, S.S.C. Aspherical","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eCanon FD 85mm f\/1.2 S.S.C. Aspherical\u003c\/strong\u003e is an exceptionally fast manual-focus portrait lens from Canon's original FD system, introduced in 1976.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts combination of an \u003cstrong\u003e85mm focal length and f\/1.2 maximum aperture\u003c\/strong\u003e gives you extremely shallow depth of field and strong separation between subject and background. It's a lens built for considered portrait photography, particularly when you want to work with available light or make selective focus a central part of the image.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe important word here is \u003cstrong\u003eAspherical\u003c\/strong\u003e. Canon developed this lens with an aspherical optical system to control aberrations at its unusually large f\/1.2 aperture. Canon also incorporated a floating optical mechanism to maintain performance as the lens focuses closer. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt was a significant lens for Canon. When introduced in January 1976, Canon states that it was the brightest 85mm SLR lens available at the time. It predates the later \u003cstrong\u003eNew FD 85mm f\/1.2L\u003c\/strong\u003e, making this S.S.C. Aspherical version a particularly interesting piece of Canon's fast-lens history. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003ePortrait photography\u003c\/li\u003e\n\u003cli\u003eAvailable-light photography\u003c\/li\u003e\n\u003cli\u003eLow-light shooting\u003c\/li\u003e\n\u003cli\u003eShallow depth of field\u003c\/li\u003e\n\u003cli\u003e35mm Canon FD cameras\u003c\/li\u003e\n\u003cli\u003eCanon F-1, A-1 and AE-1 system users\u003c\/li\u003e\n\u003cli\u003eAdapted mirrorless photography\u003c\/li\u003e\n\u003cli\u003eCollectors\u003c\/li\u003e\n\u003cli\u003ePhotographers looking for distinctive vintage glass\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eAt \u003cstrong\u003ef\/1.2\u003c\/strong\u003e, depth of field can be extremely shallow. Accurate manual focusing matters, particularly when working close to a portrait subject.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eStop the lens down and you have a conventional short telephoto, but wide open is where this lens becomes particularly interesting. Canon designed its aspherical optical system specifically to better control aberrations at the maximum aperture. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis original S.S.C. version has \u003cstrong\u003enine aperture blades, a 1m minimum focusing distance and weighs approximately 756g\u003c\/strong\u003e. It is physically and historically distinct from the later New FD 85mm f\/1.2L, which uses eight blades, focuses to 0.9m and weighs less. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's also a substantial lens for its size. At around \u003cstrong\u003e756g\u003c\/strong\u003e, expect something that feels solid rather than lightweight.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens was designed for \u003cstrong\u003eCanon FD-mount 35mm film SLR cameras\u003c\/strong\u003e, so developing depends on the film loaded into the camera.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eColour negative film will commonly use C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eCanon FD lenses can also be \u003cstrong\u003eadapted\u003c\/strong\u003e to suitable digital mirrorless systems. When used digitally, no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701182742582,"sku":"620322T","price":3000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Canon-85mm-1.2-2.png?v=1790159814"},{"product_id":"canon-ef-50-2-5-compact-macro-regular","title":"Canon EF 50mm, Compact Macro","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eCanon EF 50mm f\/2.5 Compact Macro\u003c\/strong\u003e is a small, versatile macro prime that works just as comfortably for everyday photography as it does for getting close to the details.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts \u003cstrong\u003e50mm focal length\u003c\/strong\u003e gives a natural perspective on full-frame and 35mm Canon EOS cameras, while the close-focusing design takes you down to \u003cstrong\u003e0.23 metres with 0.5× magnification\u003c\/strong\u003e. That's half life-size, or 1:2 reproduction, making it useful for film cameras, small objects, product photography, documents, flowers and everyday details.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eUnlike a dedicated long macro lens, the 50mm focal length keeps this one useful when you're not shooting close-ups. It's essentially a normal prime and a compact macro in the same lens.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt also has a particularly long compatibility history. Introduced in \u003cstrong\u003e1987\u003c\/strong\u003e, this is a native Canon EF lens, meaning it was designed for the EOS system from the beginning and can be used with compatible \u003cstrong\u003eEOS 35mm film SLRs and Canon EF-mount DSLRs\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eClose-up photography\u003c\/li\u003e\n\u003cli\u003eFilm and camera details\u003c\/li\u003e\n\u003cli\u003eProduct photography\u003c\/li\u003e\n\u003cli\u003eCopy work\u003c\/li\u003e\n\u003cli\u003eFlowers and small objects\u003c\/li\u003e\n\u003cli\u003eEveryday photography\u003c\/li\u003e\n\u003cli\u003e35mm Canon EOS film cameras\u003c\/li\u003e\n\u003cli\u003eCanon EF-mount DSLRs\u003c\/li\u003e\n\u003cli\u003ePhotographers wanting one lens for normal and close-up shooting\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe important thing to understand with the \u003cstrong\u003eCompact Macro\u003c\/strong\u003e is that it reaches \u003cstrong\u003e0.5× magnification natively\u003c\/strong\u003e, rather than the 1.0× or 1:1 reproduction offered by many dedicated macro lenses.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt its closest focusing distance of \u003cstrong\u003e0.23m\u003c\/strong\u003e, a subject can be reproduced at half its actual size on the film frame or sensor. That's plenty for many product, detail and close-up photographs.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAutofocus is available, but this is an older EF autofocus design rather than one of Canon's later USM or STM lenses. Manual focusing is also available and is particularly useful when working at close distances.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens is natively compatible with both \u003cstrong\u003eCanon EOS 35mm film cameras and compatible Canon EF-mount digital SLRs\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used with a film EOS body, developing depends on the film loaded into the camera. Colour negative film will commonly use C-41, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used on a digital Canon EF-mount camera, no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701183430710,"sku":"4636996","price":280.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/CanonEF50mm-2.5-CompactMacro-3.png?v=1790160499"},{"product_id":"hasselblad-v-120-4-makro-planar-regular","title":"Hasselblad Carl Zeiss Makro-Planar T* 120mm","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe Hasselblad Carl Zeiss Makro-Planar T 120mm f\/4* is a specialist close-focus prime for the Hasselblad V System, designed for photographers who want high image quality across product, studio, close-up and general photography.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eUnlike a conventional macro lens designed solely around maximum magnification, the 120mm Makro-Planar is particularly useful across \u003cstrong\u003eclose and medium working distances\u003c\/strong\u003e. That makes it a natural choice for product photography, still life, artwork, detail work and studio portraits.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts 120mm focal length also gives you more working distance than a standard lens, while the longer perspective works beautifully for tighter compositions and portraiture. On Hasselblad's square 6×6 format, it sits between the normal 80mm and classic 150mm portrait lens.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003eT\u003c\/strong\u003e* designation identifies Zeiss's multi-layer anti-reflection coating, while the V System design incorporates a leaf shutter into the lens.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eProduct photography\u003c\/li\u003e\n\u003cli\u003eClose-up photography\u003c\/li\u003e\n\u003cli\u003eStill life\u003c\/li\u003e\n\u003cli\u003eArtwork and reproduction work\u003c\/li\u003e\n\u003cli\u003eStudio photography\u003c\/li\u003e\n\u003cli\u003ePortraits\u003c\/li\u003e\n\u003cli\u003e6×6 medium-format photography\u003c\/li\u003e\n\u003cli\u003eHasselblad V System users\u003c\/li\u003e\n\u003cli\u003eCollectors\u003c\/li\u003e\n\u003cli\u003ePhotographers wanting a high-quality close-focus Zeiss prime\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe 120mm Makro-Planar is better thought of as a \u003cstrong\u003eclose-focus specialist\u003c\/strong\u003e than a modern 1:1 macro lens.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn its own, it reaches approximately \u003cstrong\u003e1:4.5 reproduction\u003c\/strong\u003e, so it won't fill the frame with tiny subjects in the same way as a modern 1:1 macro. Hasselblad extension tubes and bellows can be used when greater magnification is required.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts strength is versatility across close and medium distances. For film scanning-sized objects, product work, still life, details and portraits, you get the characteristic control and slower, deliberate working style of the Hasselblad V System.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe built-in leaf shutter also makes the lens particularly useful in the studio, where Hasselblad's V System allows flash synchronisation at all shutter speeds available on the lens.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens was designed for the \u003cstrong\u003eHasselblad V System\u003c\/strong\u003e, primarily using 120 medium-format film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDeveloping depends on the film loaded into the camera. Colour negative film will commonly use C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be \u003cstrong\u003eadapted\u003c\/strong\u003e or used with compatible digital backs and digital camera systems. That doesn't change its classification here, which remains \u003cstrong\u003eFilm\u003c\/strong\u003e because the Hasselblad V System is its native photographic system.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701189001270,"sku":"594514R","price":1000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Hasselblad-120mm-4-prime-Vseris-2.png?v=1790162533"},{"product_id":"hasselblad-v-150-4-sonnar-t-regular","title":"Hasselblad Carl Zeiss Sonnar T* 150mm","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe Hasselblad Carl Zeiss Sonnar T 150mm f\/4* is one of the classic portrait lenses of the Hasselblad V System, pairing a flattering telephoto perspective with the large 6×6 medium-format frame.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe 150mm focal length gives you comfortable working distance and a tighter field of view than the standard 80mm, making it particularly well suited to \u003cstrong\u003eportraits, studio work, events and detail photography\u003c\/strong\u003e. For head-and-shoulders portraits, it lets you step back from your subject while keeping the composition tight and natural.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts optical design is beautifully simple, using just \u003cstrong\u003efive elements in three groups\u003c\/strong\u003e. The T* designation identifies Zeiss's multi-layer anti-reflection coating, designed to help maintain contrast and control reflections. The lens also incorporates the leaf shutter that's central to the Hasselblad V System. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003ePortrait photography\u003c\/li\u003e\n\u003cli\u003eHead-and-shoulders portraits\u003c\/li\u003e\n\u003cli\u003eStudio photography\u003c\/li\u003e\n\u003cli\u003e6×6 medium-format photography\u003c\/li\u003e\n\u003cli\u003eEvents and stage photography\u003c\/li\u003e\n\u003cli\u003eFashion\u003c\/li\u003e\n\u003cli\u003eDetail photography\u003c\/li\u003e\n\u003cli\u003eHasselblad V System users\u003c\/li\u003e\n\u003cli\u003eCollectors\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe 150mm Sonnar gives you a noticeably tighter perspective than the standard Hasselblad 80mm. It's long enough to create comfortable subject separation and flattering portrait framing without becoming an especially large or extreme telephoto.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMinimum focusing distance is \u003cstrong\u003e1.4 metres\u003c\/strong\u003e, so this isn't intended as a close-focus or macro lens. For closer detail work, the 120mm Makro-Planar is the more specialised option. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens was designed for the \u003cstrong\u003eHasselblad V System\u003c\/strong\u003e, primarily using 120 medium-format film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDeveloping depends on the film loaded into the camera. Colour negative film will commonly use C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHasselblad V lenses can also be used with \u003cstrong\u003ecompatible\u003c\/strong\u003e digital backs or adapted to other digital systems. For our compatibility classification, however, this remains \u003cstrong\u003eFilm\u003c\/strong\u003e, reflecting its native photographic system.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701189099574,"sku":"963522Q","price":650.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Hasselblad150mm-4-prime-Vseris-1.png?v=1790163884"},{"product_id":"hasselblad-v-60-3-5-distagon-t-regular","title":"Hasselblad Carl Zeiss Distagon T* 60mm","description":"\u003cp dir=\"auto\"\u003eThe Hasselblad Carl Zeiss Distagon T 60mm f\/3.5* is a wide-angle prime for the \u003cstrong\u003eHasselblad V System\u003c\/strong\u003e, sitting between the classic 80mm standard lens and the more pronounced perspective of wider Hasselblad lenses.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn the square 6×6 format, 60mm gives you a noticeably wider view without pushing things into an exaggerated ultra-wide look. That makes it an especially versatile option for \u003cstrong\u003elandscapes, interiors, architecture, travel and environmental portraits\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eZeiss described the 60mm as an almost universal lens, specifically positioning it as a faster, higher-performing successor to the earlier 60mm f\/4 Distagon. Its optical design uses \u003cstrong\u003eseven elements in seven groups\u003c\/strong\u003e and focuses as close as 0.6 metres. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003eT\u003c\/strong\u003e* designation identifies Zeiss's multi-layer anti-reflection coating, while the Hasselblad V design combines manual focusing with an in-lens leaf shutter.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e6×6 medium-format photography\u003c\/li\u003e\n\u003cli\u003eLandscapes\u003c\/li\u003e\n\u003cli\u003eArchitecture\u003c\/li\u003e\n\u003cli\u003eInteriors\u003c\/li\u003e\n\u003cli\u003eEnvironmental portraits\u003c\/li\u003e\n\u003cli\u003eTravel\u003c\/li\u003e\n\u003cli\u003eStreet and documentary work\u003c\/li\u003e\n\u003cli\u003eHasselblad V System photographers\u003c\/li\u003e\n\u003cli\u003eCollectors\u003c\/li\u003e\n\u003cli\u003ePhotographers wanting something wider than the standard 80mm\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe 60mm Distagon is wide on the Hasselblad 6×6 format, but not dramatically so. Its \u003cstrong\u003e66° diagonal angle of view\u003c\/strong\u003e gives you more room than an 80mm standard lens while retaining a relatively natural perspective. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt focuses down to \u003cstrong\u003e0.6m\u003c\/strong\u003e, which also makes it useful when you want to move closer and introduce a little more perspective into the frame.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is a fully manual-focus lens. The leaf shutter is built into the lens, an important part of the Hasselblad V System and particularly useful when working with flash.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOne point I'd keep conservative until we see the physical lens more closely is its \u003cstrong\u003eexact barrel generation\u003c\/strong\u003e. The 60mm f\/3.5 Distagon T* existed in C, CF, CB and CFi forms, all sharing the same basic seven-element\/seven-group optical design but differing in shutter, controls, filter fitting and barrel design. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens was designed primarily for \u003cstrong\u003eHasselblad V System medium-format film cameras\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDeveloping therefore depends on the 120 film loaded into the camera. Colour negative film will commonly use C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHasselblad V lenses can also be used with compatible digital backs and adapted digital systems. When used digitally, no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701189197878,"sku":"C581924","price":1000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Hasselblad-60mm-3.5-prime-Vseris-3.png?v=1790161917"},{"product_id":"leica-m-50mm-1-4-regular","title":"Leica Summilux-M 50mm, E46","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eLeica Summilux-M 50mm f\/1.4 E46\u003c\/strong\u003e is a classic fast standard lens for the Leica M system, combining a natural 50mm perspective with a bright f\/1.4 maximum aperture and Leica's compact manual-focus rangefinder design.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is the later \u003cstrong\u003epre-ASPH\u003c\/strong\u003e version, product number \u003cstrong\u003e11868\u003c\/strong\u003e, finished in black anodised metal and fitted with an E46 filter thread and built-in telescoping lens hood. It retains the classic \u003cstrong\u003e7-element, 5-group Summilux optical design\u003c\/strong\u003e, while this later barrel allows focusing down to 0.7 metres. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt 50mm, it's an incredibly versatile lens. Street photography, portraits, documentary work, travel and everyday shooting all feel natural, while the f\/1.4 aperture gives you considerably more flexibility as the light drops and lets you work with a shallower depth of field.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis particular lens is serial \u003cstrong\u003e3694833\u003c\/strong\u003e and comes with its \u003cstrong\u003eoriginal Leica box\u003c\/strong\u003e, marked Summilux-M 1:1.4\/50mm and product number 11868.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's also a lens that comfortably crosses Leica's film and digital eras. Use it on a compatible classic Leica M film body or a modern digital M while keeping essentially the same manual focusing experience.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eStreet photography, documentary work, portraits, travel, available-light photography, everyday shooting, Leica M film cameras, Leica M digital cameras and collectors looking for a classic pre-ASPH Summilux.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis generation of Summilux has a different character from Leica's later ASPH lenses. It uses the longstanding \u003cstrong\u003e7-element \/ 5-group optical design\u003c\/strong\u003e rather than the newer aspherical construction, while the later 11868 barrel brings a closer \u003cstrong\u003e0.7m minimum focusing distance\u003c\/strong\u003e, \u003cstrong\u003eE46 filters\u003c\/strong\u003e and an integrated telescoping hood. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt f\/1.4, you get the shallow depth of field and available-light flexibility that makes a Summilux appealing. Stopping down gives you a more controlled standard lens for general photography.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eEverything is manual. Focusing is through the Leica M rangefinder system, aperture is selected directly on the lens and there's no autofocus or image stabilisation.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens is compatible with both \u003cstrong\u003eLeica M film and digital cameras\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn a film Leica M body, developing depends on the film loaded into the camera. Colour negative film commonly uses C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn a \u003cstrong\u003ecompatible\u003c\/strong\u003e digital Leica M body, no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701194047542,"sku":"6616725","price":3750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Lecia-1.4-50mm-2.png?v=1790164952"},{"product_id":"leica-m-summicron-28-2-aspheric-e46-regular","title":"Leica Summicron-M 28mm, ASPH. E46","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eLeica Summicron-M 28mm f\/2 ASPH.\u003c\/strong\u003e is a compact, fast wide-angle prime made for the Leica M system, pairing the everyday versatility of 28mm with a bright f\/2 maximum aperture.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e28mm gives you plenty of room without feeling extreme. It's particularly at home with \u003cstrong\u003estreet photography, documentary work, travel and everyday shooting\u003c\/strong\u003e, where you can take in more of the scene while still getting close to your subject.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe f\/2 maximum aperture also makes this a particularly useful wide-angle when the light drops. Its optical design uses \u003cstrong\u003enine elements in six groups with an aspherical element\u003c\/strong\u003e, while manual rangefinder focusing keeps the shooting experience compact and direct. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis particular example is the earlier \u003cstrong\u003e0.7m-focus E46 version\u003c\/strong\u003e, serial \u003cstrong\u003e3922430\u003c\/strong\u003e. Supplied also is a \u003cstrong\u003eLeica lens hood, Leica front cap and Leica cylindrical leather case\u003c\/strong\u003e, giving this copy a particularly nice set of original accessories.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eStreet photography, documentary work, travel, environmental portraits, landscapes, available-light photography and photographers looking for a fast wide-angle to use across Leica M film and digital bodies.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eA 28mm lens gives a noticeably wider view than a 35mm or 50mm without pushing into an exaggerated ultra-wide perspective. Leica's technical data gives this version an approximately \u003cstrong\u003e75° diagonal angle of view on the 35mm frame\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ef\/2 aperture\u003c\/strong\u003e is useful for working in lower light and gives you more control over depth of field than slower 28mm lenses. Focus runs from \u003cstrong\u003e0.7m to infinity\u003c\/strong\u003e, and the aperture closes down to f\/16 with half-stop settings available. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's completely manual focus, with no autofocus or image stabilisation. On a Leica M body, the rangefinder-coupled design keeps the experience straightforward and tactile.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe included rectangular Leica hood is also visible in the supplied photos and provides useful protection as well as helping control stray light.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis lens is designed for the \u003cstrong\u003eLeica M system\u003c\/strong\u003e and can be used with compatible film and digital Leica M bodies.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used on a 35mm film camera, developing depends on the film loaded. Colour negative film commonly uses C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used on a compatible digital Leica M body, no film developing is required.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47850075455542,"sku":"Y653165","price":4200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/LeciaSummicron-m1.2-28mm-5.png?v=1790166283"},{"product_id":"leica-r-canada-135-2-8-elmarit-regular","title":"Leica Elmarit-R 135mm, Leitz Canada","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eLeica Elmarit-R 135mm f\/2.8\u003c\/strong\u003e is a classic manual-focus telephoto prime for the Leica R system, giving you extra reach without stepping into an especially long or cumbersome focal length.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt 135mm, it's particularly well suited to \u003cstrong\u003eportraits, details, landscapes and subjects where you want a little more distance between yourself and what you're photographing\u003c\/strong\u003e. The f\/2.8 maximum aperture also gives you good control over depth of field, making it easier to separate a subject from its surroundings.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis version uses a \u003cstrong\u003e5-element, 4-group optical design\u003c\/strong\u003e, focuses down to 1.5m and has a built-in telescopic lens hood. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003ePortraits, detail photography, compressed landscapes, candid photography and Leica R shooters looking for a classic medium-telephoto prime.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e135mm focal length\u003c\/strong\u003e gives a distinctly tighter perspective than a standard 50mm lens. It's useful when you can't or don't want to get physically close to your subject, and the narrower field of view can help simplify busy backgrounds.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts \u003cstrong\u003ef\/2.8 maximum aperture\u003c\/strong\u003e provides useful depth-of-field control, while the aperture closes down to f\/22. Minimum focusing distance is approximately \u003cstrong\u003e1.5m\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens is fully manual focus, with clearly engraved distance and depth-of-field scales. The photographs also show the characteristic \u003cstrong\u003ebuilt-in telescopic hood\u003c\/strong\u003e extended around the front section.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis is a \u003cstrong\u003eLeica R system film lens\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used natively on a compatible Leica R or appropriate Leicaflex film body, developing depends on the film loaded. Colour negative film commonly uses C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be \u003cstrong\u003eadapted\u003c\/strong\u003e to suitable digital cameras, but its native system and intended format are Leica R 35mm film cameras.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701194768438,"sku":"T485655","price":700.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Lecia_Lietz-135mm-2.5-1.png?v=1790170332"},{"product_id":"leica-r-summicron-r-50-2-canada-regular","title":"Leica Summicron-R 50mm, Leitz Canada","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eLeica Summicron-R 50mm f\/2 Leitz Canada\u003c\/strong\u003e is a classic standard prime for the Leica R system, combining a natural 50mm perspective with a bright f\/2 aperture and precise manual focus.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's a versatile focal length that works particularly well for \u003cstrong\u003eeveryday photography, street, portraits, documentary and travel\u003c\/strong\u003e. The 50mm field of view keeps things natural and familiar, while f\/2 gives you useful flexibility when the light drops and more control over depth of field.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis later Canadian Summicron-R uses a \u003cstrong\u003e6-element, 4-group optical design\u003c\/strong\u003e, replacing the earlier 6-element, 5-group version. It also focuses down to 0.5m and has a compact built-in telescopic hood. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis particular lens is marked \u003cstrong\u003eLEITZ CANADA\u003c\/strong\u003e and carries serial number \u003cstrong\u003e2956703\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eEveryday film photography, street photography, portraits, documentary work, travel and Leica R photographers wanting a compact standard prime.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eA \u003cstrong\u003e50mm focal length\u003c\/strong\u003e gives a natural perspective that sits comfortably between wide-angle and telephoto, making it one of the easiest focal lengths to use as an everyday lens.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ef\/2 maximum aperture\u003c\/strong\u003e provides good flexibility in lower light and lets you isolate subjects when needed. The lens focuses manually down to approximately \u003cstrong\u003e0.5m\u003c\/strong\u003e, while the aperture runs from f\/2 to f\/16. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis Canadian second-generation design is also considerably more compact than the earlier Summicron-R construction, weighing around \u003cstrong\u003e300g\u003c\/strong\u003e and measuring approximately 41mm long. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis is a \u003cstrong\u003eLeica R system film lens\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used natively on a compatible Leica R or appropriate Leicaflex film body, developing depends on the film loaded into the camera. Colour negative film commonly uses C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be \u003cstrong\u003eadapted\u003c\/strong\u003e for use on some digital camera systems, but its native system and intended format are 35mm film.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701194866742,"sku":"3534814","price":950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Lecia_LeitzcanadaSummicron-R-1.2-50mm-1.png?v=1790168005"},{"product_id":"leica-r-summilux-50-1-4-regular","title":"Leica Summilux-R 50mm, Leitz Wetzlar","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eLeica Summilux-R 50mm f\/1.4\u003c\/strong\u003e is a fast standard prime from the classic Leica R system, pairing a natural 50mm perspective with a bright f\/1.4 maximum aperture.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's the sort of lens that can stay on the camera for most of the day. The 50mm focal length works naturally for \u003cstrong\u003eeveryday photography, portraits, street work and documentary shooting\u003c\/strong\u003e, while the f\/1.4 aperture gives you extra flexibility as the light drops and more control over depth of field.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eManual focusing is part of the experience, with a large focusing ring and clearly marked distance and depth-of-field scales. The lens focuses down to approximately 0.5m, giving it useful flexibility beyond more distant subjects.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003ePortraits, street photography, documentary work, everyday shooting, available-light photography and Leica R photographers looking for a fast classic 50mm prime.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eAt \u003cstrong\u003e50mm\u003c\/strong\u003e, you get a natural-looking perspective that's easy to use across a wide range of subjects without feeling particularly wide or telephoto.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ef\/1.4 maximum aperture\u003c\/strong\u003e is the main attraction here. It gives you considerably more flexibility when working in available light and allows shallower depth of field when you want to separate your subject from the background.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eEverything is manual, including focus and aperture selection. The physical controls, engraved distance scale and depth-of-field markings make it a very traditional, hands-on Leica R shooting experience.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis is a \u003cstrong\u003eLeica R system film lens\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used natively on a compatible Leica R or Leicaflex film body, developing depends on the film loaded into the camera. Colour negative film commonly uses C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be \u003cstrong\u003eadapted\u003c\/strong\u003e to suitable digital camera systems, but its native system and intended format are Leica R 35mm film cameras.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701194965046,"sku":"406544N","price":2350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Lecia_Leitzwetzlar-summilux-R-1.4-50mm-2.png?v=1790169628"},{"product_id":"leicaflex-apo-telyt-r-1-3-4-180-regular","title":"Leica APO-Telyt-R 180mm, Leitz Canada","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eLeica APO-Telyt-R 180mm f\/3.4\u003c\/strong\u003e is a classic apochromatically corrected telephoto prime for the Leica R system, designed for photographers who want extra reach with precise manual control.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt \u003cstrong\u003e180mm\u003c\/strong\u003e, it gives you a tight field of view that's particularly useful for \u003cstrong\u003eportraits, landscapes, nature and distant details\u003c\/strong\u003e. The longer focal length also gives you plenty of control over framing when you can't physically get close to your subject.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe APO-Telyt-R uses a \u003cstrong\u003e7-element, 4-group optical design\u003c\/strong\u003e and was produced from the mid-1970s through the 1990s. This later \u003cstrong\u003e11242\u003c\/strong\u003e version uses an E60 filter fitting. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis lens was made in Canada and is has its \u003cstrong\u003eoriginal Leica\/Leicaflex APO-Telyt-R 1:3.4\/180 box\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003ePortraits, distant subjects, landscapes, nature photography and Leica R photographers looking for a classic apochromatic telephoto prime.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e180mm focal length\u003c\/strong\u003e gives you a noticeably compressed, narrow view compared with a standard lens, making it useful for isolating subjects and picking out details from a distance.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts aperture runs from \u003cstrong\u003ef\/3.4 to f\/22\u003c\/strong\u003e, with a minimum focusing distance of \u003cstrong\u003e2.5m\u003c\/strong\u003e. The lens also has a built-in sliding hood. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe APO designation refers to its apochromatic optical correction, designed to reduce chromatic aberration. Everything remains hands-on, with manual focusing, an aperture ring and engraved distance and depth-of-field markings.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis is a \u003cstrong\u003eLeica R system film lens\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen used natively on a compatible Leica R or Leicaflex 35mm film camera, developing depends on the film loaded. Colour negative film commonly uses C-41 processing, while black and white and slide films require their respective processes.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens can also be \u003cstrong\u003eadapted\u003c\/strong\u003e for use with suitable digital cameras, but its native system is Leica's 35mm SLR system.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701195096118,"sku":"917052S","price":900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Leica-180mm-3.4-3.png?v=1790170775"},{"product_id":"panasonic-lumix-g-20mm-f1-7-asph-regular","title":"Panasonic Lumix G 20mm, ASPH, Pancake","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003ePanasonic Lumix G 20mm f\/1.7 ASPH.\u003c\/strong\u003e is a tiny pancake prime that gives Micro Four Thirds shooters a very useful \u003cstrong\u003e40mm-equivalent field of view\u003c\/strong\u003e without adding much bulk to the camera.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat sits nicely between the familiar look of a 35mm and 50mm lens, making it an easy choice for \u003cstrong\u003eeveryday photography, street shooting, travel and casual portraits\u003c\/strong\u003e. The bright f\/1.7 maximum aperture is also handy indoors and in lower light, while giving you more control over background separation than a typical compact kit zoom.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePanasonic managed to fit the lens into a body only around \u003cstrong\u003e25.5mm long and 100g\u003c\/strong\u003e, with a 7-element design that includes two aspherical elements. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eEveryday photography, street shooting, travel, indoor photography, casual portraits and anyone wanting to keep a Micro Four Thirds camera compact and easy to carry.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e20mm focal length\u003c\/strong\u003e gives the same approximate field of view as a \u003cstrong\u003e40mm lens on a 35mm camera\u003c\/strong\u003e, making it a versatile middle ground between wide and standard perspectives. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ef\/1.7 aperture\u003c\/strong\u003e makes it particularly useful when light levels drop and allows shallower depth of field when you want more separation between your subject and background.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt focuses as close as \u003cstrong\u003e0.2m\u003c\/strong\u003e, uses a 46mm filter thread and weighs approximately \u003cstrong\u003e100g\u003c\/strong\u003e. There is no optical image stabilisation built into this original H-H020. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is a \u003cstrong\u003edigital Micro Four Thirds lens\u003c\/strong\u003e, so images are recorded directly by the digital camera and stored on the camera's memory card.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701199749174,"sku":"142307P","price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/PanasonicLumix-20mm-1.7-1.png?v=1790171597"},{"product_id":"sigma-105-2-8-ex-dg-macro-os-ex-dg-for-digital-regular","title":"Sigma 105mm, EX DG OS HSM Macro","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eSigma 105mm f\/2.8 EX DG OS HSM Macro\u003c\/strong\u003e is a true \u003cstrong\u003e1:1 macro lens\u003c\/strong\u003e made for getting close to small subjects while keeping a comfortable working distance.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt its closest focus of 31.2cm it can reproduce a subject at life size, making it a strong choice for \u003cstrong\u003efilm scanning setups, product photography, flowers, details and other close-up work\u003c\/strong\u003e. The 105mm focal length also makes it useful away from macro work, particularly for portraits and short-telephoto shooting. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSigma's \u003cstrong\u003eOptical Stabilizer\u003c\/strong\u003e helps with handheld shooting, while the HSM autofocus system provides autofocus with full-time manual adjustment. A focus limiter on the barrel lets you restrict the focusing range when you don't need the full macro range. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eComes with the \u003cstrong\u003eoriginal Sigma box and Sigma padded lens case\u003c\/strong\u003e, alongside the lens itself. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMount: Nikon F\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eMacro and close-up photography, product photography, digitising small objects, flowers, details, portraits and photographers wanting a lens that can move between true 1:1 macro work and general telephoto shooting.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThis is a substantial macro prime rather than a tiny everyday lens, weighing around \u003cstrong\u003e725g\u003c\/strong\u003e. The advantage is a dedicated optical design capable of focusing from infinity all the way down to \u003cstrong\u003e1:1 life-size reproduction\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt minimum focus, Sigma quotes a working distance of approximately \u003cstrong\u003e142mm\u003c\/strong\u003e, giving you some useful space between the front of the lens and your subject. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe photographs also confirm the barrel has separate \u003cstrong\u003eAF\/M focus control, focus limiter and Optical Stabilizer controls\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eDeveloping\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eDeveloping depends on the camera being used.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhen fitted to a compatible \u003cstrong\u003e35mm film SLR\u003c\/strong\u003e, the film will need to be developed according to the film stock and process used. When fitted to a compatible \u003cstrong\u003edigital DSLR\u003c\/strong\u003e, no film developing is required.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eNote that Sigma states OS compatibility with film bodies is limited. For Canon and Nikon versions, Sigma specifically identifies the \u003cstrong\u003eCanon EOS-1V and Nikon F6\u003c\/strong\u003e as film SLRs supporting the Optical Stabilizer function.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701202665526,"sku":"L177370","price":300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Sigma-105mm-2.8Macro-2.png?v=1790172126"},{"product_id":"smc-pentax-da-35mmf2-4al-regular","title":"SMC Pentax-DA, AL, 35mm","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe \u003cstrong\u003eSMC Pentax-DA 35mm f\/2.4 AL\u003c\/strong\u003e \u003cem\u003e(Aspherical Lens)\u003c\/em\u003e is a small, lightweight prime made for Pentax \u003cstrong\u003eAPS-C\u003c\/strong\u003e digital SLR cameras.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn a Pentax \u003cstrong\u003eAPS-C\u003c\/strong\u003e body, its 35mm focal length gives you roughly the same field of view as a \u003cstrong\u003e53.5mm lens on a 35mm camera\u003c\/strong\u003e. That's very close to a classic standard perspective, making it a natural fit for everyday photography, street shooting, portraits, travel and general walkaround use.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ef\/2.4 maximum aperture\u003c\/strong\u003e lets in considerably more light than a typical kit zoom at a similar focal length, which is useful when shooting indoors, later in the day or whenever you want a little more separation between your subject and background.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's also particularly compact. At only around \u003cstrong\u003e124g\u003c\/strong\u003e, it's an easy lens to leave on your camera and take with you without adding much bulk.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSimple, bright and useful, this is a good introduction to prime lenses for someone shooting with a Pentax DSLR.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eEveryday photography\u003c\/li\u003e\n\u003cli\u003eStreet photography\u003c\/li\u003e\n\u003cli\u003eTravel\u003c\/li\u003e\n\u003cli\u003ePortraits\u003c\/li\u003e\n\u003cli\u003eFamily photography\u003c\/li\u003e\n\u003cli\u003eIndoor photography\u003c\/li\u003e\n\u003cli\u003eAvailable-light shooting\u003c\/li\u003e\n\u003cli\u003eLearning to shoot with a fixed focal length\u003c\/li\u003e\n\u003cli\u003eKeeping a Pentax DSLR setup small and light\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eA \u003cstrong\u003e35mm lens on Pentax APS-C\u003c\/strong\u003e isn't particularly wide or particularly long. Instead, you get a natural-looking standard perspective that's useful across a lot of everyday situations.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eCompared with a kit zoom, the \u003cstrong\u003ef\/2.4 aperture\u003c\/strong\u003e gives you more flexibility in lower light and greater control over depth of field. It's not an ultra-fast f\/1.4 prime, but it's still noticeably brighter than most standard zoom lenses.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens focuses down to approximately \u003cstrong\u003e30cm\u003c\/strong\u003e, so you can get reasonably close to smaller subjects and details, although it isn't a true macro lens.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere's \u003cstrong\u003eno optical stabilisation inside the lens\u003c\/strong\u003e. Compatible Pentax DSLRs instead provide Shake Reduction through the camera body.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701203058742,"sku":"5550716","price":230.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Ricoh_PentaxDA-35mm2.4-2.png?v=1790139815"},{"product_id":"contax-c-y-carl-zeiss-200-3-5-tele-tessar-regular","title":"Carl Zeiss Tele-Tessar T* 200mm","description":"\u003cp dir=\"auto\"\u003eThe Carl Zeiss Tele-Tessar T 200mm f\/3.5* is a classic manual-focus telephoto made for the Contax\/Yashica (C\/Y Mount) 35mm SLR system.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWith a true \u003cstrong\u003e200mm focal length\u003c\/strong\u003e, this is a lens for when you want some distance between yourself and the subject. It's well suited to portraits from further back, landscapes, details, events and other situations where a standard lens simply won't give you enough reach.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ef\/3.5 maximum aperture\u003c\/strong\u003e is relatively bright for a vintage 200mm lens, while the Tele-Tessar optical design keeps the physical length more manageable than a simple long-focus design.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's a completely manual experience, with a large focusing ring and mechanical aperture control. Zeiss's \u003cem\u003eT multi-coating\u003c\/em\u003e* is used across the optical system, and a built-in retractable hood gives you some extra protection from stray light without carrying another accessory.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e35mm film photography\u003c\/li\u003e\n\u003cli\u003eTelephoto photography\u003c\/li\u003e\n\u003cli\u003ePortraits from a distance\u003c\/li\u003e\n\u003cli\u003eLandscapes\u003c\/li\u003e\n\u003cli\u003eEvents\u003c\/li\u003e\n\u003cli\u003eDetails and distant subjects\u003c\/li\u003e\n\u003cli\u003eManual-focus photography\u003c\/li\u003e\n\u003cli\u003eContax\/Yashica users\u003c\/li\u003e\n\u003cli\u003eAdapted mirrorless photography\u003c\/li\u003e\n\u003cli\u003eVintage Zeiss collectors\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eAt \u003cstrong\u003e200mm\u003c\/strong\u003e, you're firmly in telephoto territory. Compared with the 135mm Sonnar, this gives you noticeably more reach and stronger perspective compression.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ef\/3.5 maximum aperture\u003c\/strong\u003e gives you useful control over subject separation while still keeping the lens considerably more compact than the very large fast telephotos of the era.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's also a substantial lens. At around \u003cstrong\u003e920g\u003c\/strong\u003e, there's a fair amount of glass and metal here, so it feels very different from a modern lightweight consumer telephoto.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFocusing is entirely manual, and there's no image stabilisation. When adapted to a modern mirrorless camera, features such as focus peaking and magnification can make manual focusing easier, while stabilisation depends on the camera body.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701206433846,"sku":"269276P","price":950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Contax-3.8-200mm-zoom-2.png?v=1790141156"},{"product_id":"contax-c-y-carl-zeiss-135-2-8-sonnar-regular","title":"Carl Zeiss Sonnar T* 135mm","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe Carl Zeiss Sonnar T 135mm f\/2.8* C\/Y Mount is a classic manual-focus telephoto prime made for the \u003cstrong\u003eContax\/Yashica 35mm SLR system\u003c\/strong\u003e.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt 135mm, it gives you enough distance from your subject to make it particularly useful for portraits, details and more distant subjects. Zeiss itself described the focal length as particularly well suited to portraiture, landscapes and subjects where you want to work from further away. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInside is a relatively simple \u003cstrong\u003e5-element, 4-group Sonnar optical design\u003c\/strong\u003e, paired with Zeiss's T* coating. The f\/2.8 maximum aperture also gives you useful control over depth of field and subject separation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt's entirely manual focus, with the solid mechanical construction associated with Contax-era Zeiss lenses. There's also a \u003cstrong\u003ebuilt-in retractable lens hood\u003c\/strong\u003e, so you don't need to carry a separate hood. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eUse it natively on compatible Contax\/Yashica film cameras, or adapt it to many modern mirrorless systems if you want to bring an older Zeiss lens into a digital setup.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003ePortrait photography\u003c\/li\u003e\n\u003cli\u003e35mm film photography\u003c\/li\u003e\n\u003cli\u003eManual-focus shooting\u003c\/li\u003e\n\u003cli\u003eDetails and distant subjects\u003c\/li\u003e\n\u003cli\u003eClassic Zeiss lenses\u003c\/li\u003e\n\u003cli\u003eContax\/Yashica camera users\u003c\/li\u003e\n\u003cli\u003eAdapted mirrorless photography\u003c\/li\u003e\n\u003cli\u003ePhotographers building a vintage lens set\u003c\/li\u003e\n\u003cli\u003eCollectors\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e135mm focal length\u003c\/strong\u003e gives a noticeably compressed telephoto perspective on 35mm film or full-frame digital cameras.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor portraits, that means you can work further away from your subject while still filling the frame. The \u003cstrong\u003ef\/2.8 maximum aperture\u003c\/strong\u003e gives you room to separate a subject from the background without turning the lens into an enormous piece of glass.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFocusing is completely manual, and the closest focusing distance is approximately \u003cstrong\u003e1.6 metres\u003c\/strong\u003e, so this isn't designed for close-up photography. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lens also has a \u003cstrong\u003e55mm filter thread\u003c\/strong\u003e and built-in hood. At approximately \u003cstrong\u003e585g\u003c\/strong\u003e, it has considerably more weight to it than many modern compact lenses.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701206564918,"sku":"2087810","price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Contax-2.8-135mm-zoom-1.png?v=1790140620"},{"product_id":"contax-c-y-zeiss-tessar-45-2-8-pancake-regular","title":"Carl Zeiss Tessar T* 45mm, Pancake","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThe Carl Zeiss Tessar T 45mm f\/2.8* (C\/Y Mount) is a remarkably compact pancake prime made for the Contax\/Yashica 35mm SLR system.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt 45mm, it sits just slightly wider than the traditional 50mm standard lens, giving you a natural perspective that's easy to use for everyday photography, street shooting, travel and general walkaround work.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe real appeal here is its size. At roughly \u003cstrong\u003e18mm long and around 90g\u003c\/strong\u003e, it turns a compatible Contax or Yashica SLR into a much smaller setup than you'd normally expect from a 35mm interchangeable-lens camera.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInside is the classic \u003cstrong\u003eTessar optical formula of four elements in three groups\u003c\/strong\u003e, paired with Zeiss's T* multi-coating. It's a simple, compact design that fits the character of the lens perfectly.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor someone who enjoys slowing down, manually focusing and carrying as little as possible, this is a particularly interesting little Zeiss lens.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eBest for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eEveryday photography\u003c\/li\u003e\n\u003cli\u003eStreet photography\u003c\/li\u003e\n\u003cli\u003eTravel\u003c\/li\u003e\n\u003cli\u003eWalkaround shooting\u003c\/li\u003e\n\u003cli\u003e35mm film photography\u003c\/li\u003e\n\u003cli\u003eCompact camera setups\u003c\/li\u003e\n\u003cli\u003eManual-focus photography\u003c\/li\u003e\n\u003cli\u003eContax\/Yashica users\u003c\/li\u003e\n\u003cli\u003eAdapted mirrorless photography\u003c\/li\u003e\n\u003cli\u003eVintage Zeiss collectors\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWhat to expect\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003e45mm focal length\u003c\/strong\u003e gives a very natural-looking perspective on 35mm film or a full-frame digital camera. It's close to the familiar 50mm field of view, but just a little wider.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts \u003cstrong\u003ef\/2.8 aperture\u003c\/strong\u003e isn't designed to compete with a fast f\/1.4 or f\/1.7 standard prime. The trade-off is an unusually small lens that's easy to carry.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFocusing is entirely manual, with a closest focusing distance of approximately \u003cstrong\u003e60cm\u003c\/strong\u003e. It's not intended for close-up or macro work, but works well for general everyday subjects.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt around \u003cstrong\u003e90g\u003c\/strong\u003e, it's also by far the lightest of the three C\/Y Zeiss lenses we've just worked through. If compactness is the priority, that's the point of this one.\u003c\/p\u003e","brand":"Client Transfer SS8","offers":[{"title":"Default Title","offer_id":47701206695990,"sku":"1559310","price":475.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0776\/4590\/5974\/files\/Contax_-2.8-45mm-prime-1.png?v=1790141866"}],"url":"https:\/\/www.sydneysuper8.com.au\/collections\/prime-lenses.oembed","provider":"SS8","version":"1.0","type":"link"}