Archive for the 'Canon' Category


Profoto Air Sync & Air Remote

The Profoto Air Sync and Profoto Air Remote are basically the same as each other with both having 8 channels, 300 m range, 10 to 140 hours battery life transmit mode fast /slow, 30 hours battery life receive mode, 30 min auto power off, and integrated antenna.

The difference is that the Pro Air Sync will only trigger a flash i.e. just fire it like a sync lead but without the lead. Whereas the Pro Air Remote also lets you control the flash so you can change its power setting and modeling light function.

Just to slightly confuse you the Air Remote also comes in a TTL version for Canon and Nikon (TTL = Through the lens). This means that the remote will transmit TTL information to any Profoto flash with TTL Air Support and this will allow for fully automatic point-and-shoot shots. It can also be used in manual mode (without TTL) or Hybrid mode that allows for you to shoot first with TTL and then switch to Manual mode to make adjustments, and that’s good because TTL is often inaccurate.

All Profoto Air Remotes can be used with non Air equipped flash systems by using 2 units, one on camera and one connected to the sync socket of the flash, just like a pocket wizard system. However this will not allow for the control of flash power, modelling light, or TTL operation. It’s worth noting that you can mix Pro Air Sync and Pro Air Remote to achieve this.

Profoto equipment we have that supports Air and or AirTTL operation:

Profoto B1 Air & Air TTL

Profoto B2 Air & Air TTL

Profoto B3 Only the Air

Profoto B4 Only the Air

Profoto D1 Only the Air

Profoto 7A Neither is supported

Profoto 8A Only the Air

Profoto Acute 2  Neither is supported

Profoto Air Synch & Remote



 Broncolor used to be simple, they had a RFS (Radio frequency Sender) that controlled power and synced the flash and that was about it. It was a bit fiddly as you had to alter a “trimpot” underneath the unit to change channel and double check that the pack was on the same channel, also the packs (Grafit etc) had a weak aerial that was either missing, forgotten, or broken. The Scorro packs we stock now have this aerial built into the handle.

Broncolor also did a little gizmo called an IRX (Infra Red Sender), an infra red sync trigger that came in surprisingly useful from time to time, particularly in areas with radio restrictions.

Broncolor has now upgraded the RFS to the RFS 2. It operates like the Profoto Air Remote and controls the power & more on any RFS equipped Broncolor Flash, like a Broncolor Scorro for example. An additional RFS 2 Receiver can be used to trigger non Broncolor equipment by attaching to the sync port with a short cable.

The Broncolor RFS 2 has 40 channels compared to the Profoto Air’s 8. I would think this is an advantage once or twice every millennium.


Pocket Wizard

Pocket Wizards are a third party wireless sync trigger and either the Pocket Wizard 2 or Pocket Wizrd 3 system will trigger any flash from any camera provided you have the correct cables to connect.

Connect one pocket wizard on to the hot shoe of your camera (or connect it to the sync socket using a small lead) and attach another one onto the Flash (again connecting to the sync socket with a small lead). Check they are both on the same channel and away you go.

Easy, just be careful that the correct size leads are supplied for the flash.

Historically Profoto used the larger jack and Broncolour used the smaller one but they are both changing this around to keep us on our toes. Here at Pixipixel, we ensure you’re supplied with the correct cabling, even if it means providing both sets for your shoot.

Pocket wizards however also have a few tricks up their sleeves that you don’t find on the brand specific triggers from Broncoor and Profoto.

Firstly, the Pocket Wizard 3 units will automatically switch to transmit or receive depending on what they are being used for, a very clever feature. The Pocket wizard 2’s came as a transmitter, receiver, or a transceiver; they can do both but you need to select which.

The Pocket Wizards claim to have the longest range of 300m and that’s pretty impressive as I can’t even see a camera at that range.  But it gets better, you can also use pocket wizard units as “repeaters” i.e. you could put one at a half way point 300m from the camera (transmitter unit) and a further 300 metres away from the flash (receiving unit) thus extending the range to 600 metres and this can be extended even further.

Based on rough calculations it then follows that, with the circumference of the world being approximately 400 thousand metres it would take approximately 133,333 pocket wizards to transmit a sync signal the long way round the globe from camera to flash, and lots of AA batteries too.

Ok I know that’s silly but I had a customer who used to put flashes up at the top of huge sporting stadiums and the like and use this “Repeater” facility to trigger them from his seat in the stands so it can come in very useful.

The same guy also used to make use of another function available on pocket wizards and that is the ability to be powered via a USB port on the unit. This is great if you have to set up the pocket wizards say 24 hours before you are going to use them, this can happen more often than you would think. During my years living in Melbourne, for “Carols By Candlelight”, lights had to be set up in the rigging and subsequently could not be accessed for a day so the pocket wizards would go flat by the time the sing-song got going. Attaching an external power source via the USB allowed for them to be left on and not go flat.

The other great use for pocket wizards is the ability to use them to remotely trigger a camera rather than a flash. A special cord is required to do this and it’s called a Trigger cable; it comes in Canon or Nikon. Useful when the camera has a high viewpoint up on a boom, for example. Another scenario could be when shooting two cameras at the same time.

A few motor sports guys will have a camera on the opposite side of the track to themselves and trigger it at the same time as the camera they are holding this enables them to shoot both sides of the can and also get some heroic selfies. The test button has a two stage action just like the shutter release button on the camera, so a 1/2 press wakes the camera and starts auto focus and more. A full press will release the shutter.

And don’t forget you can attach one to a light meter for remote triggering of the flash during that initial setup stage. This is particularly useful if you are setting up and doing the pre light on your own.

Pocket Wizard do a range of TTL units specific to Canon or Nikon, but we do not stock these.

Sync Leads

Old school sync leads should not be forgotten. They are still a great way to trigger your flash from camera or light meter. They don’t run out of battery power, and they don’t interfere with the guy in the next studio. They are uncomplicated enough for your average photographer to understand.

In fact the only real problem with a sync lead is that they get trodden on and so get damaged quickly like an iPad lead.

We include sync leads with all flashes hired out to our clients, as they will save many a problem just by being there as a backup. I would hope that most photographers and good assistants would have a spare sync lead in their own kit.

As an aside if you ever want to test a sync lead just power up a flash and plug in the sync then “short out” the other end of the sync lead with a paperclip or your keys etc and if the synch is in good condition it will fire the flash, you won’t blow yourself up as the trigger circuit is separate from the flash circuit in modern flashes. Perhaps best not to do this if you can see “Balcar” written on the flash and you are stood in a puddle.



Also don’t forget that most packs or mono blocks have a slave cell so in a multiple pack shoot often you only need one pair of triggers and then use the slave cell on the other packs to trigger them to fire. As light travels at the speed or er..light, the tiny delay is not likely to cause any problems unless some serious high speed or short flash duration stuff is going on.

Coolness rating of sub zero, ok that’s mean, but lets face it sync systems are never going to be exactly cool are they? In terms of usefulness then the pocket wizard system has to be a high scorer unless you are a die hard Profoto or Broncolor shooter. Now if Pocket wizard would just incorporate the TTL capability for both Nikon and Canon into the Pocket Wizard 3 then I would have to rate them as icebox cool.


cheers all


Written by Bruce Lindsay


Canon 1DX mark 2


This is one blog that I’ve not been looking forward to writing. As a proud owner of a 1DX myself I am gutted that the Mk2 has even been produced to be honest. But as I can’t stop progress, I knew it would happen sooner or later. Inevitably, the Mk2 is better than the original as you would expect.

For those of you in the know, Canon name their cameras in the reverse order numerically so the lower the number the better the camera, hence the 1 series denotes this as Canons flagship model. If I am to be honest I believe the 1DX was a photojournalist’s camera, built to be used every day in whatever environment and whatever weather the operator found themselves in, from the touchline of a rugby match to the fence outside Buckingham Palace these cameras are built to work and to work hard.

We’ve received so many enquiries about the Mk2 that we couldn’t disappoint you any longer. I do love this about Pixipixel, we are a rapidly growing company but still listen to you folks, our customers, and respond to your requests, so keep on telling us what you want.

Anyway on with the blog (and remember this is hurting me more to write than it is for you to read). As I said above the 1DX mk 2 is the new Canon DSLR flagship, it may not have the resolution of some of its “lesser” siblings like the 5DS or 5DR but it has (almost) the ability to shoot in the dark and for me that’s more useful than massive files. I’m pleased to say, that although the pixel count has increased significantly (now 20.2mp) this miraculous ability to shoot using higher ISO’s in gloomy, dull or dark situations is as good as ever, in fact its better.

The Mk2 has improved video capabilities too now allowing for 4k 60p capture, making it a genuine option for you moving image folks. 120p can be achieved in full HD for your slow motion creativity and truly amazing AF tracking keeps the subject pin sharp. A new touch screen allows for easy accurate focus and this works seamlessly with all Canon EF lenses.


If shooting faster than a Gatling gun is your bag then look no further, the Mk2 can shoot at 14 fps with full AF / AE tracking or up to 16 fps in live view. This is thanks to the new DIGIC 6+ processors and a new mirror drive system. If you use the latest Cfast 2.0 media then a burst of 170 uncompressed 14-bit RAW images can be captured almost before you knew you were trying.

I find it hard to believe that Canon could have improved the auto focus over the Mk1 but they have. Now with 61 selectable AF points (including 41 cross type and 5 dual cross type) and advanced A1 Servo AF III + and improved EOS intelligent tracking you really don’t have much of an excuse to miss that vital sharpness. Even when you choose to shoot at f8 all 61 points are at your disposal including 21 cross type sensors. She really is an impressive focusing beast. I could take my glasses off and still get everything sharp I reckon.

A built in GPS system with automatic time-zone updates is a neat inclusion (should you ever get lost or lose your watch) and lightning fast Superspeed USB 3.0 and Gigabit connectivity via Ethernet or the optional WFT-E8 WiFi adaptor caters to numerous workflow styles.

Brucie coolness rating has to be a well-deserved 10 out of 10 as you would expect from a Canon top of the line body, as much as the little green monster inside me wants to mark it down I really cant. Ok so I’m jealous because its better than my camera but you needn’t be because we got it in for you, yes YOU so pop in and let your inner paparazzi have some fun.


Many thanks BB


KOTW- Canon C300 mk II

Canon C300 mk II


So reading the blurb, the new Canon C300 mark 2 has undergone quite a few changes and upgrades that should see it continue on from the success of the mark 1 model. This is great news because we just took delivery of our first one but bad news because knowing the filmmakers of London we had better go buy another half-dozen or so.

Canon are claiming this to be a powerful and easy to use 4K production tool, with  a more dynamic range than Ansel Adams and better night vision than a rabbit who’s been to Specsavers. Can all this really be true?

Well yes sort of, I may have paraphrased a bit in the interest of entertainment but the C300 mk II really is a powerful piece of kit, ISO up to 102, 400 and 15 stops of dynamic range coupled with on-board 4K recording make for some truly impressive specifications.


To expand on that just a little bit without getting too technical. The new body is able to internally record 4k video to two CFast 2.0 cards or send 4K Raw externally to a third-party recorder. An all-new video specific 9.84 megapixel Super 35 CMOS sensor with twice the read speed of the original C300 and dual Digic DV5 processors let it keep up with the action and it can in fact record 4k internally and 4K RAW externally at the same time (no that does not count as 8k)

Internal ND filters for up to 10 stops of diffusion (where do they fit them in?) are very useful as is face detection and AF now covering 80% of the frame (sorry focus pullers) Interestingly Canon have also included some fine tuning options for the AF system similar to the options available on Canon’s top-end DSLR bodies. Oh and auto white balance too, so no CSI style tinges to your videos please.

With its increased sensor readout speeds the rolling shutter distortion is reduced greatly even for fast-moving subjects.

The whole body has been beefed up a little to help it withstand the rigors of the real world and we like that in the hire industry. Most noticeably the handle has been upgraded and looks far more rugged and also now includes a mount for an external mic.


So that all looks good to me but what’s it like when it comes to sound recording? Well it now supports LPCM 24 bit / 48 Khz for sound quality that’s superior to CD, has 4 channel input including 2 XLR’s a mic jack and an internal monaural mic this allows for multiple sound sources to be recorded and mixed. So yes it sounds as good as it looks.


I firmly believe this will become a “standard” camera for many applications as its predecessor proved to be for the last four years or so. It’s a lovely bit of kit and must attract a good BCR of about 9/10 in my book but I am a Canon boy so perhaps I’m a tad bias.

Cheers Folks BB


KOTW- Canon EF 35mm f/1.4 II

Canon EF 35mm f/1.4 II

If you work on the old adage that bigger is better, then you need to read no more of this blog as Canon’s new upgraded EF 35mm f/1.4 II lens has certainly grown a bit.

In fact its grown by nearly 2 cm and put on 180g of weight too, perhaps its been going to the gym in the 17 years since the mark 1 was introduced. But why is it bigger and is it really better?

canon 35mm1

Ok well I’ll tackle those one at a time.

Bigger, yes a modest increase in length of 19.5 mm takes it to 105.5 mm long overall, but this doesn’t cause any handling problems and neither does its extra 180 g in weight. This extra length allows for the clever folks at Canon to squeeze in some extra glass, it’s now got 14 elements arranged into 11 groups and that has to be better than 11 in 9. A larger focus ring and a more recessed AF/MF switch are the only evidence of the upgrade other than the length and it retains the same diameter of 72mm at the business end so no need to go buy a new filter.

Better, well that’s a big yes too, as you would expect that after 17 years of service a new version would be better than the original and this lens wont disappoint on that score. Take a look at the MTF charts below to compare old and new, Now I don’t get hung up on these charts as I’ve never really sat down and studied what they mean precisely but as a good rule of thumb the higher up the graph that lines are the better and when they all squeeze together in the top of the graph then you are looking at a “sexy beast” of a lens.

graph 1graph2

Chuck Westfall (Canon) describes this as “Amazing performance compared to any other 35mm f 1.4 on the market”

Another notable difference is the addition of a blade to the aperture mechanism taking it to a 9 blade affair, this should lead to better quality bokeh and 18 point star-shaped specular highlights just in time for Christmas.

Now feel free to stop reading at this point and just accept my word that it’s a much better lens than its predecessor, stick your old 35 mm on E bay and come and hire our new one.

Still with me? Cool you must be a glutton for punishment or incredibly into Canon glass or perhaps just bored, either way hang onto your hat because this is about to get technical.

Canon were not happy by just stretching the lens barrel and whacking in a handful of new elements, they have been busy coating them with more layers of stuff that your average Gob stopper.

new & old

This new lens uses BR Optics or Blue Spectrum Refractive Optics, these optics “incorporate a new organic optical material with unique anomalous dispersion characteristics” what?

Brucie translation service:-


Anomalous– Abnormal, atypical, non-typical, irregular, aberrant, exceptional, freak, freakish, odd, bizarre, peculiar, unusual, out of the ordinary, inconsistent, incongruous, deviant, deviating, divergent or eccentric.

Dispersion-In Optics, the phenomenon in which the phase velocity of a wave depends on its frequency.

Clear as mud now?

Basically the molecular design of these optics refracts blue light better than other optical materials. This helps to control colour fringing. When a BR optic element is sandwiched between a convex and concave element made from conventional material (glass?) it reduces axial chromatic aberrations and produces a sharper image with outstanding contrast and colour fidelity.

Also a SWC or subwavelength coating has been applied to the rear surface of the of the first two aspheric lens elements to reduce ghosting and flare that can be caused by light rays entering at a large angle of incidence.

Got that? Good feel free to comment on this blog and explain it to me.

Canon have also added a fluorine coating to the front and rear lens surfaces, this helps prevent dust and liquids from settling on the glass and makes them easier to keep clean.

Lastly the minimum focus distance of only 280mm gives a 0.21 x maximum magnification and this is the best in class amongst the other 35mm lenses on the market.

Enough of all that stuff before I loose all my readers, suffice to say this new 35mm prime from canon is bigger, better, sharper, has better bokeh, better colour rendition, is more robust, has better weather proofing and so on.

It’s a lovely lens and a lovely focal length for everything from events and weddings to landscape, portrait or even product photography and that goes for stills and moving image makers and takers so that means ALL of you!!!

BCR -10 out of 10 and add it to my Christmas list please.



KOTW- Canon 5D S and SR


Firstly I must admit to getting a sinking feeling every time Canon release a new DSLR, its nothing about Canon it’s just me being silly because my camera becomes more out of date each time it happens and I need to add something else to my already ridiculous m.

Canon really did me this time with the latest horse out of the 5D stable, the all-new 5D S not to mention the soon to arrive 5D SR.

So apart from upsetting me, what has Canon achieved with these latest versions of the already popular 5D? Well the short answer is Resolution!

The chip has remained the same size as the MK 3 but the pixel count has jumped from 22.3 to a whopping 50.6 megapixels taking this DSLR into the area normally dominated by high-end digital backs but at a fraction of the cost. This is making my 18-megapixel-body look pretty sad, so should I trade it in before it becomes worthless? Not just yet I think.

From the outside you could easily mistake the 5D S or R for your Mk 3, apart from the extra letter and a slightly more hardcore mode dial they are basically the same with just a couple of small but important changes, the head phone jack has gone and a new USB 3 port has appeared.


Resolution has gone through the roof with the 5D S and R giving you truly stunning 8688 x 5792 pixels compared to the MK 3’s 5760 x 3840. This allows for outrageous cropping of images whilst retaining fantastic detail or printing those awkward “bus stop sized, A0” posters that take so much resolution to look good.

Resolution this high, doses not come without its share of problems. 50 megapixels at low shutter speeds only emphasises any camera movement or mirror induced vibration, but Canon has built-in a couple of nice features to help counteract this.

Firstly a programmable shutter lag has appeared and it’s not so you can shoot 50 Megapixel selfies ok! It’s to minimize any vibration caused by you pressing the shutter release; it adds a small time lag between the mirror lifting and the shutter activating to allow for vibrations to abate.

Secondly and somewhat more interestingly the mirror operation has been completely re-designed with the springs replaced by cams, this allows for a smoother more controllable operation and reduces shake.

A built-in “intervalometer” (at last) and bulb timer (about time) have arrived and I hope they find a place on all future models.

The latest Canon Intelligent Tracking and Recognition system allows for the AF system to track moving subjects and switch AF points as required to ensure pin sharp focus. New face and colour recognition algorithms are built-in to the AF system to enhance its tracking ability and 61 focus points with 41 cross type ones and a frankly bewildering number of options for grouping, un-grouping, single point, expanded area, blah blah blah is available to satisfy even the most demanding photographer.

Videographers out there will no doubt approve of the 1080 p 30 Fps video capabilities and the new “intelligent” viewfinder that can display vital information over the image in the viewfinder like a heads up display (that’s pretty sexy). But probably the new “Movie Servo AF” function for continuous autofocus during video shooting will be the real talking point. However the demise of uncompressed HDMI output and the disappearance of the headphone jack may somewhat peeve them. I would think that the 5D Mk 3 would remain the go to Canon DSLR for this market.


So that’s just about it as far as the 5D S is concerned but what about the 5D SR, well to sum it up quickly, it’s the same as the “S” but with its Anti-aliasing filter disabled, this increases the sharpness by a bees whatsit but exposes you to the danger of moiré.

So having looked at all that I decided to trade in my camera and get myself a shiny new 5D S because I couldn’t possibly live without one for a day-longer. But then I noticed a couple of deal breakers for me personally.

Firstly the ISO range of either the 5D S or the SR is reduced by a couple of stops over the 5D MK3 down to 6400, this as I understand it is due to the pixels being very small in order to get so many onto the sensor, now for me the ability to shoot hand-held in low light is important. The other factor that has stopped me dead in my tracks is that in order to achieve the best results with this camera it really needs to be paired with some rather sexy (and expensive) lenses and they are so far out of my price range it’s not even funny. The last factor is the processing power required to handle the files created by this 50-megapixel beauty and my little old PC just crashed at the thought of it.

Ok so it’s not for me but don’t let that stop you, the 5D S and 5D SR are both fantastic cameras and if I was in a studio I wouldn’t hesitate to use one, this in fact is what I believe they were designed for, Canon also claim that they are top-notch for landscape shooters but I’m never up in time for the dawn and normally too worse for wear for the sunset so again I’m out of the target group. Wedding photographers will also love the extra resolution that should let them print and sell bigger images.

If you are hankering for some excessive megapixel madness then pop in and give one of our new 5D S bodies a go, I’m sure they will impress and don’t forget we have all the lenses required to do justice to this super Hi Resolution body.

Cheers folks



The lowdown on our rental S35mm cameras

Pixipixel is excited to announce its range of rental S35 (Super 35) cameras with the scope to shoot in, and up to, 4K resolution. We now stock the Arri Alexa XT complimenting the Sony F55 and the Canon C500 4K with out-board Codex S recorder. Below we give you our overview of their individual capabilities.


Make room for the Arri Alexa XT Plus

Arri Alexa XT Plus
Arri boast the “most capable and highly regarded motion picture camera system in the market” with the Alexa. The Alexa has become the natural choice for cinematographers who are looking to recreate the mood and depth of film cinematography.

Its evolution is clear through its new design, with internal RAW capability now made possible by the integrated XR Codex Module built in to its side panel card recorder.


“Shooting ARRIRAW with the combination of ARRI Alexa cameras and Codex Onboard Recorders made the transition [from film] to digital easy”
Seamus McGarvey, BSC, ASC


In-camera, the Alexa can shoot in 1080p through to ProRes 2K, recording directly on to SxS PRO cards or XR capture drives (in-camera). At 16:9 you can shoot up to 120fps, and up to 48fps at 4:3 or up to 90fps with XR drives.

Its menu system is intuitive and easy to navigate making it simple for DoPs and assistants alike to navigate and tweak their preferential set up.

It has a huge dynamic range with a base exposure index of 800ASA and a 14 stop exposure latitude.


“The thing that got Sam [Mendes] and I the most when we first starting shooting was just the clarity of an actor’s eye. He looked at it side-by-side with film, and we did a lot of comparison tests, and just that slight sharpness and subtlety of colour…you’re right, it’s not film, it’s something else. I really like it. I like how it renders the real world.”
Roger Deakins, BSC, ASC


The Arri Alexa XT exclusively utilises the finest lenses in PL mount on the market, including Cookes S5i and MiniS4/I, Zeiss Master Primes, Ultra Primes and Compact Primes. In context, the Alexa was used in the production of Iron Man 3, Argo, Avengers Assemble, Skyfall and Life of Pi, to name a few.

Arri Alexa XT Plus:  £650pd


The Sony F55

The Sony F55

The Sony F55 is a compact, light-weight, 4K digital motion picture camera. Rated at 1250ASA it allows for an impressive 14 stop exposure latitude. You have the option to shoot in either 2K or 4K on-board, or 16 bit RAW 2K/4K via a Sony AXS-R5 outboard recorder. Both are available from Pixipixel.

Sony have introduced a global shutter to the F55, which completely eliminates the shutter distortions associated with rolling shutters and fast moving objects. F55 is the only 4K camera on the market currently to include the global shutter.

The F55 is already capable of 60fps in 4K RAW with its onboard recording system, allowing you to future-proof your footage as cable, satellite and network operators consider the viability of 4K content delivery.

Very impressively, 240 fps will be possible in 2K RAW with our AXS-R5 outboard recorders and the V1.4 firmware upgrade, expected in December 2013.


Sony F55:  £300pd
Sony ASX-R5:  £100pd


Canon C500 with Codex S Recorder

Canon C500 with Codex S Recorder

This compact, lightweight camera offers 4K video capture and is available with Canon EF fit Lenses or a wide range of PL mount lenses. The Onboard Codex S Recorder is the ideal partner for the Canon EOS C500 as it supports frame rates of up to 120 fps in 4K RAW. Canon and Codex worked closely together in development of the C500 to produce a very impressive 4K output picture quality.

It integrates a 8.85MP S35mm CMOS sensor which reduces rolling shutter issues and delivers images of very high sensitivity, low noise and incredibly shallow depth of field.

The camera has a 12 stop exposure latitude and base exposure index of 850ASA.

Canon C500:  £250pd
Codex S Recorder:  £450pd


Have a question?

We’re happy to answer any queries you may have on the above cameras. Just give us a call on +44 (0)20 7739 3626 or drop us an email via


Hire the New Carl Zeiss Lightweight Zoom LWZ.2 for Canon C300

With the new arrival of our Canon C300 we thought it would be a good idea to marry it with the new Carl Zeiss Lightweight Zoom LWZ.2 as they make such a perfect pair. Available for hire now this professional quality EF mount zoom lens can be used on both cinema and still cameras.  However the lens is intended for Super 35mm sensor cameras and will vignette on full frame sensors (like the 5D MkII) but perfect with the C300.  It has a wide angle of view and is light weight, making it ideal for shooting in tight spaces or following action.

  • Compact, lightweight zoom ideal for Steadicam, handheld and remote work
  • Super color matched with all ZEISS cine lenses
  • Highest optical performance despite compact build
  • T* XP coating ensures flare resistance

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