• āļĢāļąāļšāļŠāđˆāļ§āļ™āļĨāļ”āļŠāļđāļ‡āļŠāļļāļ” 50% āļ”āļĩāļĨāļŠāļļāļ”āļ„āļļāđ‰āļĄ - āļ›āļĢāļ°āļŦāļĒāļąāļ”āļĄāļēāļāļ‚āļķāđ‰āļ™āļ”āđ‰āļ§āļĒāļ„āļđāļ›āļ­āļ‡
āļŦāļĄāļ§āļ”āļŦāļĄāļđāđˆ

Olympus Zuiko Digital Ed 50mm F/2 Macro Lens For Four Thirds, 50mm F2

(19 āļĢāļĩāļ§āļīāļ§)
āļŋ4865.00 āļŋ16000.00 70% Off

ðŸŽŊ āļĨāļ”āļŦāļ™āļąāļ āļˆāļąāļ”āļŦāļ™āļąāļ āļāļąāļšāđ‚āļ›āļĢāđ‚āļĄāļŠāļąāđˆāļ™āļĨāļ”āļĢāļēāļ„āļēāđ€āļ”āđ‡āļ” āđ† āđ€āļĄāļ·āđˆāļ­āļ‹āļ·āđ‰āļ­ Olympus Zuiko Digital Ed 50mm F/2 Macro Lens For Four Thirds, 50mm F2 āļŠāļīāļ™āļ„āđ‰āļēāļĢāļēāļ„āļēāļŠāļļāļ”āļ›āļĢāļ°āļŦāļĒāļąāļ” āļ‹āļ·āđ‰āļ­āļŠāļīāļ™āļ„āđ‰āļēāļ•āļ­āļ™āļ™āļĩāđ‰ āļ”āđ‰āļ§āļĒāļ”āļĩāļĨāļžāļīāđ€āļĻāļĐ! āļ—āļĩāđˆāļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļ„āļļāļ“āļŠāļēāļĄāļēāļĢāļ–āļ­āļ­āđ€āļ”āļ­āļĢāđŒāđ„āļ”āđ‰āļ‡āđˆāļēāļĒ āļŠāļ°āļ”āļ§āļ āļŠāļšāļēāļĒ āļžāļĢāđ‰āļ­āļĄāļĢāļ°āļšāļšāļĢāļąāļāļĐāļēāļ„āļ§āļēāļĄāļ›āļĨāļ­āļ”āļ āļąāļĒāļŠāļđāļ‡āļŠāļļāļ” āļ™āļ­āļāļˆāļēāļāļ™āļĩāđ‰āđ€āļĢāļēāļĄāļĩāļšāļĢāļīāļāļēāļĢāļˆāļąāļ”āļŠāđˆāļ‡āļ—āļĩāđˆāļĢāļ§āļ”āđ€āļĢāđ‡āļ§āļŦāļĨāļąāļ‡āļˆāļēāļāļ—āļģāļĢāļēāļĒāļāļēāļĢāļŠāļąāđˆāļ‡āļ‹āļ·āđ‰āļ­āļŠāļģāđ€āļĢāđ‡āļˆāđāļĨāđ‰āļ§ āļšāļĢāļīāļāļēāļĢāđ€āļāđ‡āļšāđ€āļ‡āļīāļ™āļ›āļĨāļēāļĒāļ—āļēāļ‡āļ—āļąāđˆāļ§āļ›āļĢāļ°āđ€āļ—āļĻ(āļžāļāļ‡.) āđāļĨāļ°āļĄāļĩāļĢāļ°āļšāļšāļ„āļ·āļ™āđ„āļ”āđ‰ āļ āļēāļĒāđƒāļ™ 14 āļ§āļąāļ™** āļĢāļąāļšāļĢāļ­āļ‡āļ„āļļāļ“āļ āļēāļž āļŠāļīāļ™āļ„āđ‰āļēāļ”āļĩ āļŠāđ‰āļ­āļ›āđ€āļĨāļĒ!

  • āļĢāļąāļšāļ›āļĢāļ°āļāļąāļ™āļŠāļīāļ™āļ„āđ‰āļē
  • āļŠāđˆāļ‡āļŠāļīāļ™āļ„āđ‰āļēāļ„āļ·āļ™āļĢāđ‰āļēāļ™āļ„āđ‰āļēāđ„āļ”āđ‰āđ‚āļ”āļĒāļ•āļĢāļ‡āļ āļēāļĒāđƒāļ™ 7 āļ§āļąāļ™
  • āļŠāļēāļĄāļēāļĢāļ–āđ€āļāđ‡āļšāđ€āļ‡āļīāļ™āļ›āļĨāļēāļĒāļ—āļēāļ‡āđ„āļ”āđ‰
āđ€āļĨāļ™āļŠāđŒāļāļĨāđ‰āļ­āļ‡āļĄāļīāļĨāđ€āļĨāļ­āļĢāđŒāđ€āļĨāļŠ "Olympus Zuiko Digital ED 50mm F/2 Macro Lens for Four Thirds, 50mm f2" āļ•āļ­āļ™āļ™āļĩāđ‰āļĢāļēāļ„āļēāļĨāļ” 70% āļˆāļēāļāļĢāļēāļ„āļēāđ€āļ”āļīāļĄ 16000.00 āļšāļēāļ— āļĨāļ”āđ€āļŦāļĨāļ·āļ­ 4865.00 āļšāļēāļ— āđ€āļ—āđˆāļēāļ™āļąāđ‰āļ™ āļŠāļīāļ™āļ„āđ‰āļēāļˆāļąāļ”āļŠāđˆāļ‡āļĄāļēāļˆāļēāļ āļŠāļĨāļšāļļāļĢāļĩ āļĒāļĩāđˆāļŦāđ‰āļ­ Olympus āđāļĨāļ°āļ‚āļēāļĒāđ‚āļ”āļĒāļĢāđ‰āļēāļ™ Nick's
With a close
-focusing distance of just under 24 centimetres (9 1/2 inches) from the image sensor, the 50mm ƒ/2 focuses on objects literally millimetres away from the end of the lens. At this range the lens achieves 104% image magnification when considered in 35mm film terms. An extension tube (EX
-25) is available which extends this maximum image magnification to 196% (in 35mm film terms).Conclusion

Used. Made in Japan. Fully tested in very good working condition. 100% workable.Cosmetically, it has traces and scratches on body that don't affect quality of photos.Compatible with:1. Four Thirds Cameras2. With Autofocus Lens Adapter 43-M43
S/n: last photo.āļŠāļīāļ—āļ˜āļīāļžāļīāđ€āļĻāļĐāļŠāļģāļŦāļĢāļąāļšāļāļēāļĢāļŠāđˆāļ‡āļŠāļīāļ™āļ„āđ‰āļēāļ—āļĩāđˆāļŠāļģāļĢāļ°āļ”āđ‰āļ§āļĒāļšāļąāļ•āļĢ (24 āļŠāļąāđˆāļ§āđ‚āļĄāļ‡ - āļāļēāļĢāļˆāļąāļ”āļŠāđˆāļ‡ 1-2 āļ§āļąāļ™) āđ€āļ‡āļīāļ™āļŠāļ”āđƒāļ™āļāļēāļĢāļˆāļąāļ”āļŠāđˆāļ‡āļˆāļ°āļŠāđ‰āļēāļāļ§āđˆāļē (āļāļēāļĢāļ›āļĢāļ°āļĄāļ§āļĨāļœāļĨ 5-7 āļ§āļąāļ™, 3-7 āļ§āļąāļ™āļ—āļĩāđˆāļˆāļąāļ”āļŠāđˆāļ‡)Priority for sending a product paid with a card (24 hours - processing, 1-2 days delivery) Cash on delivery will be processed more slowly (5-7 days - processing, 3-7 days delivery).https
The Olympus lens lineup has two macro lenses: the 35mm and the 50mm. The 50mm ƒ/2 is listed in the ''High Quality'' lineup, developed for high performance in sharpness, brightness and close-up shooting capability. It's also listed as being dust and splash-proof, to allow usage in harsh conditions. Available for $425.Since Olympus digital SLR cameras employ the four-thirds imaging sensor, any lens attached to the body will have an effective focal length (in 35mm terms) of double the listed length. Thus, for this particular lens, it will exhibit an effective focal length of 100mm. The lens takes 52mm filters, and comes with a bowl-style lens hood.Sharpness
Looking at the blur graph, the lens is incredibly sharp: it barely surpasses one blur unit at ƒ/2, and by ƒ/4 it produces images as sharp as our scale can detect. This sharpness trend continues all the way to ƒ/16, where diffraction limiting starts to set in. By ƒ/22, the lens still produces fantastic results, registering just over 2 on our blur scale. Some lens owners would be content to see the kind of performance you see at ƒ/22 at more commonly used apertures such as ƒ/8. Overall, absolutely superb performance.Macro
The question for many macro enthusiasts could be whether to buy this lens or the 35mm ƒ/3.5. Optically, the 50mm ƒ/2 is a real treat: images are tack-sharp all the way to ƒ/16, there's terrific resistance to chromatic aberration, distortion and vignetting, and you get a well-designed, hardy lens made with metal components where you'd need them. The fit and finish, as well as the excellent optical characteristics justify the price, but if you don't specifically need the 50mm focal length, the 35mm has a higher magnification rating and is just as good optically, so it is a much better value. That said, anyone who buys the 50mm won't be disappointed.

āļ‚āđ‰āļ­āļĄāļđāļĨāđ€āļ‰āļžāļēāļ° āđ€āļĨāļ™āļŠāđŒāļāļĨāđ‰āļ­āļ‡āļĄāļīāļĨāđ€āļĨāļ­āļĢāđŒāđ€āļĨāļŠ

  • āđāļšāļĢāļ™āļ”āđŒ
    Olympus
  • SKU
    1593096454_TH
  • āļĢāđ‰āļēāļ™āļ„āđ‰āļē
    Nick's
āļŦāļēāļāļĢāļēāļĒāļĨāļ°āđ€āļ­āļĩāļĒāļ”āļĒāļąāļ‡āđ„āļĄāđˆāđ€āļžāļĩāļĒāļ‡āļžāļ­ āđ‚āļ›āļĢāļ”āļ”āļđāļĢāļēāļĒāļĨāļ°āđ€āļ­āļĩāļĒāļ”āđ€āļžāļīāđˆāļĄāđ€āļ•āļīāļĄāđ„āļ”āđ‰āļ—āļĩāđˆāļĢāđ‰āļēāļ™āļ”āđ‰āļēāļ™āļĨāđˆāļēāļ‡....
Nick's

 āļĨāļ”āļŦāļ™āļąāļ āļˆāļąāļ”āļŦāļ™āļąāļ āļāļąāļšāđ‚āļ›āļĢāđ‚āļĄāļŠāļąāđˆāļ™āļĨāļ”āļĢāļēāļ„āļēāđ€āļ”āđ‡āļ” āđ† āđ€āļĄāļ·āđˆāļ­āļ‹āļ·āđ‰āļ­ Olympus Zuiko Digital Ed 50mm F/2 Macro Lens For Four Thirds, 50mm F2  āļŠāļīāļ™āļ„āđ‰āļēāļĢāļēāļ„āļēāļŠāļļāļ”āļ›āļĢāļ°āļŦāļĒāļąāļ” āļ‹āļ·āđ‰āļ­āļŠāļīāļ™āļ„āđ‰āļēāļ•āļ­āļ™āļ™āļĩāđ‰ āļ”āđ‰āļ§āļĒāļ”āļĩāļĨāļžāļīāđ€āļĻāļĐ! āļ—āļĩāđˆāļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļ„āļļāļ“āļŠāļēāļĄāļēāļĢāļ–āļ­āļ­āđ€āļ”āļ­āļĢāđŒāđ„āļ”āđ‰āļ‡āđˆāļēāļĒ āļŠāļ°āļ”āļ§āļ āļŠāļšāļēāļĒ āļžāļĢāđ‰āļ­āļĄāļĢāļ°āļšāļšāļĢāļąāļāļĐāļēāļ„āļ§āļēāļĄāļ›āļĨāļ­āļ”āļ āļąāļĒāļŠāļđāļ‡āļŠāļļāļ” āļ™āļ­āļāļˆāļēāļāļ™āļĩāđ‰āđ€āļĢāļēāļĄāļĩāļšāļĢāļīāļāļēāļĢāļˆāļąāļ”āļŠāđˆāļ‡āļ—āļĩāđˆāļĢāļ§āļ”āđ€āļĢāđ‡āļ§āļŦāļĨāļąāļ‡āļˆāļēāļāļ—āļģāļĢāļēāļĒāļāļēāļĢāļŠāļąāđˆāļ‡āļ‹āļ·āđ‰āļ­āļŠāļģāđ€āļĢāđ‡āļˆāđāļĨāđ‰āļ§ āļšāļĢāļīāļāļēāļĢāđ€āļāđ‡āļšāđ€āļ‡āļīāļ™āļ›āļĨāļēāļĒāļ—āļēāļ‡āļ—āļąāđˆāļ§āļ›āļĢāļ°āđ€āļ—āļĻ(āļžāļāļ‡.) āđāļĨāļ°āļĄāļĩāļĢāļ°āļšāļšāļ„āļ·āļ™āđ„āļ”āđ‰ āļ āļēāļĒāđƒāļ™ 14 āļ§āļąāļ™** āļĢāļąāļšāļĢāļ­āļ‡āļ„āļļāļ“āļ āļēāļž āļŠāļīāļ™āļ„āđ‰āļēāļ”āļĩ āļŠāđ‰āļ­āļ›āđ€āļĨāļĒ!

ðŸŽŊ āđ€āļŦāļ•āļļāļœāļĨāļ”āļĩ āđ† āđƒāļ™āļāļēāļĢāļŠāđ‰āļ­āļ›āļ›āļīāđ‰āļ‡āļ­āļ­āļ™āđ„āļĨāļ™āđŒ

☑ āļ‹āļ·āđ‰āļ­āļŠāļīāļ™āļ„āđ‰āļēāļ­āļ­āļ™āđ„āļĨāļ™āđŒāđƒāļŦāđ‰āļ„āļļāļ“āļ­āļĒāļđāđˆāđƒāļ™āđ‚āļĨāļāļŠāđˆāļ§āļ™āļ•āļąāļ§āđāļĨāļ°āđ„āļĄāđˆāļ•āđ‰āļ­āļ‡āļ­āļķāļ”āļ­āļąāļ”āļāļąāļšāļāļēāļĢāđ€āļĨāļ·āļ­āļāļŠāđ‰āļ­āļ›āļŠāļīāļ™āļ„āđ‰āļēāļŠāđˆāļ§āļ™āļ•āļąāļ§āļšāļēāļ‡āļ­āļĒāđˆāļēāļ‡
☑ āļ•āļąāļ”āļ™āļīāļŠāļąāļĒāļ—āļĩāđˆāđ„āļĄāđˆāļžāļĩāļ‡āļ›āļĢāļ°āļŠāļ‡āļ„āđŒāļ‚āļ­āļ‡āļāļēāļĢāļŠāđ‰āļ­āļ›āļ‚āļ­āļ‡āļ„āļļāļ“ āđ€āļŠāđˆāļ™āđƒāļ™āđ€āļ§āļĨāļēāļĢāļ­āđ€āļ‚āđ‰āļēāļ„āļīāļ§āļˆāđˆāļēāļĒāđ€āļ‡āļīāļ™ āđāļĨāđ‰āļ§āđ€āļŦāđ‡āļ™āļ‚āļ™āļĄāļ‚āļšāđ€āļ„āļĩāđ‰āļĒāļ§ āļŦāļĢāļ·āļ­āļ‚āļ­āļ‡āļ—āļĩāđˆāļ„āļļāļ“āđ„āļĄāđˆāđ„āļ”āđ‰āļ„āļīāļ”āļ­āļĒāļēāļāļ‹āļ·āđ‰āļ­āđāļ•āđˆāđāļĢāļ āļˆāļķāļ‡āļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļ„āļļāļ“āļ›āļĢāļ°āļŦāļĒāļąāļ”āļĒāļīāđˆāļ‡āļ‚āļķāđ‰āļ™
☑ āļ—āļļāļāļĢāđ‰āļēāļ™āļ„āđ‰āļēāļ­āļ­āļ™āđ„āļĨāļ™āđŒāđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ”āļĩāđ„āļ‹āļ™āđŒāđ‚āļ”āļĒāļĄāļĩāļĨāļąāļāļĐāļ“āļ°āļāļēāļĢāļŠāļąāđˆāļ‡āļ‹āļ·āđ‰āļ­āđ€āļ‰āļžāļēāļ°āļĢāļēāļĒāļšāļļāļ„āļ„āļĨāļ—āļĩāđˆāđ„āļĄāđˆāļ‹āđ‰āļģāļāļąāļ™āđ€āļžāļ·āđˆāļ­āđ€āļĨāļ·āļ­āļāļˆāļąāļšāļˆāđˆāļēāļĒāļŠāļīāļ™āļ„āđ‰āļē āđāļĨāļ°āđ€āļ›āđ‡āļ™āđāļšāļšāļ‰āļšāļąāļšāļ‚āļ­āļ‡āļ„āļļāļ“
☑ āļĄāļĩāļ„āļ§āļēāļĄāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļĄāļēāļāļ‚āļķāđ‰āļ™: āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāļ­āļ­āļ™āđ„āļĨāļ™āđŒāđ„āļĢāđ‰āļ‚āļĩāļ”āļˆāļģāļāļąāļ”
☑ āļĄāļĩāđ‚āļ­āļāļēāļŠāļ—āļĩāđˆāļˆāļ°āđ„āļ”āđ‰āļ•āļĢāļ§āļˆāļŠāļ­āļšāđāļĨāļ°āđ€āļ—āļĩāļĒāļšāļĢāļēāļ„āļēāļ‚āļ­āļ‡āļŠāļīāļ™āļ„āđ‰āļēāļˆāļēāļāļœāļđāđ‰āļˆāļģāļŦāļ™āđˆāļēāļĒāļŦāļĨāļēāļĒāļĢāđ‰āļēāļ™āļžāļĢāđ‰āļ­āļĄāđ€āļžāļĢāļĩāļĒāļ‡āļāļąāļ™ āļ“.āļˆāļļāļ”āđ€āļ”āļĩāļĒāļ§
☑ āļ„āļļāļ“āļŠāļēāļĄāļēāļĢāļ–āđ€āļ‚āđ‰āļēāļ–āļķāļ‡āđ€āļ—āļĢāļ™āļ”āđŒāļœāļĨāļīāļ•āļ āļąāļ“āļ‘āđŒāļĢāļļāđˆāļ™āļĨāđˆāļēāļŠāļļāļ”āļˆāļēāļāļŦāļĨāļēāļĒ āđ† āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ”āđ‰āđ‚āļ”āļĒāđ„āļĄāđˆāļˆāļģāđ€āļ›āđ‡āļ™āļ•āđ‰āļ­āļ‡āđ€āļŠāļĩāļĒāļ„āđˆāļēāļ•āļąāđ‹āļ§āđ€āļ„āļĢāļ·āđˆāļ­āļ‡āļšāļīāļ™āđ€āļžāļ·āđˆāļ­āđ€āļ”āļīāļ™āļ—āļēāļ‡āđ„āļ›āđ€āļ­āļ‡

 

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