SKU: 28069536654

Vortex 18x56 Kaibab HD Binocular

$72749.25 $80832.50
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Description

Vortex 18x56 Kaibab HD BinocularHigh Density Extra Low Dispersion Glass Dielectric and Phase Corrected Prisms XR Plus Fully Multi Coated Optics Apochromatic Lens Configuration Wide 67 Apparent Angle of View Argon Filled, Waterproof and Fogproof Impact Resistant Polymer Chassis Large Center Focusing Knob Tripod Mountable with Included Adapter Twist Up Eyecups Locking Diopter Conceived, designed, and constructed for outstanding performance at long range and in low light when many

  • High-Density Extra-Low Dispersion Glass
  • Dielectric and Phase-Corrected Prisms
  • XR Plus Fully Multi-Coated Optics
  • Apochromatic Lens Configuration
  • Wide 67° Apparent Angle of View
  • Argon-Filled, Waterproof and Fogproof
  • Impact-Resistant Polymer Chassis
  • Large Center Focusing Knob
  • Tripod Mountable with Included Adapter
  • Twist-Up Eyecups/Locking Diopter

Conceived, designed, and constructed for outstanding performance at long range and in low light when many animals are most active, the Vortex Optics 18x56 Kaibab HD Binocular combines multiple technologies and features to ensure clear and crisp views from the pre-dawn to late dusk hours and to maintain bright views despite their high power.

Its performance starts with the over-sized 56mm objectives that draw in the copious amounts of light required for seeing in low light. The powerful 18x magnification enables users to reach out to great distances and make detailed observations�especially useful when big-game hunting across the open prairies out west where game remains at long range. Optically, they benefit from high-density extra-low dispersion glass set in an apochromatic configuration that virtually eliminates edge distortion and color fringing. Next, anti-reflection fully multi-coated optics further maximize light transmission through the light path and improve contrast and color rendition across the entire visual spectrum, ensuring colors remain true. The compact roof prisms are finished with highly reflective dielectric and phase-correcting coatings that limit internal interference, light loss, and diffraction. These features work together to produce bright and clear high-contrast views with accurate color fidelity and improved clarity and resolution. To further improve the observational experience, the Kaibab is designed with a wide 67° apparent angle of view to minimize distracting hand shake and present a spacious field of view

Complementing the optical performance are construction details that allow this binocular to withstand the rigors of the outdoors. The chassis is made of a lightweight and impact-resistant polymer material wrapped in a slip-resistant rubber armor that offers improved grip security, especially in cold and wet weather. Its optical tubes are argon-filled and O-ring sealed to be waterproof and resistant to internal fogging when moving through extreme temperature changes and environmental conditions. Because of the high power and large objectives, Vortex includes their quick-release Uni-Daptor tripod adapter to make it easy to put the binocular on a support system and eliminate vibrations and arm fatigue.

From dawn to dusk to picking apart the distant landscape for game, the Kaibab binocular has been engineered to provide outstanding performance in the most challenging light and environmental conditions possible.

Optical Performance
  • Powerful 18x magnification brings distant subjects such as large game up close for detailed observations
  • Large 56mm objective lenses are optimized for low-light use and to ensure bright views when looking at distant subjects
  • Roof prism optical path ensures peak performance while maintaining a compact form factor
  • Dielectric prism coatings boost surface reflectivity to greater than 99% for maximum light transmission through the prism, with minimal loss and diffraction
  • High-density (HD), extra-low dispersion (ED) apochromatic lenses correct spherical and chromatic aberrations to transmit accurate colors without edge distortion
  • Proprietary XR Plus anti-reflection fully multi-coated optics maximize light transmission for accurate color fidelity and improved contrast and clarity
  • Wide 67° apparent angle of view helps to minimize the distracting hand shake that is common when holding heavy and/or high-power optics
  • 194' field of view at 1000 yards
Use and Handling
  • Closed bridge configuration provides a solid platform for the internal focusing system
  • Large slip-resistant center focusing wheel is easy to manipulate in cold and wet weather, even while wearing gloves
  • Locking right-eye dioptric correction allows user to compensate for optical prescription to produce sharper views
  • 60-76mm interpupillary distance adjustment range
  • Twist-up click-stop eyecups for easy use with or without eyewear
  • Tripod mountable with included adapter for hands-free use to eliminate vibrations and arm fatigue
  • 16.4mm eye relief makes viewing more comfortable, with reduced eye strain
  • 3.1mm exit pupil
Construction Details
  • ArmorTek coatings protect external lens surfaces, enabling water to bead off and preventing dirt and oils from sticking and leaving behind residues, to provide clearer views in all weather conditions
  • Lightweight and highly impact-resistant polymer chassis
  • Chassis material is resistant to the expansion and contraction often experienced with metal chassis, which can cause components to move out of alignment over time and prevent the ability to achieve sharp focus
  • Protective rubber armor with raised ridged palm pads provides a slip-resistant grip
  • Argon-filled and O-ring sealed to be waterproof and resistant to internal fogging when moving through extreme changes in temperature and environmental conditions
  • Tethered objective lens caps and one-piece ocular rainguard protect the lens surface without the fear of losing them when not in use
UPC: 875874009271
Prism Type Roof
Magnification 18x
Objective Lens Diameter 56mm
Angle of View 3.7° (actual)
Field of View 194.0' @ 1000 yd / 64.41 m @ 1000 m
Minimum Focus Distance 10' / 3 m
Exit Pupil Diameter 3.1 mm
Eye Relief 16.4 mm
Interpupillary Adjustment 60.0 - 76.0 mm / 2.4 - 3.0"
Dioptric Correction Not Specified by Manufacturer
Focus Type Center
Tripod Mount Yes (Adapter Included)
Dimensions 7.7 x 5.7" / 19.6 x 14.5 cm
Weight 43.5 oz / 1233.2 g
Packaging Info
Package Weight 3.9 lb
Box Dimensions (LxWxH) 9.0 x 8.0 x 4.75"
In the Box
Vortex 18x56 Kaibab HD Binocular

All product and company names are trademarks™ or registered® trademarks of their respective holders. Use of them does not imply any affiliation with or endorsement by them.
Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 28069536654

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4.1 ★★★★★
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L.m
Belleville, US
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands, This stuff I'm already noticing a difference in wrinkles and it's so soothing. Just buy it and try it for yourself, I'll definitely be buying more
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Reviewed in the United States on August 27, 2025
M
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MB
Alexandria, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
R
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Ruth
Grantham, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
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Lana
Houston, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
Lowell, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014

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