special forces night vision goggles AGM NVG-40 NW1 Night Vision Binocular Gen 2+ – Night Vision Universe
SKU: 3104674414
special forces night vision goggles

special forces night vision goggles AGM NVG-40 NW1 Night Vision Binocular Gen 2+ – Night Vision Universe

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Description

special forces night vision goggles AGM NVG-40 NW1 Night Vision Binocular Gen 2+ – Night Vision UniverseAGM NVG 40 NW1 Night Vision Goggles Binocular Dual Tube Gen 2+ "Level 1" White Phosphor 14NV4122484011 The AGM NVG 40 is a dual channel night vision system housed in a compact, durable composite shell and equipped with advanced multi coated optics. It offers the option of a Gen 2+ or Gen 3 high performance image intensifier tube (IIT) for enhanced image clarity. To protect the high quality photocathode tube, the NVG includes a bright light cut off

AGM NVG-40 NW1 Night Vision Goggles/Binocular Dual Tube Gen 2+ "Level 1" White Phosphor 14NV4122484011

  

The AGM NVG-40 is a dual-channel night vision system housed in a compact, durable composite shell and equipped with advanced multi-coated optics. It offers the option of a Gen 2+ or Gen 3 high-performance image intensifier tube (IIT) for enhanced image clarity. To protect the high-quality photocathode tube, the NVG includes a bright light cut-off feature.

With Manual Gain Control, users can adjust image brightness to achieve optimal quality, even in fluctuating light conditions. The NVG operates on either a single AA alkaline battery or a CR123A battery, offering up to 20 hours of continuous use. Additionally, it features a built-in infrared illuminator for reading or close-range tasks in complete darkness.

NVG Interface Shoe (preinstalled) is used for installing the NVG to a either standard dovetail type headset and helmet mount. 

Bayonet/Horn Interface Shoe (included) is used for installing the NVG to a either standard bayonet/horn type headset and helmet mount. 

NVG Interface Shoe with Connector (optional) is used for installing the NVG-40/NVG-50 to either standard dovetail type headset and helmet mounts and connecting the Battery Pack. 

Mini-Rail Interface Shoe is used for installing the NVG to the mounts with mini-rail interface. Mini-Rail Interface Shoe is included to the optional AGM Goggle Kit W and AGM Helmet Mount

 

 

AGM NVG-40 NW1 Features:

 

  • Redundant dual-tube design
  • True stereoscopic vision
  • Lightweight & compact
  • Head or helmet mountable for hands-free operation
  • Bright light cut-off
  • Ergonomic, simple, easy to operate controls
  • Built-in Infrared illuminator and flood lens
  • Utilizes single CR123A lithium or AA battery
  • Limited 3-year warranty

Gen2+ Lvls

NL1/NW1 - Gen2+ Lvl1

NL2/NW2 - Gen2+ Lvl2

NL3 - Gen2+ Lvl3

Zone

1

2

3

1

2

3

1

2

3

>.015 or larger

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0

0

0

0

0

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1

>.012 - .015

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0

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1

0

1

1

>.009 - .012

0

1

1

0

2

2

1

2

2

>.006 - .009

0

1

2

1

2

2

1

2

2

.003 - .006

1

2

3

2

3

3

2

3

3

*Qty indicates Max Spots Allowed in Each Zone

 

 

 

 

 

 

**Spot Size (in.)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Gen3 Lvls

3NL1/3AW1 - Gen3 Lvl1

3NL2/3AW2 - Gen3 Lvl2

3NL3/3AW3 - Gen3 Lvl3

Zone

1

2

3

1

2

3

1

2

3

>.015 or larger

0

0

0

0

0

0

0

0

1

>.012 - .015

0

0

0

0

0

1

0

1

1

>.009 - .012

0

1

1

0

2

2

1

2

2

>.006 - .009

0

1

2

1

2

2

1

2

2

.003 - .006

1

2

3

2

3

3

2

3

3

*Qty indicates Max Spots Allowed in Each Zone

 

 

 

 

 

 

**Spot Size (in.)

 

 

 

 

 

 

 

 

 

AGM NVG-40 NW1 Specifications:

Image Intensifier Tube

Gen 2+ "White Phosphor Level 1"

Resolution

51-64 lp/mm

Field of view cleanness by zone

Gen 2 IIT NW1 is the highest resolution and the cleanest offered by AGM. There are practically no visible spots in Zone 1.

Magnification

1x

Lens System

27 mm, F/1.3

FOV

40°

Focus Range

0.25 m to Infinity

Eye Relief

25 mm

Diopter Adjustment

-6 to +2 dpt

Led Indicators

Low Battery IR On Excessive Light Conditions

Infrared Illuminator

Yes

Manual Gain Control

Yes

Bright Light Cut-Off

Yes

Automatic Shut-Off System

Yes

Battery Type

One CR123A (3V) or AA (1.5 V)

Battery Life (Operating)

Up to 20 hours at 20°C (up to 80 hrs with optional battery pack)

Operating Temperature Range

-40°C to +50°C (-40°F to +122°F)

Storage Temperature Range

-50°C to +70°C (-58°F to +158°F)

Weight

645 g (1.42 lbs)

Overall Dimensions

115 × 118 × 74 mm (4.5 × 4.6 × 2.9 in)

 

 

 

Package Includes:

  • NVG Interface Shoe
  • Bayonet/Horn Interface Shoe
  • Demist Shield (2)
  • Sacrificial Window
  • Soft Carrying Case
  • Lens Tissue
  • Packing Box
  • Battery Adapter
  • User Manual

 

 

EXPORT RESTRICTION

Please review our ITAR / EAR COMPLIANCE - The International Traffic in Arms Regulations (ITAR) & Export Administration Regulations (EAR)

     

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: 3104674414

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Amanda Becker
Cuba, US
★★★★★ 5
Best wrap mask!
Color: Lifting (Jericho Rose)
Just the best wrap mask!! A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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Reviewed in the United States on May 20, 2026
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Amanda Boyd
Grantham, US
★★★★★ 5
Great face mask
Color: Lifting (Jericho Rose)
Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
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Tammy Marshall
Alexandria, US
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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John P. Jones III
Bozeman, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
S
Verified Purchase
Stephen McLeod
New York, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002

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