I love this lens for its sharpness and ability to shoot into the sun without glare. This APO perfectly complements my shadow lens—the Summarit 50mm/F1.5 and the Noctilux 50/0.95 for dream portraits.
I love this lens for its sharpness and ability to shoot into the sun without glare. This APO perfectly complements my shadow lens—the Summarit 50mm/F1.5 and the Noctilux 50/0.95 for dream portraits.
This thread is so long I thought I would cut to the chase and find out if anyone with a V1 can figure out how to 6 bit code it since the flange is black and I not sure what its made from. Assume a white pen or paint is the answer.Thanks.
stgrove wrote:
This thread is so long I thought I would cut to the chase and find out if anyone with a V1 can figure out how to 6 bit code it since the flange is black and I not sure what its made from. Assume a white pen or paint is the answer.Thanks.
Even if the mount is already black, you still need to repaint it with the proper matte black finish. The only real difference compared to a bare metal mount is that you'll also need to cover the white coding.
Fred Miranda wrote:
Even if the mount is already black, you still need to repaint it with the proper matte black finish. The only real difference compared to a bare metal mount is that you'll also need to cover the white coding.
Thanks Fred.
By "cover the white coding", do you mean find a white paint or something else?
stgrove wrote:
Thanks Fred.
By "cover the white coding", do you mean find a white paint or something else?
What I mean is, when the mount is black, both the white and black coding need to be painted. If it's bare silver metal, only the black is needed.
For the white, I use the Uni-Ball Uni Paint PX-203 oil-based marker with an extra fine 0.8mm tip.
For the black, I use a Uni "Super Ink Marker" oil-based pigment with a fine tip.
Fred Miranda wrote:
The lower megapixel count of the Leica M9 can make moire more apparent compared to a higher-resolution sensor. Moire occurs when fine details exceed the sensor's resolving capability, leading to color fringing and interference patterns. I’ve noticed plenty of moire on my 24 MP Leica M-D, while it’s far less common on the M11.
I'm wondering if the Nikon Z with 24MP sensor might also have moiré issues?
Does anyone use the Voigtlander 50/3.5 Apo with a 24MP Nikon and can confirm this?
rico wrote:
The Z6 has a low-pass filter but easily generates moire with a sharp lens and susceptible subject (e.g. fabric).
It was really one of the main benefits of higher resolution sensors. Talk of moiré and aliasing has mostly disappeared and is no longer a real concern. But with 18 to 24MP sensors, moire can still be quite noticeable and I see it in the Zf's 24MP sensor images, which I believe uses a similar sensor to the Z6.
gclkc wrote:
The two-tone Type I version I ordered from CameraQuest arrived this morning. I didn't have much time to test it yet but did take a few photos at lunchtime. From those quick samples, I can confirm that it works great adapted to a Nikon Z7, with excellent performance all the way to the corners, even at full aperture (as I expected would be the case on Nikon Z bodies given Fred's report that it worked fine on Sony bodies).
I have three different Leica M to Nikon Z adapters - a fixed, all-black Novoflex adapter, a silver and black Voigtlander M to Z close focus adapter, and a TechArt Pro TZM-02 M to Z autofocus adapter. While I likely will use the Voigtlander close focus adapter the least with this lens, I would say that it is the best-looking one on the camera with the two-tone lens, as that adapter has a silver ring closest to the body, then a black ring, after which the silver mount of the lens is followed by the black focusing ring, then the silver lens barrel followed by the black lens hood. The close focus adapter continues the zebra or panda theme and looks pretty cool, for what that's worth.... ...Show more →
Did you try TTArtisan 6 bit M-Z adapter which gives focus confirmation?
