coding 15mm voigtlander

From left to right wtih the back of the lens facing you... 3 whites 2 blacks followed by a white. You don't need to colour the whites in other than the second indentation which is where the screw is located. You can fill it in with white nail polish, tape or something similar.

I assume you turned on the lens recognition in the menu setting area...

Best Rob
 
With lens recognition turned on, a menu screen will pop up on the LCD indicating that the lens is recognized as a WATE. You should then select the 16mm option.
Hope this helps.
 
Here's what I got when I tried it: It works, but I have to select lens recognition with UV/IR. Selecting Lens recognition without UV/IR does not seem to "take." It won't offer a choice of focal lengths, nor will it show "16mm" (or anything else) on my Aperture data screen. I wonder if that's a fault in the camera, or in Aperture?
 
When I had mine (since sold it), it worked a treat, "16mm" IIRC.
I do have a Voigtlander 6 bit coded adaptor now though, got it for the 35/1.4, but like the 15 it is gone as well. Check e bay, the adaptors are available, or PM me. Nothing wrong with the M-Coder, it works, but if you can change the mount fitting, all the better. I did.
Gary
 
Yes mine works fine too, as long as I set the camera for lens recognition "ON + UV/IR."

I have the M-mount version. I don';t imagine there is an adapter for the M-mount, is there?
 
Yes there is an M mount version, I got one of them. They should be easily available on that auction site by now.
Gary
 
Rob-F said:
It works, but I have to select lens recognition with UV/IR. Selecting Lens recognition without UV/IR does not seem to "take."
Click to expand...

That's the way to do it. The software of the camera eliminates the magenta faults in the corners to some degree when using UV/IR filters. There is no sense for correction if you don't use IR-cut filters. Btw works only with (super) wide angles.
 
I dont belive the WATE is the best to use for correcting color shifts for the CV 15mm. IMO the 21/2,8 works better. But its even better to use Cornerfix and no coding.
 
Ron (Netherlands) said:
That's the way to do it. The software of the camera eliminates the magenta faults in the corners to some degree when using UV/IR filters. There is no sense for correction if you don't use IR-cut filters. Btw works only with (super) wide angles.
Click to expand...

well, I thought of using the "On" without UV/IR setting because I don't yet have a UV/IR filter. So I thought that made sense. After all, there must be some reason why they give you a choice of with or without. However, as I said, it doesn't seem to do anything in the "without" setting.
 
flyalf said:
I dont belive the WATE is the best to use for correcting color shifts for the CV 15mm. IMO the 21/2,8 works better. But its even better to use Cornerfix and no coding.
Click to expand...

I have begun to wonder about this, but have not done much experimentation yet. There is also a code available for the 18mm f/3.8 Super-Elmar. Has anyone tried it with the 15mm CV?
 
baycrest said:
From left to right wtih the back of the lens facing you... 3 whites 2 blacks followed by a white. You don't need to colour the whites in other than the second indentation which is where the screw is located. You can fill it in with white nail polish, tape or something similar.

I assume you turned on the lens recognition in the menu setting area...

Best Rob
Click to expand...

Sorry to stick my oar in, but l've got mine coded as the WATE and it works absolutely fine - however, mine appears to be coded as one white, one black and four white ! I could be wrong, but is that not the code shown on the link from Sean Reid's site ?

philip
 
parigby said:
Sorry to stick my oar in, but l've got mine coded as the WATE and it works absolutely fine - however, mine appears to be coded as one white, one black and four white ! I could be wrong, but is that not the code shown on the link from Sean Reid's site ?

philip
Click to expand...

My Match Technical Coder Kit shows, for the WATE (going left to right), four whites; one black; and one white. That is the order that one sees with the coder template in place, and the part of the lens to be coded facing (nearest to) me. That would appear to be the same as you said, Philip, only just stated in reverse order.
 
The code for the 18mm f/3.8 Super-Elmar ASPH, if anyone wants to try it, is (left to right) white-white-black-white-black-white.
 
Here's what I got when coding the 15mm CV as the WATE, but without using a UV/IR filter (I don't have one yet). The camera was coded lens detection "ON" with UV/IR filter. It's just a tiny crop out of the frame, showing the artificial colors that resulted in the roof area. Most of my shots have been great, without problems.
 

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Rob-F said:
My Match Technical Coder Kit shows, for the WATE (going left to right), four whites; one black; and one white. That is the order that one sees with the coder template in place, and the part of the lens to be coded facing (nearest to) me. That would appear to be the same as you said, Philip, only just stated in reverse order.
Click to expand...

When l went back to the Link from Sean Reid's site, l realised what l had done. It quite clearly says on the site, words to the effect, " the images are taken with the code being shown at the 12.00 o'clock position ". Hence why my code seems to be back to front.

philip
 
Rob-F said:
Here's what I got when coding the 15mm CV as the WATE, but without using a UV/IR filter (I don't have one yet). The camera was coded lens detection "ON" with UV/IR filter. It's just a tiny crop out of the frame, showing the artificial colors that resulted in the roof area. Most of my shots have been great, without problems.
Click to expand...

That has nothing to do with coding or filters. That is a classic example of moiré. Just paint it over with the colour replacement brush.
 
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