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etienne_werner

12mm CV

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I have a real issue and not sure what the heck to do . i super glued the orginal hood on and let me tell you it worked way to good. Maybe sneak some nail polish remover in there.

 

Have you tried acetone?

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Guest guy_mancuso

Next on my list. It really is glued on like there is no tomorrow. I actually thought of selling it and starting over but it is not something you should sell on the market the lens has some bad coating too. I probably will wind up ruining it and i guess i learned a lesson here. Ray is coming over today and he might have a idea. Anyway were a little OT here so maybe i can figure it out

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. It really is glued on like there is no tomorrow.

 

Have you contacted the makers of Superglue? Maybe they have an idea? Hospital Accident Departments must have patients who have glued their fingers to something or together.

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Hi Victor,

 

Very nice. Did you fix the distortion on the sides?

 

Regards,

 

Etienne

 

No corrections, but position has big effect as can be seen here. same church.

also If you get a bit higher with interiors and stay near midpoint of a vertical fools eye more

I think simple perspective fix would be easy though.

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Hi Guy,

 

Based on the testing I've been doing over the past few months, my suggestions for 12 would be:

 

For BW (only): use an LT-M8 adapter coded as a WATE; use John's filter adapter (without a filter) just for the improved lens hood.

 

For Color: use any LTM-M adapter and don't code it; use John's filter adapter with a 55 mm IR-cut filter (any of the three major types are fine); create a profile (or profiles) for the lens (with your chosen filter) using Cornerfix and use them to correct both vignetting and cyan drift.

 

The only snag here is for color photographers who work with Macs. I'm hoping that the suggested Mac version of CornerFix will be created now that the 16-bit Windows version is out. Until then, as Guy and I have discussed, I suggest dedicating an old PC (if one has one) to just doing batching of CV 12 files in Cornerfix.

 

We're almost there - with respect to the 12 being very usable on the M8 for color work. The last puzzle piece needed is that Mac version.

 

Cheers,

 

Sean

 

I often don't decide whether an image will look better in color or in black & white until I am looking at it on my computer monitor. Given that, should I always follow the 'color' procedure suggested above?

 

(I do my conversions to black & white using either LightRoom or, sometimes, Convert to B&W Pro in PS CS3.)

 

What exactly is the reason for using an uncoded adapter when shooting in color? Doesn't the coding operate to correct vignetting? Wouldn't you want this in either b&w or color?

 

And, since I am quoting from a July 9, 2007, post, has anything happened to change this advice?

 

Many thanks,

 

--Bob

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And, since I am quoting from a July 9, 2007, post, has anything happened to change this advice?

 

CornerFix for the Mac is available......

 

Sandy

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I often don't decide whether an image will look better in color or in black & white until I am looking at it on my computer monitor. Given that, should I always follow the 'color' procedure suggested above?

 

(I do my conversions to black & white using either LightRoom or, sometimes, Convert to B&W Pro in PS CS3.)

 

What exactly is the reason for using an uncoded adapter when shooting in color? Doesn't the coding operate to correct vignetting? Wouldn't you want this in either b&w or color?

 

And, since I am quoting from a July 9, 2007, post, has anything happened to change this advice?

 

Many thanks,

 

--Bob

 

Hi Bob,

 

Yes, I would follow the "color" approach in that case. There is no M8 in-camera correction that will compensate for the cyan vignetting created when a 12 is used with an IR-cut filter. The correction designed for the 16 mm position of the WATE is not even close. There are some examples of this in my review of the ultrawide lenses.

 

As such, correcting for the cyan drift is best done with Cornerfix.

 

Cheers,

 

Sean

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I often don't decide whether an image will look better in color or in black & white until I am looking at it on my computer monitor. Given that, should I always follow the 'color' procedure suggested above?

 

(I do my conversions to black & white using either LightRoom or, sometimes, Convert to B&W Pro in PS CS3.)

 

What exactly is the reason for using an uncoded adapter when shooting in color? Doesn't the coding operate to correct drift? Wouldn't you want this in either b&w or color?

 

And, since I am quoting from a July 9, 2007, post, has anything happened to change this advice?

 

Many thanks,

 

--Bob

 

Hi Bob,

 

Yes, I would follow the "color" approach in that case. There is no M8 in-camera correction that will compensate for the cyan vignetting created when a 12 is used with an IR-cut filter. The correction designed for the 16 mm position of the WATE is not even close. There are some examples of this in my review of the ultrawide lenses.

 

As such, correcting for the cyan drift is best done with Cornerfix.

 

Cheers,

 

Sean

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