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V System Future Redux

Isidore,

It is not so difficult.
The 201F has a focal plane shutter with a different timing compared to the auxilary shutters of the 500 series.
With C lenses where C mode on the camera is selected the focalplane shutters acts as the auxilary shutter in the 500 cameras and can be used with digital backs.
 
Yes Paul , you are right .

The focal plane shutter in the 201F works as (a kind of) auxilary shutter . But I believe , and I just tried this out with my 201F , that the CFV is tiggered before the focal plane shutter opens , or at least did not open completely .
This synchronizing was modified for the 203FE and also for the 205 TCC/FCC .

Paul, it does not work .

Jürgen
 
Jürgen,

This is confusing.

Am I correct that with C, CB, CF, CFE lenses and the camera in "C" mode with a cable from the flashcontact to the back the 201F can be used with digital backs or is this not possible.
In this case the focal plane shutter acts as an auxilary shutter with timing like the auxilary shutter from the 500 series?
 
Paul

Sorry , my fault, there was a misunderstanding .

It does not work without a sync cord and F , or FE lenses can not be used as well .

Sorry again .

Regards Jürgen
 
Hallo jürgen,

Alles klar!

The 1600F users section is looking for a president.
Requirements are:
Possesion and regular use of a 1600F camera.
Good knowledge of reliable places where beer and fine food is served
in Germany, France and Belgium.

The second qualification is not too important as long as the new president promises to invite members on tours to discover new restaurants at his expense.

An application form can be downloaded from
guide.michelin@ oracle.fr

Paul
 
Mmmmmmh

Yes , I have some the of required qualifications , but I can not download the application form.
It is all in 3FR format , absolutely unreadable , calibration data missing .
Even when using FW cable . But FW stands for Fine Wine anyway .

Jürgen
 
Jurgen

many thanks for explaining about the 201F and digital backs, I wanted to know that information for some time. It seems if a cable has to be used with this camera there is no in herent advantage to a CFV over other backs. Did you try it with the CFV and was it successful with the cable Jurgen?

cheers, Nik
 
Nik

With the 201F (one of my beloved working horses) in C-Mode and a sync cable attached , it works absolutely as designed .
It does not matter what digital back (HASSELBLAD , LEAF , PHASE one etc.) you use , you need a sync cable and C-type lenses . No other way .

Jürgen
 
Who wants to try this ?

You put a CFV on a 201 with a FE lens and then shoot in B.
From the CFV you put the syncrho wire to another 500cm with C-lens with a normal speed (say 1/125). So the picture taker is the 201 camera and the trigger is the lens shutter of the lens put on a 500cm.

Does it works ?
The CFV cann be trigged like an electical shutter at 1/125 ?
 
Isidor

Very practical indeed . To use two camerabodies and shoot with one .
My HOLGA will be participating the party .
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Therefore we have three laughers .
 
Jürgen,

I am in a forgiving mood so no harm done.
BTW thanks for the bottles Chateau Rothschild 1985 and 1987 you send me.
It is rather good wine.

Paul
z04_5769.gif
 
Nik

Gilbert is a specialist in doing a rework to adapt the CFV back to your HOLGA .
Also Colin always has a very good advice for things like that .

Good luck .

Paul , you are welcome . Cheers
z04_bier01.gif
 
Does the Holga also have the curved film path like the AGFA Clack? This was a very ingenious idea to account for the curvature of field that its lens has.

Adapting a CFV would require bending the chip a little...
If Jürgen provides his CFV I am willing to risk my AGFA Clack for that experiment.

Ulrik
 
Gilbert is a specialist in doing a rework to adapt the CFV back to your HOLGA .>

Yes, I learned from Jurgen! That is one of the factors in my decision to make such a large investment into Holga. I feel the camera is priced right, yielding no currency exchange problems, it is easily adaptable to digital platforms, and after all it has the best warranty in the industry. As they use to say it is a Win Win situation.

Anyone looking for distributer ships please do not hesitate to contact me so that I can pave the way for your new venture.

Good Day!

Gilbert
 
Gilbert

they are the reasons I bought the upmarket model - the one with the glass lens and flash.

Nik
 
Ulrik,

The chip is rather heat resistant.
I used a blow torch to do the job.
My training as a blacksmith proved quite usefull for this conversion.
After I went through all this trouble Dalsa informed me they can supply any CCD in curved condition on request.
However they cannnot guarantee the distortion figures for modified CCDs.

Richard
 
Hi Marc and Austin,
Being a very happy Canon EOS 1vHS user, I thought I might throw a grenade into your discussion.

These days I use my Canon EOS outfit for no more than 20% of my shooting - the stuff that demands super fast responsiveness from the camera; AF that is reliably very fast; auto-flash for things like parties etc when you have no time to mess about with flash settings and available light is just not on! Blah blah.... the list goes on - an obvious horse for a specific course.

I use Leica M7 and lenses for when 35mm is the right horse for the course but auto-everything Japanese machine guns is not called for.

Otherwise, I prefer to shoot Hassy 6x6.

I mention this because I have both the EF 70-200mm f2.8L and EF 24-70mm 2.8L.

IMHO, the 70-200 is an OUTSTANDING lens and enjoys a well earned reputation as just that - at each "main" focal length like 70mm, 100mm 135mm the image quality is worthy of any subject and consistent from axis to the edges. Some testers have said it is as good as prime lenses! (a big call I know). All aberrations are so well controlled. I love the images this lens makes especially wide open. It seems that Canon has a special skill with medium tele to long tele lenses.

But, alas the 24-70 involves "trade-offs" (stands to reason when going from very wide angle to short tele). I have never ever used a super-wide (wider than 28mm if not even wider than 35mm) Japanese lens that made me happy like I have German wide angle optics - I think it is fair to say that the Germans have dominated wide angle optics.

BUT, I really enjoy using my 24-70mm and its images. Its range is so useful for "machine-gun" style shooting. The optical aberrations are reasonably well controlled / balanced - the trade-offs have never alarmed me (but I am just an amateur shooter...). Yes the 24-70 does suffer from distortion especially from about 35mm to its maximum 24mm - I have to be very very careful how I hold the camera to avoid worsening the distortion. Definition in the field to edges is relatively low when used wide open.

Now, I should say that this distortion is IMHO not really blindingly bad nor is it anywhere near as bad as most Japanese consumer zoom lenses. I also think it might be a fair way behind Canon's prime lenses of the same focal length - stands to reason.

BUT as a tool it does do the job well so long as I keep in mind it's distortion limitations when shooting wide - taking great care with camera angle.

I replaced my EF 28-70 f2.8L with this lens and I still think it was worth doing for the extra angle of view and also because I think its overall performance is better - but I will understand if there are others who disagree.

But, as my machine-gun workhorse the 24-70 does the job.

And, if I am taking more serious images where optical quality is very important, then I'd never use a zoom (except the EF 70-200 f2.8L) anyway.

Then again I'd always chose to take my M7 and Leica glass!
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Come to think about it, I'd be more inclined to take my 501CM/503CW kit with Zeiss glass - system of first choice!
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