HDTenEightyP/NetNews huggingface dataset:
From: darell@island.island.COM ()
Subject: Mini tripods info wanted (please)
Originator: darell@island
Organization: Island Graphics Corp., San Rafael, CA
Date: Wed, 6 Jan 1993 22:29:55 GMT

Howdy:

Anybody out there have a line on mini tripods?  I'm talking about
a tripod that folds to about the size of your hand (or camera for
that matter) that I believe was designed mostly for using a self-
timer (you know how you never have a perfect spot to set your 
camera when you want a picture or yourself).  The legs are about
six inches long and overall height was ~12 inches.  Anyway, now that
I'm in the market for them, I can't seem to find them anywhere.
I'm planning on using them as speaker stands (and to take with
me travelling to be used for their designed purpose).

Any info you may have on them would be greatly appreciated.  I
don't read this group very regularly, so direct email 
would be best for me.  If there is other interest, I'll post
the results.

Thanks again,
Darell

(darell@island.com)

-- 
*        Darell Dickey                DoD #0655
*      (darell@island.com)              DR350S
*
* "I meant what I said, I probably just didn't say it right."
Newsgroups: rec.photo
Subject: Re: Pentax K1000 vs K1000SE what differences?
From: fred-mckenzie@ksc.nasa.gov (Fred McKenzie)
Date: 4 Jan 93 12:21:03 EST
Followup-To: rec.photo
Distribution: world
Organization: NASA/Kennedy Space Center, Florida

In article <1992Dec22.014718.28187@news2.cis.umn.edu>,
hiroki@molbio.cbs.umn.edu (Hiroki) wrote:
> What are the differences between the K1000 and the K1000 special edition?
> Also, any recommendations for lenses for this body?
> 
> Flash is all calculated right?

Hiroki-

The only difference I'm aware of, is the split-image focusing aid in the
K1000-SE.  I've seen two variations of it, one with a brownish leatherette,
and one with the traditional black leatherette.  If you can get the
K1000-SE, the focusing aid makes a considerable difference if your eyes are
less-than-perfect!

While I don't know of specific lenses that match your needs, I recommend
you get the PENTAX K or KA lens, rather than a Tacumar version.  Even
though they are both made by Pentax, the Tacumar's are not as well coated,
and have a reputation of not being quite as sharp.  The Pentax lenses are
on a par with those of any of the major camera manufacturers.

The flash is another story.  If you get a straight manual flash, you will
have to calculate your f/stop using the flash's guide number and the
distance from the flash to the subject.  However, many flashes are
currently available that include automatic exposure, using a photo cell on
the body of the flash.  For these, you dial your film speed into the
flash's calculator, and read the f/stop to set your lens.  I've had good
luck with Vivitar automatic flashes, as well as the Pentax.  I suggest you
get an automatic flash with the highest guide number you can afford!

Depending on your application, you may prefer a flash that can be mounted
on a bracket, with a cord to connect to the "PC" connector on the camera
body.  This provides additional separation between the flash and the lens
axis.  On the other hand, it is frequently more convenient to use the
camera's "hot shoe" for the flash.

fred-mckenzie@ksc.nasa.gov
Newsgroups: rec.photo
From: markm@wri.com
Subject: Re: Sources for Quantity Printing
Reply-To: markm@wri.com
Organization: Wolfram Research, Inc.
Distribution: usa
Date: Tue, 12 Jan 1993 19:45:46 GMT

In article <1993Jan12.171335.29227@dvorak.amd.com> gerry@dvorak.amd.com (Gerard  
McKee) writes:
> 
> QUANTITY PRINTING SOURCES?
> 
> Does anyone know the names of suppliers that do quantity printing
> of B&W and Color Glossies at cheap prices. The one I know about is
> called Mass Photo in Houston. They will print 100 8x10 B&W glossies
> for $0.36 each. Are there any others?
> 

That's not a bad price.

There's a lab called ABC Photo (or something like that) somewhere in Missouri.   
I think it's in Joplin, but I'm by no means sure.  I received a promotional  
mailer from them sometime over the summer.  I'll see if I can find the info  
tonight and post more tomorrow.

--Mark
From: agosta@mred.llnl.gov (Keith Agosta)
Newsgroups: rec.photo
Subject: Film recommendations for twighlight landscapes
Date: 8 Jan 93 20:36:47 GMT
Organization: Lawrence Livermore National Laboratory

I am looking for suggestions on film to use for twighlight photography,
particularly landscapes (eg. Ansel Adams types) in both B&W and color. I would
like info on brands and speeds. I will post a summary of all the responses, so please email your comments to me.

Thanks,
Keith Agosta
Newsgroups: rec.photo
From: miyatake@kelvin.jpl.nasa.gov (Carl Miyatake)
Subject: Cannon bar codes
Summary: Has anyone used them?
Organization: Jet Propulsion Laboratory
Date: Sat, 9 Jan 1993 00:47:14 GMT

Now that I've figured out that most of the preprogrammed modes on
my 10s, I would like to make one of my own.  Has anyone used the
bar code reader and the book of bar codes? Is it useful?

For example, Using the preprogrammed sports mode on snow requires
a exposure compensation of about 2 stops.  Dial up sports and
start programming exposure comp up.  Or worse, when I want to 
use manual mode, ai servo focus, continous winding seems to be a
button punching nightmare. Will the bar codes let me program it up
so that I won't have to keep doing/undoing my favorite configuration
for shooting x?

I like programming anything (this computer, my 10s) better if the interfaces
were friendlier.   Carl  (miyatake@kelvin.jpl.nasa.gov) 
Newsgroups: rec.photo
From: jab@Ingres.COM (jeff bowles)
Subject: Re: Mac, of course (Was Re: IBM vs. Mac for stock business)
Keywords: image manipulation
Organization: Ingres, an ASK Company, Alameda CA 94501
Distribution: na
Date: 10 Jan 93 08:29:41 GMT

tse@ra.nrl.navy.mil (Anthony Tse) writes:
>
>    Yeah, an officemate of mine kept saying how slow Macs are...

This isn't related to "rec.photo". They're both terrific environments.
They're both terrible environments.

Take this string elsewhere. Anywhere else. I'd prefer to hear about
topics for photo essays here.
Newsgroups: rec.photo
From: robert@sys.sweden.dg.com (Robert Claeson)
Subject: Re: "Pro" film vs. Kodacolor - que pasa?
Date: Tue, 12 Jan 1993 13:57:33 GMT
Organization: Data General AB, Akalla, Sweden

In article <1993Jan5.175014.47@pasadena-dc.bofa.com>, robertson@pasadena-dc.bofa.com writes:

> What do you get when you pay for "Professional" films?  What makes it worth
> the hassle of keeping them in the fridge?

More precise color rendition and more exact speeds. And in the case of
Fuji also a different film base that's better suited for reproduction
purposes.

> I usually shoot Kodacolor Gold or Fuji Reala in my old Bronica.  What
> frustrates me is the results I get when I try to photograph sunsets or
> twilight.  Seems like the film doesn't have the range of whatever they use in
> those Nikon ads - sky is real light and stuff below the horizon is too dark.

Those Nikon ads were probably taken with a split ND filter.

> Some, or maybe all, of my problem may be me, I know, but do the fridge films
> give better tonal range?  (I know refrigeration will enhance the shelf life of
> any film, but you know what I mean.)

Not as such.

-- 
--------------------- This mass of gibberish came from ---------------------
         ____
        |    |               Robert Claeson
        |    |               Data General AB
 _______|____|_              Box 28
|    |    _    |_____        S-164 93 KISTA
|_/\ |   / \   |     |       Sweden
| \/ |   \_/   |   . |
|    |    |    |_____|       robert@sys.sweden.dg.com
|____|_________|-
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Metz Dedicated Flash for EOS
Summary: Looks interesting.  Anyone played with one?
Keywords: Metz Dedicated Flash EOS 430 EZ
Date: 10 Jan 93 14:11:48 GMT

I picked up the latest Metz brochure.  Their 40MZ-2 looks to be the
first dedicated 3rd party flash that does everything the 430 will do,
and then some!

It supposedly handles flash exp. comp.  However, the table at the back
says that it only works with the EOS 1, 600, and Elan.   This is strange
because the 430EZ supports flash exp. comp. on the 630, RT, and 10s as
well.  Very weird.  I'm hoping it's a mistake in the brochure.

Here are the 430EZ features the 40MZ-2 supports:
  - ATTL
  - flash exposure compensation
  - 2nd curtain sync
  - bounce/swivel
  - autozoom to 24, 28, 35, 50, 70, and 85mm
  - auto film speed setting
  - backlit LCD display
  - AF illuminator

The interesting features over the 430EZ:
  - correct exposure light
  - manual power levels down to 1/256 in 1/3rds
  - head can tilt down 13 degrees
  - secondary reflector for shadow fill/catchlights when bouncing
  - LCD information including ISO, flash range, zoom setting, etc.
  - optional handle mount with more battery power

I don't think this unit will be any cheaper than the 430EZ, but I can't
get pricing info on it for another week or so.  If it is the same
price, it sounds like a real contender.  It has adaptor units for
Nikon, Minolta, and Pentax as well as Canon, so one needn't be
"married" into a system based on the flash.  However, it doesn't look
like it will do any of the funky SB-25 stuff (at least not with any
of the current adaptor modules).

If anyone gets any info (or indeed, gets to use one), please let me
know.

ACS

-- 
 ___ ___ ___ ______________________________________________________________
|   |   | __|"The Nikon lens owners are more gratingly smug, while the     |
| - | --|__ | Canon lens owners are more verbally abusive." - Tony Arnerich|
|_|_|___|___|______________________________________________________________|
Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|

Newsgroups: rec.photo
From: sch@unx.sas.com (Steve Holzworth)
Subject: Re: How to become a freelance photojournalist?
Date: Wed, 6 Jan 1993 20:57:32 GMT
Distribution: na
Organization: SAS Institute Inc.

tnelson@ncrcan.Canada.NCR.CA (Tim Nelson) writes:

stuff deleted

>So, what I really need to find out is whether there is some sort of
>identification for freelance photographers which shows that they are
>taking pictures for journalistic reasons, similar to press passes and
>press id which are usually worn by tv folks.

>I don't have problems otherwise, it is just to keep me from having to explain
>what I am doing all the time to someone who is trying to force me to put
>away my camera, then giving me the ok after 30 minutes discussion or more.

>-- 
>Tim.Nelson@Canada.NCR.CA
>NCR Canada +1 416 819 4112

Press credentials are handled on a per-event basis by the organizers
of the event. Assuming your client is an involved party, they can get
in touch with the organizers to arrange press credentials for you.
There is no generic "I'm a REAL (tm) photographer" press badge. For the
most part, TV stations get away with things because they are carrying this
big camera with the station's logo on it. They still usually call someone
first to see about coverage.

You will probably not have much luck asking for a pass if you don't have
an involved party, or a legitimate news organization to vouch for you.
Smaller events will sometimes give you a pass, just to get ANY potential
coverage.

--
Steve Holzworth
sch@unx.sas.com                         "Do not attribute to poor spelling
x6872                                    That which is actually poor typing..."
SAS Institute - Open Systems R & D                      - me
Cary, N.C.
Newsgroups: rec.photo
From: good@pixar.com (Guns cause crime like flies cause garbage.)
Subject: Re: Mac, of course (Was Re: IBM vs. Mac for stock business)
Organization: Pixar - Pt. Richmond, CA USA
Date: Sat, 9 Jan 1993 08:20:57 GMT

:
:The dominance of MAC computers in Image manipulation, is strictly business
:related, not capability related.

Personally, I use neither for image manipulation, but I happen to know (have
seen) some very exciting stuff written for the PC (486) by a small company
founded by Alvy Ray Smith. They don't have it on the market yet (I think),
but keep an eye out for something from Altamira Software. The problem with
PCs is not a lack of power.

		--Craig (and I bought a Mac)
-- 
	good@pixar.com
	At least Congress doesn't make death worse every year.
From: samuel@cs.ubc.ca (Stephen Samuel)
Newsgroups: rec.photo
Subject: Re: Photographing people; need permission?
Date: 12 Jan 1993 21:03:05 -0800
Organization: Computer Science, University of B.C., Vancouver, B.C., Canada
NNTP-Posting-Host: larry.cs.ubc.ca

acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:

>In <1230@racerx.bridge.COM> ken@racerx.bridge.COM (Ken Hardy) writes:
>I think you're missing the point.  The point is that there are people
>who get *violent* about being photographed!

>This past summer, there was a riot in Toronto (nothing compared to
>Los Angeles, but pretty severe by Toronto standards), and rioters
>were *physically* attacking the press because they did not want
>any evidence to be available to the police.  (Indeed, there was a bit

>So, there may be people in protest marches with a vested interest in
>*not* being indentified (for whatever reason).

In the case of toronto, it seems that most of the people "rioting" weren't
really protesting much of anything. They were just interested in looting
and rabble rousing. At best they used a protest march as cover. Although
it was 'a race riot', almost all of the looters were apparently whites
robbing whites.
-- 
-- 
Stephen Samuel 		(604)822-9248		samuel@cs.ubc.ca
The first prerequisite to winning is playing the game.
Newsgroups: rec.photo
From: phr@telebit.com (Paul Rubin)
Subject: Re: Photographing people; need permission?
Organization: Telebit Corporation; Sunnyvale, CA, USA
	<1993Jan11.192003.23752@cs.brown.edu> <C0q7py.ML2@athena.cs.uga.edu>
Date: Tue, 12 Jan 1993 07:07:46 GMT

In article <C0q7py.ML2@athena.cs.uga.edu> mcovingt@aisun3.ai.uga.edu (Michael Covington) writes:

   People engaging in political protest marches, etc., usually do NOT want
   to be photographed, and are very emphatic about it.

   I find this amusing.  "I'm out here to show the world what I stand for,
   but I don't want anybody to see me, or worse yet, record it!"

They don't want to get hassled by the FBI afterwards.  Look, another
way to express your political opinion is by voting, and similar
concerns about being hassled have led to a lot of emphasis on the idea
of the secret ballot.  I don't understand why it's so amusing that
people protesting illegal acts by the government (which voting does
not stop, by definition) also don't want to make the government aware
of their personal involvement.

I've actually done a lot of photography at protests and even riots,
without much trouble.  Just exercise some common sense in how you
use your camera, and before taking shots that will clearly identify
people, either ask them or make it obvious what you're about to do,
and if they look annoyed or uncomfortable, just shrug and put the
camera away without shooting.  (If you take pictures of cops,
make sure there are lots of witnesses and/or a clear escape route).

I've often thought it would be worthwhile to have a video camera with
a small TV transmitter (amplified RF modulator) broadcasting to a
VCR in a friend's backpack.  Then if your camera gets seized a copy
of the tape still exists.

#include <disclaimer.h> of course.
Newsgroups: rec.photo
From: n3022@cray.com (Jim Knoll)
Subject: Mercury 1/2 frame 35mm camera
Keywords: mercury
Reply-To: n3022@cray.com
Organization: Cray Research, Inc.
Date: 7 Jan 93 09:34:39 CST

Greetings,

Does anyone remember a half frame 35mm camera
with the name Mercury.  I think there was also a 
Mercury II.  These cameras must date back to the
40's or 50's.  They had rangefinder focus, manual
exposure, and shutter, a fixed focal length lens, and
a (cold) shoe for mounting a flash.  The neat thing
about these cameras was that you could get almost
80 shots on a 36-exp roll of film.

I remember playing with one that my dad had years
ago (late 50's).  I also remember breaking it and I
believe it got thrown out.

I would be interested in locating another one.  I suppose
I could look in shutterbug.  Anyway, does anyone remember
or have any more information about where these cameras
were made, their availability, and price.

Thanks in advance.

Jim Knoll
n3022@cray.com
From: bson@gnu.ai.mit.edu (Jan Brittenson)
Newsgroups: rec.photo
Subject: Re: Fuji GW670 tests?
Date: 11 Jan 93 03:50:37
Organization: nil
NNTP-Posting-Host: wookumz.gnu.ai.mit.edu
In-reply-to: duli@boulder.Colorado.EDU's message of Mon, 11 Jan 1993 06:14:36 GMT

In article <1993Jan11.061436.17501@colorado.edu> duli@boulder.Colorado.EDU (Li Du) writes:

 > I found in my experience that the light fall-off of my Fuji 690II to
 > be more noticeable on Kodachrome film than on Fuji Velvia, which is
 > not all that surprising, because I under-expose Kodachrome while
 > over-expose Velvia.

   I expose my Velvia at precisely 50. The biggest difference I can
find in any transparency is 0.6 stops, which I just metered (after
reading you had used a spot meter) by placing my Autometer IIIF with
the reflected metering attachment under a light, and placing the
transparency so the hole of the attachment falls under the area of
interest. I also held the transparency down with a neg carrier glass
sheet to avoid bulging. Unfortunately, I only have about a dozen
transparencies with a lot of sky.


 > light fall-off was very noticeable in the comparison tests I mentioned
 > in my original post, and I measured the amount of fall-off using spot
 > metering and saw slightly over one-stop fall-ff at very corners.

   No doubt about it! I'm just trying to determine how we can get so
different results. I don't think Fuji has made any optical changes in
the III model, nor does it seem likely that the 65/5.6 should cover
the 6x9 image more evenly than the 90/3.5. At least not to me.

--
						-- Jan Brittenson
						   bson@gnu.ai.mit.edu
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: safelights
Followup-To: rec.photo
Organization: Curtin University of Technology
Date: Tue, 5 Jan 1993 17:17:32 GMT

In article <5fUE02T1302T01@JUTS.ccc.amdahl.com>, bjs@RUTS.ccc.amdahl.com (Barry Sherman) writes:
> Daniel Burstein writes:
> 
>>my notes:  Once upon a time there was a safelight based on LOW pressure
>>sodium lighting.  The advantage of lp sodium is that it is monochromatic,
>>at (i think...) 590 nm wavelngth, or a solid orange.
> 
> And that time is now!  It's called the "Thomas Duplex Safelight".  They're
> tres expensive.  ~$200 list price and $182.50 in the May '92 Adorama ad.
> They're also incredibly bright.  I have one in my 9x11 darkroom.  They're the
> type that have "shutters" on the top which can be opened and closed by 
> pulling on a chain.  With the shutters wide open I can easily read very fine
> print by its light.
> 
> It appears to be less safe for variable contrast papers than for graded
> papers.  I've tested it with Ilford Multigrade paper in Dektol 1:2, using
> the standard technique of pre-fogging the paper to just below the level where a
> visible gray is seen.  I found that with the shutters wide open it fogged
> the paper in ~1-2 minutes.  I've found that with the shutters just barely open
> I can expose my paper to it for 8 minutes safely.  Even at this level, it's
> bright enough to read large print by.  I usually close the shutters all the
> way while dodging/burning both to make it easier to see what I'm doing and
> also to prevent fogging when doing complicated "recipes".
> 

The Na lights were devoloped for colour papers. There is a gap in the spectral
sensitivity at 590nm. Note that a LED ( amber or yellow, can't remember ) is
only a few nm away, and LOTS cheaper.

The problem w' multi-grade, is that its green sensitivity goes to a longer
wavelength than 590.

Note also that most street lights of the yellowish kind are HIGH pressure Na,
or He. Deffinate NO NO in the darkroom...


~Paul

Newsgroups: rec.photo
From: mcovingt@aisun3.ai.uga.edu (Michael Covington)
Subject: Re: Photographing people; need permission?
Organization: AI Programs, University of Georgia, Athens
Date: Tue, 12 Jan 1993 05:39:33 GMT

People engaging in political protest marches, etc., usually do NOT want
to be photographed, and are very emphatic about it.

I find this amusing.  "I'm out here to show the world what I stand for,
but I don't want anybody to see me, or worse yet, record it!"

-- 
:-  Michael A. Covington     internet mcovingt@uga.cc.uga.edu :    *****
:-  Artificial Intelligence Programs       phone 706 542-0358 :  *********
:-  The University of Georgia                fax 706 542-0349 :   *  *  *
:-  Athens, Georgia 30602-7415 U.S.A.     amateur radio N4TMI :  ** *** **
Newsgroups: rec.photo
From: dp@world.std.com (Jeff DelPapa)
Subject: Re: Sinar Questions
Organization: The World Public Access UNIX, Brookline, MA
Date: Tue, 12 Jan 1993 15:51:52 GMT

In article <5356@ceylon.gte.com> kbb0@harvey.gte.com (Kevin Burke) writes:
>In article <1993Jan12.113649.19207@spectrum.xerox.com>, mcfarlan@aurigaxerox.com (Doug McFarland 73624 - UI Systems) writes:
>> 
>> 3. Any a1/f1 folks want to comment on what they like/dislike about
>> these cameras.
>> 
>
>I beleive the a1 does not allow changing the bellows. If a bag bellows
>might be required for your work, the f1 would allow it.

The belows are interchangable on the A1 - in fact, the camera is
identical to the F1 above the rail and rail interface. Same boards,
bellows, backs, etc. Only the rail and the block that clamps to it has
changed for the A1. 

<dp>
From: farmer@cs.utk.edu (SUSAN FARMER)
Newsgroups: rec.photo
Subject: Photographing the TV screen
Date: 7 Jan 93 02:31:07 GMT
Organization: Computer Science Dept, University of Tennessee, Knoxville
NNTP-Posting-Host: utkcs2.cs.utk.edu

Is it possible to get a descent picture of a tv screen with a focal
plane shutter (Cannon FTb), or should I just give it up and use my
Argus C-3 (a leaf shutter).  

Does using Freeze Frame from a videotape make any difference?

What about holding the camera vertically?

Thanks
Susan

-- 
Susan B. Farmer     farmer@cs.utk.edu     Lady Jerusha Kilgore     
I can't even find time to clean house and you want me to come up with a .sig?
     And now she wants to go back to grad school after 14 years .....  
     We'll let her out when the delusion passes.
From: kurtk@vice.ICO.TEK.COM (Kurt Krueger)
Newsgroups: rec.photo
Subject: Re: drying negative - dust control
Keywords: negative
Date: 8 Jan 93 17:37:01 GMT
Distribution: usa
Organization: Tektronix, Inc., Beaverton,  OR.

I've found that a thorough vacuuming of the room does the trick.  This means
EVERYTHING ... walls, ceilings, shower stall, etc.
Newsgroups: rec.photo
From: nielsj@sad.hp.com (Niels Jensen)
Subject: Photoswap meet in bay area?
Date: Tue, 12 Jan 1993 01:34:24 GMT
Organization: HP Sonoma County (SRSD/MWTD/MID)
X-Newsreader: TIN [version 1.1.4 PL6]

Does anybody know when there are photo swap meets in the bay area?
And where they are?


Thanks in advance!

Niels Jensen
nielsj@hpsad.sad.hp.com
From: monson@hobo.ECE.ORST.EDU (Ty Monson)
Newsgroups: rec.photo
Subject: Re: Blad vs Mamiya (Lenses, Weight, Other)
Date: 5 Jan 93 21:52:14 GMT
Organization: ECE Dept.,OSU,Corvallis
NNTP-Posting-Host: hobo.ece.orst.edu

In article <1icqrtINN968@iraul1.ira.uka.de> uli@i13d5.ira.uka.de (Uli Bodenhausen) writes:
>
>It seems to me as if the purchase of Hasselblad equipment can also be seen
>as an investment. The price of this stuff probably goes up. So if you can take
>care of the equipment very well and it isn't stolen, you probably don't
>loose money.
>
 In the USA, a Hasselblad 500 Classic kit costs about $2400.
 In the secondary market, it seems that an 80mm lens, 500 C/M body,
 and A12 film back in good condition sell for $1500-$1700.
 I don't think it is wise to purchase this equipment thinking that
 you can get your money back unless you are buying used stuff from
 an individual at unusually attractive prices.
Newsgroups: rec.photo