HDTenEightyP/NetNews huggingface dataset:
From: ychen@hubcap.clemson.edu (Eric Chen)
Subject: Re: For Sale:Canon AE-1 Bk w/ 35-105 Macro FD-Sold 
Organization: Clemson University
Distribution: usa
Date: Mon, 21 Dec 1992 20:49:56 GMT

ychen@hubcap.clemson.edu (Eric Chen) writes:

>Canon AE-1 Program body, black, with multi-exposure mode, flash
>coulper.

>Canon 35-105 FD macro f:3.5-4.5 (72mm filter), not EF

>polar filter 72mm for above lens
>UV filter 72mm for above lens

>mint condition

>will give you one week warranty to let you test the camera.

>$380 firm

>Please do not confuse this camera with chrome body or non-program body,
>please do not confuse this lens with other cheap Canon EF or non macro
>lens.

>For more information or price list in the market please refer to the
>Shutterbug or Popular Photography magazines.

>Example: Shutterbug Dec. p.120 AE-1 bk w/50mm f1.4 .... $289
>	 Shutterbug Dec. p. 120 35-105 FD Canon ........$219

>The lens is sell for $390 new.

>This is firm offer, you need to pay for the shipping. Because its mint 
>condition, very good for Christmas gift.

>Eric
>(803)6548817
>ychen@clemson.hubcap.edu

It has been sold.  Thanks.
Newsgroups: rec.photo
From: scottb@sun1x.actc.res.utc.com (TheLrdLovsAHngn)
Subject: Re: What is IMHO?
Organization: United Technologies Research Center
Date: Wed, 30 Dec 1992 15:19:21 GMT

In my humble opinion
-- 
Disclaimer:  I didn't do it!  Nobody saw me do it!  You can't prove anything! 
             My opinions are my own.   They do not reflect anyone/thing else!
\/       preferred        \/
scottb%nw8550@utrcgw.utc.com            |           sdb@rcinet.utc.com
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Newsgroups: rec.photo
Subject: Re: Zone VI 4x5 view comments ?
Date: 23 Dec 1992 11:33:07 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


Regarding studio shooting and apertures, it is often the case that one is using
both significant movements AND small apertures in order to get enough
depth of field to keep a still life sharp through the entire composition.

Recently, while working on a product shot I had EACH standars set for 10 degrees
tilt (total 20) and still had to shoot at f45 to get the shot..this
is not unusual, and explains why one often has to pump flash, and therefore
why a nice heavy studio 4x5 is preferable to a lighter field camera
when doing this kind of thing..nothing moves when you set a P2...

brian
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: EOS 630 vs Elan?
Distribution: usa
Date: 21 Dec 92 10:24:28 GMT

In <rl.724888223@cgl.ucsf.edu> rl@socrates.ucsf.edu (Robert Langridge) writes:

>I have owned an EOS 630 for some years, and while I am happy with it and
>have so far resisted the siren calls of the "newer" models, I have recently 
>handled an Elan, and am considering trading.  The built-in flash and quiet 
>wind are nice, the camera is not quite as bulky and the controls appear to 
>be more user friendly.

>Any words of advice, pro or con?  (for you Nikonophiles, I intend to keep
>my lenses :-)

You've listed the features you like.  Here's what I don't like about the
Elan:

- "convenient" flash eats batteries
- no CF to leave the film leader out
- no interchangeable screens (with focusing aids)
- no CF to get "focus lock" (CF4 on the 630)

I must admit that the user interface is much nicer.  I'm sure I'd fiddle
with exposure compensation a *lot* more if I had a QCD.  And yes,
getting at the little buttons behind the little door can be a pain.

Because the A2 doesn't have any screens with manual focusing aids, I
don't think I'd even get one of those.  AF (Canon's or otherwise) can
get confused sometimes.  Having a bi-split screen helps.

I don't think I'll buy another Canon body unless I get the money for an
EOS-1.  It supports useful screens, and has a nice metered manual
mode.  (But if I had the money, I'd probably buy a lens like the
20-35/2.8L or the 80-200/2.8L...)

Since you get to compare them side-by-side, it would seem that you are
in the best position to decide!  Given that a 630 body isn't worth all
that much as a trade-in, why not just keep it and buy the Elan
outright?  You could have the best of both worlds, or at least a backup
body.

ACS

-- 
 ___ ___ ___ ______________________________________________________________
|   |   | __|      Democracy is not a way of getting better solutions.     |
| - | --|__ |           It's just a way to spread the blame.               |
|_|_|___|___|______________________________________________________________|
Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|
Newsgroups: rec.photo
From: PXY@ECLX.PSU.EDU (Pen-Li Yen)
Subject: For Sale: Flash for EOS Autofocus, $80
Organization: Penn State Engineering Computer Lab
Distribution: usa
Date: Tue, 29 Dec 92 01:33:41 GMT
X-News-Reader: VMS NEWS 1.24

 
Phoenix flash for Canon Eos:
Model# ZIF 105C

	Zoom (wide 28mm, 35mm, std 50mm, tele 85mm) w/ diffusion screen
	vertical 90 degree and horizontal 360 degree
	TTL w/infrared autofocus
	Auto off
	color temperature: 5600 K
	hi and lo switch
	dedicate to Canon EOS series

Sell for $80  in mint condition, w/original box

Buyers pay shipping

Yuesea
From: dcl@romeo.caltech.edu (Darek Lis)
Newsgroups: rec.photo
Subject: Looking for a good P&S
Date: 2 Jan 1993 18:56 PDT
Organization: California Institute of Technology
Distribution: world
NNTP-Posting-Host: romeo.caltech.edu
News-Software: VAX/VMS VNEWS 1.41    

Well, the subject line says it all. I'm looking for a good P&S camera to 
be used in the situations when I don't want to carry my gear around. 

Here are the requirements:
- small, pocket size preferred
- opticts capable of delivering good quality 4x6 prints
- fixed focal length lens is OK (I'm afraid that zooms and quality don't 
  mix but I'll be glad to be proven wrong :^)
- flash with red-eye reduction
- exposure compensation would be nice

I've read a short review of the soon to be released Yashica Microtec Zoom
in PopPhoto and it looks like a very nice camera. I'd think that with an
aspheric-element lens the picture quality should be good. Has anybody read
or heard anything more about it? I wonder, for instance, how good the
passive AF system will be. 

Thanks in advance,

Darek Lis
From: bson@gnu.ai.mit.edu (Jan Brittenson)
Newsgroups: rec.photo
Subject: Re: What will it really take to replace FILM!
Date: 24 Dec 92 16:21:24 GMT
Article-I.D.: churchy.BSON.92Dec24082124
Organization: nil
NNTP-Posting-Host: churchy.gnu.ai.mit.edu
In-reply-to: mdkirkwood@mmm.com's message of 24 Dec 92 00:56:11 GMT

In article <1992Dec24.005611.24140@mmm.serc.3m.com> mdkirkwood@mmm.com (Matthew D. Kirkwood) writes:

 > Based on the assumption that a _good_ color film has a resolution of less
 > than 150 lines/mm (this assumption should be very good), the resolution
 > of a 35mm frame is:
 > 36mm*150 lines/mm = 5400 lines
 > 	   24mm*150 lines/mm = 3600 lines
 >   i.e.  5400 x 3600 pixels on a 35mm slide.   Therefore, a digital camera
 >   should have a minimum of that resolution to beat a really good film.
 >	   5400*3600*3 bytes/pixel = 55.6 MBytes
 >   for a 24bit image.

   This is not exactly true, the reason is that film doesn't consist
of square pixels. When talking about film, you shouldn't talk about
resolution, but about resolving power -- same as for lenses.

First:

   Developed film consists of grains, halide ``blobs'', which are
neither round, square, or symmetrical. It is the grain shape and
overlapping patterns that determine the film's characteristic grain
pattern. While it's true that some films can resolve 150 lines/mm, it
doesn't behave like pixels. With film, smaller lines tend to ``melt
together'', with pixels they will still get averaged along with the
surrounding background into one pixel.

   To make digital images look like film, and by that I mean a
_particular_ film, the system will have to outresolve film enough to
adequately copy the effects of the grain structure itself. Remember
that color film has several grain layers that are by no means aligned
with each other.

   Film with a grain structure exhibiting pixel-like (squarish,
non-random structure, etc) properties would be vastly inferior to all
existing film, and would probably be considered complete junk.

Second:

   The resolving power of a digital system depends on the orientation
of the line target. This is because, as I'm sure anyone who isn't
computer-naive knows, pixels are perfectly lined up in rows and
columns -- but film grain isn't. Misalign the target by angles
``atan(prime1/prime2)'', and you can determine the *minimum* resolving
power of the digital recording system.  Notice how it now makes sense
to distinguish between resolution (number of pixels) and resolving
power (number of lines/mm or lp/mm the system can record as distinct
entities). This ought to be readily apparent to any novice programmer
who has ever written line-drawing code using only integer arithmetic.
Remember also that displays and printers don't produce perfectly
separated pixels, so a ``fuss factor'' needs to be added to the
reproduction end of the chain.

The 150MB mentioned per 35mm frame sounds minimal to me.

--
						-- Jan Brittenson
						   bson@gnu.ai.mit.edu
Newsgroups: rec.photo
From: girling@cs.sfu.ca (Doug Girling)
Subject: WANTED: Seattle photo stores
Organization: CSS, Simon Fraser University, Burnaby, B.C., Canada
Date: Mon, 21 Dec 1992 18:35:23 GMT


I'm in the market for a Sigma 75-300 AF and will be in Seattle over New
Years.  Can anyone recommend any reputable camera stores in Seattle that
would carry this sort of line?  (Or for that matter, any
dis-recommendations on stores to avoid.)

Prethanks,
Doug
-- 
Doug Girling, lab engineer	| Voice: (604)291-4428  FAX:   (604)291-4951
School of Engineering Science	| Usenet: girling@cs.sfu.ca
Simon Fraser University		| Bitnet: girling%cs.sfu.ca@relay.cdnnet.ca
Burnaby, B.C. V5A 1S6 CANADA	| CompuServe: 73777,50
From: ray@tsw.UUCP (Ray Izumi)
Newsgroups: rec.photo
Subject: Re: NIKONOS-5: advice request
Date: 27 Dec 92 17:32:48 GMT
Organization: The System Works, Redmond, WA

In article <1992Dec21.104949.23889@cli.di.unipi.it> ciofi@pimac2.iet.unipi.it (Carmine Ciofi) writes:
>Hi,
>I would like to buy an underwater camera and i was thinking
>of a NIKONOS - 5. Is there anyone out there who can give me
>any advice about it? In particular I would like to know whether
>it is such a good camera as Nikon says.
>
Yes, the Nikonos V is a great camera. I've been using one for quite a while
now. But I recently went to using a Nikon 8008s in a Tussey housing. The main
reason is that the Nikonos is quite limited in terms of flexibility. The
macro tubes/framers in combination with the 35mm lens give excellent results,
but you are limited to shooting subjects that fit in the framer. No matter
what the situation, you always find you have the wrong framer for some great
subject that pops up during a dive.

With the 8008s/housing, I use a Tokina 90mm macro lens that lets me get macro
shots in a continuum of ratios, from 1:2 up to telephoto.

Similarly with wide-angle, using the Nikonos 20mm is much less flexible than
an 8008s with a 24-50mm zoom wide angle.

The other big problem with the Nikonos is that it is a rangefinding camera.
These are hard enough to use on land, but underwater you have the additional
problem of the distortion of apparent distance due to the refractive index
of water. This leads to lots of out-of-focus shots. This problem disappears
with an AF SLR.

The system I use now is to bring two cameras, a Nikonos V with a 20mm wide
angle lens mounted on top of the Tussey housing/8008s/90mm macro, with both
cameras attached to two strobes. Of course, this is a bit bulky, not to
mention expensive.

But, depending on your needs, the Nikonos V can be the perfect camera for
you. It does perform every bit as well as Nikon claims.

If you want more info, e-mail me. But do it soon, as I will be moving out
of the country in early January.

reasons
-- 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ray Izumi, The System Works, Redmond, WA     206-823-4685      uunet!tsw!ray
"Put the pillow over your head, scream and cry - the garbage is coming!"
           - New York City Commissioner of Sanitation
Newsgroups: rec.photo
From: fanelli@gagme.chi.il.us (michael fanelli)
Subject: Re: Pentax 67 is a good medium format camera ?
Organization: GAGME - Public Access UNIX of Chicago, Illinois, USA, Earth
X-Newsreader: TIN [version 1.1 PL7]
Distribution: rec
Date: Mon, 21 Dec 1992 18:06:41 GMT

I own a Pentax 6X7 and the 105 and 165 lens with TTL finder. The camera and
lenses are excellent! These cameras are a top choice of outdoor MF shooters,
with little use for indoor studio use. The camera is tough, easy to use,
and highly recommended. I am told that one reason the lenses are cheaper as
that they do not have leaf shutters. I would suggest that you do what I
did, rent! A week's rental cost me about $100 and set my mind at ease
about spending the bucks.

			michael fanelli
			72040.2460@compuserve.com
From: al@qiclab.scn.rain.com (Alan Peterman)
Newsgroups: rec.photo
Subject: Re: Which old Pentax S/M models ?
Date: 31 Dec 92 19:10:41 GMT
Article-I.D.: qiclab.1992Dec31.191041.25266
Organization: SCN Research/Qic Laboratories of Tigard, Oregon.

In article <1218@racerx.bridge.COM> ken@Bridge.COM (Ken Hardy) writes:
>I've a fair selection of decent screw-mount lenses, and an old, old
>Pentax H1a, which has neither meter nor hot-shoe...   So I'm
>thinking of hitting a local photo show in two weeks to look for a good
>used Pentax body that takes my current lenses, but has one or more of
>these features (listed in order of importance):
>
>	1. TTL meter
>	2. Flash hot shoe
>	3. Aperature-priority A/E mode
>
>Acceptance of screw-mount lenses, of course, is a must.

You might do better looking for some other brand which used the same
screw mount.  Mamiya 1000 DTL comes to mind as a neat camera, particularily
because of it's "dual" metering, both averaging and spot meters are 
selectable..and I'm pretty sure it has a hot shoe (but I wouldn't bet
the farm on it)..

The auto exposure mode is pretty hard to find.  The Pentax ES and ES-II
had it, but there are other limitations like limited manual speeds.


-- 
Alan L. Peterman                                 (503)-684-1984 hm & work
                       al@qiclab.scn.rain.com
It's odd how as I get older, the days are longer, but the years are shorter!
From: erc@unislc.uucp (Ed Carp)
Subject: Looking for a spot meter
X-Newsreader: TIN [version 1.1 PL6]
Organization: Unisys Corporation SLC
Date: Sat, 26 Dec 1992 08:42:41 GMT

Anyone got a 1 degree spot meter (preferably analog, but will consider digital
if the price is right) that they have lying around and want to get rid of?
I'm tired of "center-weighted" and so-called "spot metering" that meters a
10-15 degree area.

Thanks in advance!
-- 
Ed Carp			erc@apple.com, erc@saturn.upl.com	801/538-0177

Who and what would you be if you went beyond your deepest fears?
From: bson@gnu.ai.mit.edu (Jan Brittenson)
Newsgroups: rec.photo
Subject: Re: Query: Books on Photo composition
Date: 23 Dec 92 17:56:39 GMT
Article-I.D.: geech.BSON.92Dec23095639
Organization: nil
NNTP-Posting-Host: geech.gnu.ai.mit.edu
In-reply-to: ai918@cleveland.Freenet.Edu's message of 22 Dec 1992 18:40:33 GMT

In article <1h7nf1INNhh1@usenet.INS.CWRU.Edu> ai918@cleveland.Freenet.Edu (Jeff Shafer) writes:

 >> I would appreciate suggestions for *basic* books on photographic
 >> composition.  More advanced books are also of interest, but I'm just
 >> starting out.

 > I am interested in the same subject.

   Photography really only differs from other visual arts in medium
(``technology'' in net.jargon). While this is an important
disctinction, the same principles apply as in other visual arts. One
reasonable introduction is ``A primer of visual literacy'' by Donis A.
Dondis, MIT Press 1973 (many reprints since then). ISBN 0-262-04040-9
(hardcover), or 0-262-54029-0 (paperback).

Just for a taste of the style:

	``When visual material conforms to our expectations in terms
	of the felt axis, the horizontal stabilizing base, the
	dominance of the left-hand area of the field over the right,
	the lower half of the visual field over the upper half, we
	have a leveled composition, with minimum stress. When the
	opposite conditions obtain, we have a visual composition of
	maximum stress. In simple terms, the visual elements that are
	placed in areas of stress have more weight than those that are
	leveled. Weight, which means in this context ability to
	attract the eye, of course, has enormous significance here in
	terms compositional balance.''

   The book is about more than composition, of course. Not very deep,
and certainly much simplified. A good primer.

--
						-- Jan Brittenson
						   bson@gnu.ai.mit.edu
Newsgroups: rec.photo
From: pd@sics.se (Per Danielsson)
Subject: Re: Remote shutter releases (Canon EOS)
Organization: Swedish Institute of Computer Science, Kista
	<1992Dec22.164825.11598@dartvax.dartmouth.edu>
Date: Wed, 23 Dec 1992 04:59:26 GMT

In article <1992Dec22.164825.11598@dartvax.dartmouth.edu> Jimmy.Tung@dartmouth.edu (Jimmy Tung) writes:

>The Elan (and I assume the EOS-10s and EOS-1, see the [great] EOS FAQ
>sheet) has remote capability built-in.  I was under the impression that
>2 flavors existed, an electronic and an IR version.  Again, a  delay of
>0, 2, or 10 sec. is possible.  The IR was supposedly much more
>expensive (>$100). I don't really believe that price, but haven't
>looked into it further due to a current shortage of available liquid
>assets.

The EOS 600 series, the EOS 1 and the EOS 5 (EOS A2) all have sockets
for a remote electric trigger. The wire is about 60cm long. There is
a 1m extension cord from Canon, but you can make your own extension if
you like. To use this remote trigger with a 600-series camera you have
to buy the optional grip GR20, which has a socket. (The GR20 is
standard on the EOS 620). (There is also an expensive wireless remote
for these cameras, but I don't know too much about it).

The EOS 10 and the EOS 100 (Elan) can both be triggered with the
infrared remote control RC1, which should cost about $10-20.
--
Per Danielsson				pd@sics.se
Swedish Institute of Computer Science, PO Box 1263, S-164 28 KISTA, SWEDEN
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Swelling of wet paper
Organization: Curtin University of Technology
Date: Sun, 27 Dec 1992 10:54:48 GMT

In article <2300090@hpgrla.gr.hp.com>, peterd@hpgrla.gr.hp.com (Peter Davidoff) writes:
...
> Arista is available from Freestyle.  They advertise in Shutterbug.
> Arista Classic seems to be one of the only bromides left that
> can be used for some of the older processes.  Newer emulsions add
> too many hardners making the unsuitable for the various 19th 
> processes.
> 

Peter, which do you use for Carbro, gloss or matt?

~Paul
Newsgroups: rec.photo
From: phr@telebit.com (Paul Rubin)
Subject: Re: Canon 10s Vs Nikon N90, Which one?
Organization: Telebit Corporation; Sunnyvale, CA, USA
	<1992Dec24.205338.11007@jarvis.csri.toronto.edu>
	<BzssK3.Kp6@ra.nrl.navy.mil>
Date: 24 Dec 92 21:08:11

In article <BzssK3.Kp6@ra.nrl.navy.mil> tse@ra.nrl.navy.mil (Anthony Tse) writes:

      Why do you want a split or microprism screen?  First off, with
   AF, you don't need focusing aid.  

You need a focusing aid if you are using a manual focus lens.
(Unless, of course, you're using one of those nasty non-Nikon AF cameras
that made you throw away your manual focus lens collection).
From: lcc@po.CWRU.Edu (Lih C. Chen)
Newsgroups: rec.photo
Subject: FOR SALE: NIKON FE2 with Tamron 35/70 Zoom f3.5 lens
Date: 21 Dec 1992 08:50:30 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: lcc@po.CWRU.Edu (Lih C. Chen)
NNTP-Posting-Host: hela.ins.cwru.edu


	Camera has titanium shutter and 1/4000th sec shutter speed.  Has
automatic and full manual mode.  Virginal condition. (:
 
       PLUS Bag, Flash, & a nice Tamrac leather strap for
camera.  Still have original boxes and literature.
 
        Make reasonable offer, and respond to email.  For my roomie, not
for me.
-- 
I live my life like there's no tomorrow--DLR
                          If you got a blacklist, I want to be on it--BB
It is better to look good than to feel good--F
			  Let there be light--G
Newsgroups: rec.photo
From: phr@telebit.com (Paul Rubin)
Subject: good color lab recommendation wanted
Organization: Telebit Corporation; Sunnyvale, CA, USA
Distribution: rec
Date: 27 Dec 92 02:08:34

I recently moved to the South Bay and am looking for a good,
reasonably priced place to get my color film developed, in Palo Alto
or Mountain View.  Alternatively (since this post is going all over
the world) I'm wondering if anyone can recommend a good mail order lab
(i.e. not Kodalux).  I actually like the idea of using a mail order
lab even if there are no cost savings: it avoids the hassle of
dropping film off somewhere and having to pick it up.  I can't believe
how much more of a slave to the automobile everyone is down here.

By the way, if you are in this area, *avoid* Photo Drive-Up at the
corner of Rengstorff and El Camino.  I brought them 10 rolls of film
recently and they screwed up nearly all of them, did a free remake,
and screwed up most of them again.  It was obvious that the
technicians were burger flipper types who didn't give a damn about
what they were doing.  (I can't hold this against the technicians
personally but the management should have never allowed things to get
this way.  I used to use the PDU in Berkeley sometimes, and they
generally did a good job).

Note: if you have a local recommendation, please send by email
since most readers are probably not also interested.  But if you
have a mail-order recommendation, might as well post your reply.
I'll summarize emailed replies here if interest indicates I should.
Thanks.
From: bson@gnu.ai.mit.edu (Jan Brittenson)
Newsgroups: rec.photo
Subject: Re: Anyone do their own C41 developing?
Date: 31 Dec 92 13:43:03
Organization: nil
	<1992Dec29.192447.8920@news.weeg.uiowa.edu>
	<PHR.92Dec30182337@napa.telebit.com>
NNTP-Posting-Host: goldman.gnu.ai.mit.edu
In-reply-to: phr@telebit.com's message of Thu, 31 Dec 1992 02:23:37 GMT

In article <PHR.92Dec30182337@napa.telebit.com> phr@telebit.com (Paul Rubin) writes:

 > I guess I might try using my bathroom sink as a tempering bath if I
 > try developing C41.  Might also try Polachrome, or just stick with
 > black and white.

   The first time I did E-6 I used a flute pan as a water bath, in the
bathroom sink with towels underneath it to keep it horizontal. It
wouldn't reach under the tap, though, so I used a paper cup with a
hole in it, which I stuck under the tap, the water emerging from the
hole ran into the flute pan. I made sure the lowest corner was one of
the two furthest away from the tap. The chemicals were placed in three
(Hobby-Pac E-6 is only three steps) beakers (same as I used for B&W,
thoroughly washed and dried) sitting in the flute pan. The three
beakers and the tank (regular old Paterson two-roll, although I used
it for one roll of 120) just barely fit.

   To speed up the initial warming of the chemicals, just put lids
over the beakers. This setup was *very* inexpensive, and worked like a
charm -- just make sure your wife isn't taking a shower while you're
doing the first developer... :-) In general, with just a little care
you can get very consistent results with nary any investment at all.
It's just not terribly convenient -- if you think it's great fun to do
your own color development, you'll soon be saving for a processor.


--
						-- Jan Brittenson
						   bson@gnu.ai.mit.edu
Newsgroups: rec.photo