HDTenEightyP/NetNews huggingface dataset:
From: phg+@CS.CMU.EDU (Paul Gleichauf)
Newsgroups: rec.photo
Subject: Re: Nikon AF lens
Date: 4 Sep 92 21:01:32 GMT
Organization: Carnegie Mellon University

In article <1992Sep3.212702.16419@murdoch.acc.Virginia.EDU>, yz@galen.med.virginia.edu writes:
|> In a recent post about the new Nikon N90, it mentioned something about AF and  
|> AF-I lens. This is the first time I heard of this. Can anybody explain?
|> yz

	The AF-I lenses are the internal motor telephotos, at latest word there
are just a 300 f2.8 and a 600 f4.0 available at suggested retail prices of
$5500 and $11,000 (U.S.).  Nikon has recently started shipping these lenses.

							Paul
Newsgroups: rec.photo
From: pd@sics.se (Per Danielsson)
Subject: Hi tech dream camera? (was Re: Nikon N90 technobabble)
Organization: Swedish Institute of Computer Science
Date: Sat, 5 Sep 1992 04:08:04 GMT

In article <1992Sep4.142654.28132@research.nj.nec.com>
markl@research.nj.nec.com (Mark Lee) writes a lot of sensible things
about modern cameras (much of which I have deleted below):

>1. TTL flash metering -- takes much of the guesswork out of getting good
>flash pictures in a hurry.  I realize this can't be done with an
>all-mechanical shutter.

Oh, yes it can be done. TTL-flash relies on the fact that you can
meter the light reflected off the film and quench the flash when
enough light has reached the film. The metering system is completely
separate from the shutter.
If I remember correctly the Olympus OM-3 (which has an all-mechanical
shutter) has TTL-flash metering.

>2. Built-in spot meter -- great for emphasizing certain portions of the
>photo, and in low ambient light situations.  Why can't Nikon add this to
>the FM2n, and come out with an "FM2ns"?

Agreed. Multi-spot metering would be even nicer.

>3. Autofocus -- useful when you need to shoot fast, shoot moving
>objects, and in dim light.  But AF can screw you up when you want to
>move the depth of field back and forth, and when you want to use the
>hyperfocal length (those AF lenses lack useful DOF scales!!)

I like an autofocus system with an easy and convenient manual
override. So far I think Canons AF system with USM lenses is the best
(but far from perfect).

>So is it just me, or do other feel that the zillion-plus-one whiz-bang
>high tech features being packed into cameras like the Nikon N90 or the
>Minolta xi series to be more distracting and intimidating than useful?

Some of the high tech stuff in modern cameras are definitely useful
(e.g. autofocus, balanced TTL-fill-flash) but the trend seems to be to
automate as much as possible so the photographer doesn't have to know
anything about basic photographic technique. This means there's lots
of stuff in my high tech camera which I don't have any use for.

I would like to have a camera with manual film advance, autofocus and
(multi-)spot metering. Sort of like an Olympus OM-3 (or OM-4) with a
Canon AF system (with USM lenses).
--
Per Danielsson				pd@sics.se
Swedish Institute of Computer Science, PO Box 1263, S-164 28 KISTA, SWEDEN
From: jgj@ssd.csd.harris.com (Jeff Jackson)
Newsgroups: rec.photo
Subject: Re: P/S camera advice needed (for mom and dad)
Date: 8 Sep 92 22:43:51 GMT
Organization: I would rather be windsurfing.
In-reply-to: bipin@iastate.edu's message of 8 Sep 92 19:08:26 GMT


> i'd like to buy a simple camera for my parents. basically for family
> pictures, nothing fancy.

Never underestimate the ability of a Dad to go ga-ga over gadgets,
especially if he's retired.  I look for the pod everytime I go home.
:-) Personally, I would go with a Nikon 6006 or 8008s (depending on
how much you want to spend) with a 35-70 lens.  I wouldn't be surpised
he doesn't buy the 70-210 lens within 48 hours of learning there is
such a thing.  I know my Dad now has the 35-70, 70-210, 400 and would
like to get a 28, but the roof needs replacing, so he's putting off
spending the money.  I dislike the all self-contained point and shoot
jobs, cause then when you decide you really do want more flexibility,
you have to buy a whole new camera.  It's usually money well spent to
by a "real" camera in the first place.


>       the other night i was lying on my bed, looking
>       up at the beautiful stars, and i said to myself, 
>       'where ********** is my ROOF !!'


Oh, you live in south Miami I see.  My condolences.
--
============================================================================
Jeffrey Glen Jackson  _|_Satan jeered, "You're dead meat Jesus, I'm gonna
jgj@ssd.csd.harris.com |     bust you up tonight."
x5120                  | Jesus said, "Go ahead, make my day."
                   ~~~~~~~~~ -- Carman, "The Champion"
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
	Politically, I am neither conservative nor liberal --
		     I think for myself instead.
Newsgroups: rec.photo
From: goldis@news.weeg.uiowa.edu (Al Goldis)
Subject: Re: Fuji Slide Film or Pushing Kodachrome
Organization: University of Iowa, Iowa City, IA, USA
Distribution: usa
Date: Wed, 9 Sep 1992 20:08:42 GMT

In <244@metran.UUCP> jay@metran.UUCP (Jay Ts) writes:

>bbarton@Ingres.COM (Brian Barton) writes:
>: Here's my "two cents" on the matter.  Shoot Ektachrome 100 _Plus_ and you'll
>: cry for days at how good it looks.  It's just an incredibly good film.  You've
>: never seen such beautiful color in your life.

>As it happens, I've tried EPP on two occasions, and both times I was
>disappointed with the colors.  I guess that shows how subjective this
>topic is; I know a lot of professionals use EPP and swear by it.  It makes
>me feel very strange!  Does anyone else feel this way about EPP?

Fuji RDP vs. Kodak EPP:  I tend to prefer RDP.  EPP seems to have
slightly tighter grain and overall good color rendition, but the
yellows can sometimes look a bit orange.  RDP is a little warm.

RDP seems to push much better than EPP.
--
Al Goldis           alan-goldis@uiowa.edu
"Pictures are moments truth, touched by light, that show character."
                          --Annie Griffiths-Belt
Newsgroups: rec.photo
From: swansond@nextnet.csus.edu (Dennis Swanson)
Subject: Re: Nikkor vs. Sigma
Organization: California State University Sacramento
Date: Sun, 13 Sep 1992 04:13:40 GMT

In article <1992Sep13.002219.27622@dartvax.dartmouth.edu> Gen.M.Kanai@dartmouth.edu (Gen M. Kanai) writes:
>[...]
(Nikon MF AIS lenses will)
>soon be difficult to find new, if at all.  If your budget doesnt allow
>this, I suggest buying the Nikon AF lenses.  But be  picky, some are
>better than others.

Now there's a cliffhanger! Of the non-zoom AF Nikkors, which are better
than which?

	Den

-- 
..................................................................
: Dennis M. Swanson : "No matter how long you live, remember that :
: swansond@csus.edu : you will be dead much longer."  Eccl. 11:8b :
:...................:.............................................:
Newsgroups: rec.photo
Subject: NIKON NIKKORMAT FOR SALE
From: krschimm@wsuhub.uc.twsu.edu (Karl Schimmel)
Date: 10 Sep 92 11:25:40 CST
Organization: Wichita State University, Wichita, Ks

Nikon Nikkormat 35mm SLR for sale
model FTN  serial number FT4125742
complete with 50mm Nikkor-H lens BOTH in near mint condition
working perfectly. ------------------------ $175.00

Rokinon 80-200 Nikon mount AI lens (F4.5) - $ 65.00

Rokinon 28mm Nikon Mount AI lens (F2.8) --- $ 40.00

both Rokinon lenses in MINT condition, look like new, optics perfect.

Nikkormat has depth of field preview, mirror lockup, 1-1000/sec shutter
speeds + bulb, selftimer, all metal body.

Reply in e-mail please, thankyou.

Karl Schimmel
KRSCHIMM@WSUHUB
From: cul8er@ccwf.cc.utexas.edu (* JOHNNY CHIU * KB5SJN *)
Newsgroups: rec.photo
Subject: Mailing order stores in NY city
Date: 9 Sep 92 17:09:54 GMT
Reply-To: cul8er@ccwf.cc.utexas.edu (* JOHNNY CHIU * KB5SJN *)
Distribution: na
Organization: The University of Texas at Austin, Austin TX
Originator: cul8er@mickey.cc.utexas.edu

Thanks.



Newsgroups: rec.photo
From: blue@sequent.com (Gil Delavous)
Subject: Need infos about AF Nikkor lenses
Followup-To: blue@sequent.com
Organization: Sequent Computer Systems, Inc.
Date: Fri, 11 Sep 92 14:10:42 GMT

I bought the following lenses:
AF NIKKOR 35-70/3.3-4.5
AF NIKKOR 70-210/4-5.6
AF NIKKOR 50/1.8

I am a beginner and I would probably buy the 20mm/2.8, the 85mm/2.8
and probably another 300mm.
Are the lenses I already have goods (optical quality)?  What would be
the best lenses set for a beginner who want to take all kind of
pictures?

Thanks a lot!

Gil Delavous (blue@sequent.com).
Newsgroups: rec.photo
From: fdm@WLV.IIPO.GTEGSC.COM (Frank D. Malczewski)
Subject: Pentax PZ-1 class questions
Organization: GTE Government Systems
Date: Wed, 9 Sep 92 19:18:42 GMT



After many years of using my trusty Pentax MX and assorted non-AF lenses,
it is time to move on to more sophisticated things.  I've been contemplating
the new PZ-1 model, and have a few questions that hopefully someone can 
answer (I've noticed little/no mention of Pentax here as of late):

1.  Can one turn off the built-in flash so it is not used?

2.  Can Pentax's AF lenses be used on the manual MX?

3.  Any recommendations on zooms and other AF lenses to go with the PZ-1?

4.  How battery-hungry is the PZ-1?

5.  The MX and its lenses have held up pretty well in terms of durability.
    In comparison, how well will the PZ-1 and current Pentax lenses likely 
    hold up (I've not seen these yet, but I would assume that Pentax uses a
    bit more plastic these days than it did 15 years ago...)

Pointers to reviews of this camera (Pop. Photo. etc.) and pointers to
comparable cameras (and reviews) in the Canon and Minolta lines (or even
lesser cameras in the Pentax line) which may be preferable alternatives
(and why) would be appreciated also.

Thanks.


-- 

Frank Malczewski		(fdm@wlv.iipo.gtegsc.com)
Xref: sparky rec.photo:15819 rec.backcountry:6941
From: huw@castle.ed.ac.uk (H G J Evans)
Newsgroups: rec.photo,rec.backcountry
Subject: Re: What tripod do you use when backpacking?
Date: 9 Sep 92 15:07:12 GMT
Organization: Edinburgh University

In article <BuBApF.577@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:
>ajayshah@almaak.usc.edu (Ajay Shah) wrote:
>> The title says it all. What is a good tradeoff between weight and stability?
>
>The Benbo Trekker.  It's about the same weight as others of comparable
>stability, but has two major advantages: (1) its legs are waterproof up to
>thigh-deep and don't have channels to collect mud; (2) it doesn't have all


I'm still trying to make up my mind about this supposed advantage of
Benbo tripods. If I get mud all over my Manfrotto, or water in places it
ought not to be, I just un-bolt everything, rinse the relevant parts
under a tap, and leave them to dry out. I've never seen it as a problem.
But on the other hand, if I want to use my Benbo in the middle of a
stream or pond or whatever, I must make sure the water level doesn't
come above the top of the lower section, since there seems to be no way
of releasing any trapped water other than drilling a hole in the leg.
This effectively limits the Benbo in the very department which was
supposed to be its forte. Has any Benbo user found a solution to this
problem?

Huw.
From: bn112@cleveland.Freenet.Edu (Chris Katopis)
Newsgroups: rec.photo
Subject: NoviceQuestion: Danger of really old film
Date: 6 Sep 1992 00:41:41 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: slc5.ins.cwru.edu


My friend has some old film that he never developed.  I mean
really old, twenty years.  Even if the photographs were
developable, is there a threat of combustion, explosion, etc
from the storage of old film?
-chris
Newsgroups: rec.photo
From: shao@cbnewsg.cb.att.com (shao-shen.kang)
Subject: To Clarify Nikon FM2 and FM2n
Keywords: Nikon, FM2, FM2n
Organization: AT&T
Distribution: bl
Date: Tue, 15 Sep 1992 15:12:44 GMT

Hi, rec.photoers:
                                                                                
I called Nikon Technical Service at
  1 800 645-6687

regarding to the confusion of Nikon
FM2 and FM2n discussed a little while
ago.

What I was told is that when FM2 was
first introduced, it had flash sync
of 1/200 second. Later on it was changed
to 1/250 second, we call it FM2n.

So nowadays, all the brand new FM2 are
actually FM2n.

Shao Kang
From: rivieres@parc.xerox.com (Jim des Rivieres)
Newsgroups: rec.photo
Subject: Re: Tilt and Shift.  How useful are they?
Date: 10 Sep 92 01:03:56 GMT
Article-I.D.: texas.RIVIERES.92Sep9180356
Reply-To: desrivieres@parc.xerox.com
Organization: Xerox PARC, Palo Alto, CA


hsong@ardour.bellcore.com (G. Hugh Song) writes:
> We know they use this feature for architectural works.  So, Large-format
> camera owners!  Especially field camera owners!  How often do you use this
> feature for landscape works?

All the time!  I use some combination of front shifts and tilts on most every
landscape shot I make (4x5 format with a 210mm lens).  I usually set the
camera up level and use vertical shift to place the horizon in the frame where
I want it.  I don't use horizontal shift nearly as much, but it does
occasionally come in handy.  I almost always use a small amount of horizontal
or vertical front tilt to adjust the plane of focus to match the contours of
the scene.

> At what focal lengths are they really useful?  Is there any difference in the
> way tilt and shift work between wide-angle lenses and telephoto lenses?  In
> terms of tilt angles, so to speak.  The lens should be especially free from
> vignetting, shouldn't it?  Do usual telephoto lenses suffer from vignetting
> when used with tilts?

Shifts are limited by the len image circle, which is a function of the len
design.  All lenses cast a circular image whose brightness decreases outward
from the center.  The image circle is that portion in which the center-to-edge
difference in illumination does not produce objectionable vignetting on the
film.  A lens with an image circle only slightly larger than the diagonal of
the film format will not allow much tilt before vignetting becomes
objectionable.  You can find some 90mm lenses with very large image circles
with respect to 4x5, and some 120mm lenses with small image circles.
Telephoto lenses tend to have image circles only slightly larger than the bare
minimum for the format they were designed to cover; hence they support only
limited shifting.  (N.B.  The Calumet catalog usually contains a nice table of
view camera lenses on the market which lists their image circles.)

--
Jim des Rivieres
PHONE: (415) 812-4718  FAX: (415) 812-4334
EMAIL: desrivieres@parc.xerox.com
MAIL: Xerox PARC, 3333 Coyote Hill Road, Palo Alto, CA 94304, USA
From: jacobson@cello.hpl.hp.com (David Jacobson)
Newsgroups: rec.photo
Subject: Re: Info on multiple flash photography
Date: 9 Sep 92 15:46:08 GMT
Distribution: na
Organization: Hewlett-Packard Laboratories

In article <1992Sep9.121313.22738@cs.rit.edu> kar@cs.rit.edu (Kenneth A Reek) writes:
>	I am getting interested in photographing birds using multiple
>flashes with my N8008s.  Nikon sells all kinds of cords to connect the
>flashes together, but they don't say very much about how the flashes
>will work together (e.g. can the exposure compensation be set
>individually on each flash unit?).
>
>	Does anyone know of any sources of information that would address
>using multiple Nikon flashes wired together in more detail than given in
>the instruction manuals?  I am specifically interested in the point I
>mentioned above, and also how using two different model flashes works
>when the units have different features and one is more powerful than the
>other.

Let me divide this up into what I know, what I've read on rec.photo,
and what I conjecture.

I know that the Nikon cord system just directly connects via wire the
center trigger pins on all the flashes and the center pin on the hot
shoe.  It also directly connects together the quench pin on all the
flash and the quench pin on the hot shoe.

Someone on rec.photo claimed that almost all "garden variety" flashes
increase to full brightness in just a few microseconds and then the
brightness decays exponentially with about a 300 microsecond time
constant.  If this is true, the ratio of flash intensities will remain
constant over all practicial ranges of quenching.  If this is not true
the balance will tilt toward the flash with the faster decay if the
flashes are quenched.  

A man I talked to at 1-800-NIKON-US told me that the center pin on an
8008 was good for 200 volts.  An SB-24 puts out about 1.6 volts on the
center pin, an old Starblitz D30-CP that I have puts out around 6
volts, and a brand X tiny flash puts out 200 volts.  I conjecture that
most of the good flashes connect the electronics to the center pin
with a diode with the anode toward the center pin.  Thus they will be
resistant to a higher voltage from a paralleled other unit.
Nevertheless, I would be very reluctant to connect flahes together if
the voltages on the center pins were very different.  If there were of
different brands I would only connect them together if the voltages
were almost identical.  (Thus I would not connect by SB-24 and my
Starblitz without first checking with Nikon.)

-- David Jacobson

Disclaimer: This posting is my own opinion and not that of the
Hewlett-Packard Company.  Neither I nor HP will be responsible for any
damgage to your equipment.  Connect all this stuff strictly at your
own risk.  The high voltages on some falsh units can be dangerous.  Do
not mess with this stuff if you are not qualified.
From: sog@craycos.com (Steve Gombosi)
Newsgroups: rec.photo
Subject: Re: Monopods and Monopod heads.
Date: 15 Sep 92 14:29:18 GMT
Organization: Cray Computer Corporation

In article <1992Sep14.222845.14855@walter.bellcore.com> hsong@ardour.bellcore.com writes:
>
>PS: Is there any good idea of using something for the purpose of a monopod? 
>    As you know some places do not even allow a monopod, but they allow 
>    a stick.

REI sells a very sturdy walking stick with a 1/4" tripod screw on the top.

Steve
Newsgroups: rec.photo
From: markt@cup.hp.com (Mark Thompson)
Subject: Re: B&W Slide film
Date: Tue, 8 Sep 1992 16:43:45 GMT
Organization: Hewlett-Packard
X-Newsreader: Tin 1.1scd1 PL4

T-MAX 100 is the designated replacment for the Pan-X reversal process.  There
is a T-MAX reversal kit that i hear goes for around $20 and does about 12
rolls.  It was reviewed in what was called Darkroom Photography magazine, 
I think it is called Camera and Darkroom now.  

If you don't want to process the film yourself there are labs that will do it.
I know of one in my town (Berkeley, called Photo Lab).  I think that they
charge $10-$12/roll. For my money i would go for the kit and do it myself. 

Mark
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Re: New Saunders 4x5 Enlarger Model ??
Followup-To: rec.photo
Organization: Curtin University of Technology
Date: Fri, 11 Sep 1992 15:58:37 GMT

In article <26b.03t17dUh00@amdahl.uts.amdahl.com>, bjs@uts.amdahl.com (Barry Sherman) writes:
...
> Since I don't have a Saunders, but rather an ancient Durst 4x5,
> I'm quite sensitive to parts availability.  My local parts source is
> not a photo shop.  It's the machine shop at about $100 per hour.  I'd
> give my left little finger to be able to just walk into a dealer and
  ^^^^^^^^^^^^^^^^^^^^^^^^^^
> buy or order parts.  Fortunately, I don't often need parts now that
> it's set up and working, but ...  The Beseler will probably win out
> here.  They've been around for a long time and there'll be lots and
> lots of old ones that can be cannabilized for parts.
> 

If Durst parts prices are like they are over here, you will... from the shoulder
down. Both legs for good measure.

~Paul

Newsgroups: rec.photo
From: dbailey@ICSI.Berkeley.EDU (David R. Bailey)
Subject: Re: Who make good close-up lenses ?
Organization: International Computer Science Institute, Berkeley, CA, U.S.A.
Date: Mon, 14 Sep 1992 21:28:17 GMT


| I am considering to buy some close-up lenses. Nikon makes good
| 2-element lenses for 52mm and 62mm thread diameters, but my 
| Canon lenses are 58mm in diameter.  So  who else make 2-element 
| close-up lenses?.  Are Tiffen's, B+W's and Hoya's close up 
| filters any good?  I believe they are 1 element lenses though.


I had exactly your question, and got the following
information on a trip to Adolph Gasser's in San Francisco:

Canon makes a 2-element close-up lens, called the 500T.
Gasser's didn't have it in stock.  From the brief
description in their catalog, it seems that its focal
length is 500mm, that is, it's a 2 diopter.  Gasser's
price, if they were to order it, would be $105.  I haven't
seen it advertised mail-order, and haven't called to see
if B&H, etc. carry it even though they don't advertise it.

While at Gasser's, I played with the Hoya set containing
1, 2 and 4 diopter 1-element lenses.  I used the Canon
70-210 USM lens at the 210 end, and looked at some
1-inch black letters on a white cardboard box.
Observations:

a)  yeah, this is _real_ macro!
b)  wow, look at the pretty colors around the letters
    near the edge of the viewfinder.  :*(

So I think I will pursue the 2-element lenses further.
Unless the mail-order price is substantially lower than
Gasser's, then I'll consider Bob Atkins' advice to use
a step-up adapter and use Nikon's 2-element lenses which,
according to Pop Photo back in July, go for something like
$65 (not sure on this figure).

Dave Bailey
International Computer Science Institute, Berkeley, CA
dbailey@icsi.berkeley.edu
From: fsjfz@acad3.alaska.edu
Newsgroups: rec.photo
Subject: Re: B&W Slide film
Date: 14 Sep 92 19:04:41 GMT
Organization: University of Alaska Fairbanks

In article <1992Sep14.030852.1906@ultb.isc.rit.edu>, andpph@ritvax.isc.rit.edu writes:
> BTW, there is also a Kodak Direct Positive Copy film that has a speed of about
> .1 or so.... not too practical for action photography but maybe useable for
> still, very still, lives. On the other hand, T-Max, Tech Pan, and Ilford Pan f
> and Agfapan can all be developed to a positive which is what B&W slide film is
> after all.
> 
> andy

 i'm not sure if this is the same film as a `Kodak Direct Positive Copy Film',
but that sounds an awful lot like Kodak Ektagraphic.  It's a b/w slide film for
shooting text or b/w graphics for reproduction.
 If you make exposures from about EI4 to EI20, call it EI8 when you develop,
you can get some very interesting still life shots.  i did that once with a
nude (and harsh sidelighting only) and was very happy with the shots that came
out.  For general photography though, i've never seen anyone get any grey tones
from this film.  It is black, or it is white.  That's it.
 
James Zuelow
FSJFZ@acad3.alaska.edu
Newsgroups: rec.photo
From: asadigh@rodan.acs.syr.edu (sadigh)
Subject: Different Lenses in Different Formats
Originator: asadigh@rodan.acs.syr.edu
Organization: Syracuse University, Syracuse, NY
Date: Mon, 14 Sep 92 14:05:06 EDT

Hello everyone!

I vaguely remember that there is a correspondence between the lens focal length
and the format of the camera.  I would like to know how one goes from one system
to the other.  To be more clear, suppose I have a 10mm lens on my super 8 movie
camera.  The image produced by this lens is equivalent to the image of what
35mmSLR format lens?  Is the correspondence linear?  How about other formats
like medium?  Thanks in advance.

Beejan

    
Newsgroups: rec.photo