HDTenEightyP/NetNews huggingface dataset:
From: steveh@pilot.dmg.ml.com (Steve Hannoford)
Subject: Re: Changing DX code
Organization: Merrill Lynch Debt Markets Group
Date: Thu, 13 Aug 1992 18:58:38 GMT

> From: hermanh@bio.vu.nl (Herman Hillebrand)
> Subject: Changing DX code
> 
> I want to fool my camera (Pentax P30t) for B/W photography by changing
> the DX code on the film cartridge. I would like to change ISO/ASA values.
> Can it be done? How?

DX coding is determined by the pattern of black and sliver squares on the 
 outside of the film cartridge.  Each ASA/ISO has its own pattern.

If you cover up the sliver and black squares with masking tape or paper 
 stick-on labels, the camera can't read the DX code.  This will make 
 some cameras automatically set to 100.  Some cameras provide a way to
 set the ASA/ISO if the film is not DX coded.  If the P30t allows this,
 then just cover up the DX code strip and you're set.

If not, it is a little trickier, but can still be done.  I'm sorry, but I
 do not know how to *read* or *decode* the DX code, but if you get a roll
 of film with the ASA/ISO rating you want to shoot at, you can use aluminum
 foil and black paper to make a stick-on DX code strip, which you stick onto
 the film over its own DX code.

I.E. If you have 400 film and want to shoot it at 1600, you need to get the
      pattern for 1600.  Cut out a piece of black paper the size of a code
      strip, and cut out little squares of aluminum foil.  Glue the foil
      onto the paper in the pattern you see on a roll of 1600 film.  Stick
      this 1600 pattern on the roll of 400 film - Your camera will think
      it has a roll of 1600.  The stick on can be removed when film is
      all shot and used for the next roll.

  
-- 

+-------------------------+--------------------------------------+
| steveh@pilot.dmg.ml.com | My employer has no opinions and has  |
| Steveh Hannaford        |  nothing to do with anything I say.  |
From: craigh@cserver.plexus.com (Craig Heilman)
Newsgroups: rec.photo
Subject: overexposed prints - camara or processing???
Date: 20 Aug 92 15:48:56 GMT
Article-I.D.: cserver.craigh.714325736
Organization: Plexus Corp. -- Neenah Wisconsin

I just bought a Nikon 8008s w/ 28-70mm zoom last weekend (mind-boggling
features compared to my previous 12-year old SLR).  I shot off a roll of
film the first day and just got the prints back.  Nearly all the prints
are overexposed.  I let the camara do all the work (auto-focus, auto-exposure
using the matrix metering).  It was a very sunny day and many of the photos
were of lakeside scenes.  The processing was done by a discount store photo
dept. (Shopko - my wife's choice).  I'm wondering if there is an easy way
to determine the cause of the overexposure - film, processing, camara meter,
or photo-taking technique (go ahead - blame it on me)...  

Thanks,
	Craig

P.S. any recommendations for photo developing - mail order?, ...
--
*                           * "I just found out that the brain is like a   *
* Craig A. Heilman          * computer.  If that's true, then there really *
* craigh@cserver.plexus.com * aren't any stupid people.  Just people       *
*                           * running DOS." - VH1's Stand Up Spotlight     *
Organization: Doctoral student, Engineering and Public Policy, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.photo
Date: Thu, 13 Aug 1992 13:47:43 -0400 
From: Luis Abdon Cifuentes <lc0v+@andrew.cmu.edu>
Subject: Re: Fuji Anaheim Processing Lab.
Distribution: usa

On 12-Aug-92 in Fuji Anaheim Processing Lab. 
user hsong@ardour.bellcore.co writes:
> 
>On Aug. 4, Frank Loffel wrote:
> 
>> Some changes appear to have happened in terms of Fuji E6 processing using
>> Fuji prepaid mailers:
>>
>> - The Fuji Processing Labs in Anaheim, CA do no longer operate. Mailers
>> sent to this lab are forwarded to Fuji TruColor Photo in Phoenix, Arizona.
>> - TruColor Photo in Phoenix uses carboard mounts exclusively. At this time,
>> no plastic mount capability exists at this lab.
>>
>> - There appears to be no other Fuji lab capable of mounting with plastic.
> 
>Well, I received Velvia slides processed in Fuji Anaheim Lab.  Actaully I
>used their mailer and sent it to Fuji's Harrison, New Jersey lab.  It took
>more than a week  and was sent to me from Anaheim, CA.  All slides were
>mounted in cardboards. Not much paper particles.  No fingerprints.
>I may stick to Fuji Anaheim lab for some time.
> 
>BTW, has anybody had Fuji Anaheim lab process 120 format C-41 processing 
>films?   They do not seem to carry standard envelopes
>for customers to use to send negatives. 
> 
>	Hugh
> 

I have also received my latest slides in cardboard, in a very flimsy
paper box. What is happening? Is slide processing dying? I liked the
sturdy plastic mounts.

With respect to C-41, Fuji labs use to accept mailers until some two
years ago. Not anymore. Now you have to send the film and pay them
directly. I asked for their price list, and the prices were high, much
higher than the local pro lab, so I haven't used their C41 services

Luis
Newsgroups: rec.photo
From: usenet@adobe.com (USENET NEWS)
Subject: Re: The quality of Nikon "E" lenses?
Originator: asanders@sparta
Organization: Adobe Systems Incorporated
Date: Fri, 21 Aug 1992 18:30:12 GMT

Nikon Series E lenses were not quite as solidly constructed
as the AI lenses of their day, although by modern standards
(with plastics being used so extensively) their ruggedness
is not at all deficient. My 75-150 Series E zoom was the
first Nikkor I ever saw with a plastic aperture ring.
Nowadays, all Nikkors are made this way.

Optically, some Series E lenses were better than others.
The 75-150/4 zoom was probably the best. A very fine lens.
Beautiful color rendition. Constant maximum aperture.
If there were an AF version of this lens, I'd buy one.
The 70-210 Series E was evidently not as sharp as the
75-150. There were also 28, 50 and I believe 135mm 
Series E lenses, with the 135 being perhaps the best
of these. The 28 may have been a dog. Can't quite
remember, but all of these lenses are covered in
The Nikon System Handbook.
	  			-Alan
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: How to mount shoe-mounted flash securely?
Date: 18 Aug 92 21:09:53 GMT
Article-I.D.: clark.1992Aug18.210953.20790
Distribution: usa
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Aug17.171333.18231@microsoft.com> peterwu@microsoft.com (Peter Wu) writes:
>The flash I use (Canon 430EZ) looks like it might break off at the shoe
>easily when mounted on a flash bracket.
>
>Are there some sort of clamp to clamp a shoe-mounted flash on to a flash
>bracket securely?

Believe me, it won't, unless you force it to.  I've banged mine alot, and its
just as strong as ever.  It is however made to break off in case too much
pressure is applied to it.  This is to prevent you from damaging the
Penta Prism on your camera when it is attached to the hotshoe.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
From: alexm@nmr-z.mgh.harvard.edu (Alex Milshteyn)
Newsgroups: rec.photo
Subject: **TEST, DISREGARD**
Date: 12 Aug 92 12:43:22 GMT
Article-I.D.: nmr-z.1992Aug12.124322.17926
Organization: Mass General Hospital CIPR

Test - just a ping.
am
From: alan@lancaster.nsc.com (The Hepburn)
Newsgroups: rec.photo
Subject: Re: Techniques for taking swimsuit models?
Date: 21 Aug 92 20:11:56 GMT
Organization: National Semiconductor Corporation

In article <1992Aug20.135808.1@ntuvax.ntu.ac.sg>, sc6803998@ntuvax.ntu.ac.sg writes:
|> Hi all photo gurus,
|> 
|> 	I some how have gotten a friend to model for me in a swimsuit! 8)
|> Can you guys(girls) out there suggest some good techniques for taking
|> girls in swimsuits? 
|> 

To take a girl in a swimsuit, you first have to get her out of that swimsuit...

Oops, wrong news group!  :-)

By the way; for the humour impaired:  it's a cheap attempt at humour!!!!!!!!!!!


-- 
Alan Hepburn           "An ignorant person is one who doesn't know
National Semiconductor       what you have just found out."
Santa Clara, Ca              
alan@berlioz.nsc.com                              Will Rogers
Newsgroups: rec.photo
From: ptse@bwdls49.bnr.ca (Paul Tse)
Subject: Re: Canon AE-1 prog. accessories
Organization: Bell-Northern Research, Ottawa, Canada
Distribution: usa
Date: Tue, 18 Aug 1992 02:01:53 GMT

raginis@cs.albany.edu (Ragini Shamsunder) writes:

>   I have been using my AE-1 without many accessories and thought
>that it is high time I bought some lenses and filters.  I love nature
>photography and also portrait stuff.  I have a vivitar flash which
>is good enough for now.  I have a soft focus filter and a uv filter.
>I also have a macro-zoom (lousy - make).  I wa planning to buy a polarising
>filter and some zoom lens.  Can anyone suggest a good zoom lens (affordable)?
>Also, does anyone post suggestions on how to improve on portrait and nature
>(outdoors - lakes etc) photography?  If someone can give me some useful hints
>I would appreciate it.

You may want to consider purchasing used lenses.  You can save
considerable dollars and there is a good selection of used Canon
lenses out there.  An excellent lens for portraits is the Canon
80-200 f4 FD lens.
From: JesseWest@cup.portal.com (jesse c newcomb)
Newsgroups: rec.photo
Subject: Re: Canon New F-1, how long will Canon still support?
Date: Wed, 12 Aug 92 21:49:30 PDT
Organization: The Portal System (TM)
Distribution: world

I've heard, as recently as this year, that Canon will support the FD lens
line for another 10 years. Actually, I don't believe this; I'd put the 
number more at 5 years. And they've really jacked up the price of the
F-1n body this year, too, as if they're trying to discourage its use instead
of yanking the rug out from under us.

But who cares? The FD lens line includes some of the world's best optics, and
there are plenty in the 'used' pool. The F-1 is a super-solid body, and the
T-90 is lots of fun (worth having both!). So buy 'em up, that's what I say!

- Jesse Newcomb                  JesseWest@cup.portal.com
From: wania@aurora ( development)
Newsgroups: rec.photo
Subject: MODEL RELEASE FORM!!!
Date: 11 Aug 92 17:57:37 GMT
Distribution: na
Organization: Mitel. Kanata (Ontario). Canada.

If anybody on the net has a model release form,
can I please get it. I have seen it in one of the
Photo magazines but don't seem to find it. If you
have one typed up can I please get it.
Thanx,
Xerxes

-- 
Xerxes Wania              | Usenet: wania@icpd.mitel.com 
MITEL Corporation         |         
360 Legget Drive, Kanata, | "Transatlantic call from Mr. Floyd 
Ontario, Canada K2K 1X3.  | to Mrs. Floyd are we reaching..."
From: honna@cs.concordia.ca (SEGEL honna)
Newsgroups: rec.photo
Subject: Re: Flash & Lens for Nikon FM2
Date: 17 Aug 92 21:54:09 GMT
Organization: Computer Science, Concordia University, Montreal, Quebec

In article <5360781@hplsla.hp.com> andyc@hplsla.hp.com (Andy Cassino) writes:
>dea@jec309.its.rpi.edu (Anirban De) writes:
>| 
>I suggest instead of any of these Nikon flashes that you get a Vivitar 283.
>It is virtually the industry-standard non-dedicated flash in the U.S. and
>works fine with an FM-2. It is about as powerful as a shoe-mounted flash can
>be (GN 100), has a bounce head, and a detachable flash sensor should you 
>ever need to do that. Best of all, you should be able to get one for about
>$80 or less.
I suggest that you also consider the Viv285.  One thing that irks me about the
283 is that variable power ( 1/2 to the nth of manual output) is only
available as an add-on. The 285 comes with variable power, manual, and four
auto modes built into the sensor.  Whichever you decide on, try to buy it
with the 1m coiled sensor cord; this little addition will make your flash much
much more versatile, allowing you, for example, to: bounce the flash off of
nearby surfaces *without* having to worry about camera orientation to that
surface; cover an angle of view slightly larger than the *widest* setting
on the flash; rid your photos of silhouette shadows of your subjects so
typical of on-camera flash; and, with an appropriate lanyard, work quickly
while taking advantage of the difference that off-camera flash makes.




HS/Michael








-- 
***************************************************************
honna segel
department of computer science
concordia university  *****************************************
Newsgroups: rec.photo
Subject: Re: looking for information on pinhole photography.
From: fred-mckenzie@ksc.nasa.gov (Fred McKenzie)
Date: 19 Aug 92 13:15:08 EST
Followup-To: rec.photo,alt.models
Distribution: world
Organization: NASA/Kennedy Space Center, Florida

In article <1992Aug19.031500.28649@panix.com>, reynolds@panix.com (Brian
Reynolds) wrote:
> The one or two books I've seen that go
> into actually using a pinhole lens state that the sharpness suffers
> when using a pinhole.  The pictures in the IPMS article are much
> sharper than any of the pinhole pictures in the general photography
> books.

Brian-

As a camera lens's aperture gets smaller, depth of focus increases, and the
central portion of the lens being used comes closer to being flat.  In the
extreme case of the pinhole aperture, no glass need be present at all. 
Depth of focus becomes nearly infinite.

However, there is the effect of diffraction, where light passing over a
sharp edge, is slightly bent.  The aperture of a camera lens acts as the
sharp edge.  At wide apertures, the percentage of light being bent is
insignificant.  Somewhere around f/11, there is a limit to lens resolution
determined by the aperture, rather than the accuracy of the lens formula. 
Beyond this point, the resolution of a good lens, is said to be
"diffraction limited".  With smaller apertures, the percentage of light
affected by diffraction becomes greater, causing a fall off of sharpness.

Thus, a pinhole "lens" is not as sharp as a good glass lens set to f/8,
even though it has far greater depth of focus.

What else is there to know about pinhole cameras?  In my ignorance, I would
assume you could use some technique to measure the actual diameter of the
pinhole, and calculate an effective f/stop by dividing by the distance from
the pinhole to the film plane.  Knowing this, having a light meter reading
and knowing film sensitivity, you should be able to arrive at a shutter
speed.

fred-mckenzie@ksc.nasa.gov
From: jstewart@Software.Mitel.COM (John Stewart)
Newsgroups: rec.photo
Subject: Re: Medium-fomrat camera with a self-timer?
Date: 13 Aug 92 14:41:13 GMT
Organization: Mitel. Kanata (Ontario). Canada.

In article <1992Aug11.220029.19224@walter.bellcore.com> hsong@ardour.bellcore.com writes:
>It may be a dumb question.  Is there any medium-format camera with
>a self-timer?  If not, is the reason historic or simply that there is
>not much need?  The problem is that I would like to be included in a
>family portrait.  But unless I call my neighbor to have him push the shutter
>button or I buy a longer-than 5m remote release, I can't be there in
>the picture.  Any good idea out there?

The Fuji cameras certainly do. I'm 99% sure about the Mamiya 6. The
others I can not speak about.

You still see the odd mechanical shutter release doo-dad in camera 
stores that screws into cable release sockets.

I also have had luck with an air-bulb release. It is better than a
self timer in that one can actually decide when to release the shutter.

--
"I wish to god these calculations had | John Stewart - Mitel Corp, Kanata Can.
been executed by steam" - C Babbage.  | jstewart@software.mitel.com
From: ghica@fig.citib.com (Renato [Titanium Cranium] Ghica)
Newsgroups: rec.photo
Subject: Re: REPOST:  AF Camera feature list
Date: 19 Aug 92 20:39:58 GMT
Organization: Citibank IBISM
Originator: ghica@duck


All five nikons are listed as having "FULL manual mode".
It was my uinderstanding that you cannot take pictures with the 8008s
if the batteries are dead. Is this not true?

-rg
-- 
--------------------------------------------------------------------------
"These views are my own. / Mail me or Flame me"

>@)
Newsgroups: rec.photo
From: stoppani@ninja.zso.dec.com (Pete Stoppani)
Subject: FOR SALE:  Canon EOS630
Followup-To: stoppani@decwet.enet.dec.com
Reply-To: stoppani@ninja.zso.dec.com (Pete Stoppani)
Organization: Digital Equipment Corporation - DECwest Engineering
Date: Thu, 13 Aug 1992 21:38:10 GMT




	Canon EOS630 for sale.


	1 year old and in excellent condition.
	Includes user manuals.

	Reason for selling (because everyone always asks!):
		Saved up enough for an Elan ;-)

	Asking $195 or best offer.  I'll pay shipping to anywhere
	in the US.

	Thanks.


--
| Pete Stoppani          | stoppani@rust.zso.dec.com                 |
|  DECwest Engineering   | stoppani@decwet.enet.dec.com              |
|  Bellevue, WA          | decwrl!fungus.enet!stoppani               |
From: whheydt@pbhya.PacBell.COM (Wilson Heydt)
Newsgroups: rec.photo
Subject: Re: media permanence
Date: 21 Aug 92 18:08:09 GMT
Reply-To: whheydt@PacBell.COM (Wilson Heydt)
Organization: Pacific * Bell, San Ramon, CA

In article <1992Aug22.000609.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au (Paul Repacholi) writes:
>Not only do you have to garentee the permenance of the media, you have to have
>working drives, decoding software ect. Tryed to buy a set of heads for an IBM
>2211 disk drive lately? ( 1965 vintage ) Care to try to 'de-JPEG' an image so
>it is compatable with what ever is around in 100 years?

Ahem . . .  2*3*11.  It was an ungrade with interface for IBM S/360
machines of the 1311 (ca. 1959) for the 1401 and 1620.

>The computer industry has demonstrated that IN PRACTISE the 'permanance' of
>digital is not realized due to human failings.

My minor correction shows, I think, that the problem is even more
extensive than you've shown.  Even if you had a full set of specs (and
the means to read them!  Stored *how*?), you still have to know what
to look for.

After all--even if I handed you a 1314 disk pack--would you know what
*drive* to mount it on?

	--Hal
-- 
Hal Heydt                    |    "Boycott Time-Warner"
Analyst, Pacific*Bell        |         --J. Danforth Quayle
510-823-5447                 |    "... kill all the lawyers."
whheydt@pbhya.PacBell.COM    |         --William Shakespeare
Newsgroups: rec.photo
From: ptse@bwdls49.bnr.ca (Paul Tse)
Subject: Re: Olympus Infinity (looks like an AF-1)
Organization: Bell-Northern Research, Ottawa, Canada
Date: Fri, 14 Aug 1992 21:32:45 GMT

wjh@cbnewsl.cb.att.com (william.j.hery) writes:

>>I have just bought a Olympus Infinity from a second-hand shop , there
>>were no instructions..but thats no hassle I can use it ok !. What I need
>>to know are 
>>2.  Dont tell me you cant switch the damn flash off !

>The little button next to the lightning bolt on top cycles through the
>four flash settings (which are indicated on the display on top): auto,
>auto-s (redeye prevention), off, and fill-in. Unfortunately, every time you
>open the front it resets to auto.

Actually, you described the Infinity II's flash control.  The Infinity
does not have any manual flash control.  It just has ESP autoflash (which
works quite well).  

Another thing which isn't very obvious to operate:  the Infinity's
focus-lock works like this:
 - use left hand to press little focus lock button
 - aim central focus mark at subject
 - press shutter button to lock in focus
 - release little focus lock button to make exposure
...it's counter-intuitive and quite a pain with all those fingers
doing stuff on such a compact camera!  :)

But it takes great pictures!!!

Newsgroups: rec.photo,rec.travel
From: usenet@adobe.com (USENET NEWS)
Subject: Re: Depth of View formula?
Originator: asanders@sparta
Organization: Adobe Systems Incorporated
Date: Thu, 20 Aug 1992 20:35:25 GMT

From David Jacobson, who has generously shared information on
depth-of-field calculation with many rec.photo readers:

************
                       f c
         depth = ----------------------
                   2            f c
                  M  ( 1 +or-  ------ )
                               F M
			 
Where
	f       effective f number of lens (corrected for "bellows factor"
                for macro shots)
		
        c       allowable circle of confusion, say .000030 meters

        M       magnification  ie image size / object size
	
        F       focal length of lens
		
                [use + for near depth and - for far depth]
				
The approximation above corresponds to ignoring the +or- term.  For
landscapes, however that term is not ignorable.  If the denominator goes
negative when using - , the rear depth of field goes to infinity.

One final addition.  This formula falls apart when the lens is focused
on infinfity, since M = 0, and the ususal notion of depth of field is
meaningless.  The nearest point that is in focus with the lens focused
on infinity is at distance

                  2
                 F
       S = F + ------
                f c
							    
(you can ignore the first F).  Thus for landscapes, a short focal
length lens will get a lot more in focus.
				
************

David has also posted a shell script called "depth" which calculates
depth-of-field for a given focal length, aperture and distance.
Works great. Here it is:

#! /bin/sh
# Usage examples: 
# depth 50 4 10
#       which 50mm lens at f/4 focused at 10 feet
# depth 105 8 10 m 
#       which means 105mm lnes at f/8 focused at 10 meters
# depth 35 2.8 infinity
#       which means 35mm lens at f/2.8 focused at infinity
# an optional 4th parameter is the units for distance, 
# it can be one of: ft in m cm mm
# or you can use just depth with no args and input as many lines as you 
# like of the same form.  Metric users can change default units easily.  
# The variable conf is the diameter of the acceptable circle of confusion,
# in meters.

if [ $# -gt 0 ]
then
input="echo $@"
else
input="cat -u"
fi
$input | awk 'BEGIN {
        conf=.000030;}
        {focallength=$1/1000;fstop=$2;
         z = fstop*conf/(focallength*focallength)}
# The following line sets the default units
        $4=="" {$4="ft"} 
        $4=="ft" {distToMeters=12*.0254}
        $4=="in" {distToMeters=.0254}
        $4=="m"  {distToMeters=1}
	$4=="cm" {distToMeters=.01}
	$4=="mm" {distToMeters=.001}
        $3=="infinity"{recipdist=0}
        $3!="infinity"{recipdist=1/($3*distToMeters-focallength)}
        {front = (focallength+1/(recipdist + z))/distToMeters;
         if (recipdist > z) {
                 rear=(focallength+1/(recipdist-z))/distToMeters;}
         else {rear="infinity";};
         print front,rear,$4;
        }'		  

******************
Newsgroups: rec.photo
From: eclipse@netcom.com (Brian McCullough)
Subject: Re: photo-developing, specifically nudes
Date: Thu, 13 Aug 92 04:54:47 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

liang@saul.cis.upenn.edu (Chuck Liang) writes:
: 
:   Does anyone know in what state that fine-art photographer who got
: arrested gestapo-style was in?  He had some nude photographs of his
: children developed at some store and the Police (I think FBI) came
: after him.  They separated him from his children and confiscated all
: his photographs and still refuses to give them back to him.  He's
: suing I think.  It was on one of those TV investigation shows
: (20/20?).  I wonder what South Carolina's laws concerning this are.
: Is what that Drug store doing even legal?
:

I believe that it was here in Northern Cal.  Our social views aren't
that restrictive, but our reactionism more than makes up for it.

 
-- 
Brian C. McCullough                                eclipse@netcom.com
Opinions ventured here are those of myself only.

"No tangled skein of stars can ward, I trow,
Who first hath set his tryst with Tristero."  (from memory; apologies to
M. Pynchon if it is misworded)
Newsgroups: rec.photo