HDTenEightyP/NetNews huggingface dataset:
From: moreaux@litsun22.epfl.ch (Michel Moreaux)
Newsgroups: rec.photo
Subject: Re: Leica, why so high?
Date: 6 Oct 92 16:54:30 GMT
	<30599@sophia.inria.fr> <BvHyDz.56H@watdragon.uwaterloo.ca>
Organization: Laboratoire d'informatique technique
In-reply-to: drraymon@watdragon.uwaterloo.ca's message of 2 Oct 92 13:49:11 GMT


Darrell Raymond writes :

|   I've used Leicas for over 20 years and I spent a short period in that
| time using Nikon and Minolta.  I went back to the Leica because I got
| the best results with it, but that is partly due to the fact that the
| M series doesn't have a mirror flapping around and so I can get sharper
| pictures at low shutter speeds.

It is the best argument I have ever seen concerning Leica. I do not own a Leica
but some Nikon stuff and I have made a lot of lens testings. I have always
noticed that the results obtained "on the field" where considerably worse than
those predicted by the tests. Finally, I determined that this was due to the
fact that the camera moves slightly when it is hand-held. In fact, when I used a
tripod the problem disappeared !

_Michel Moreaux
--
------------------------------------------------------------------------------
Michel Moreaux,                           | "Ceux qui ne savent rien en savent
Ecole Polytechnique Federale de Lausanne  |  toujours tout autant que ceux qui
Departement d'Informatique                |  n'en savent pas plus qu'eux"
Laboratoire d'Informatique Technique      |                  P. Dac.
EL-Ecublens                               |___________________________________
CH-1015 Lausanne                           
Phone # : (21) 693-46-72,   e-mail : moreaux@litsun.epfl.ch
------------------------------------------------------------------------------
From: dbernard@thewho.Central.Sun.COM (Dave Bernard)
Newsgroups: rec.photo
Subject: Re: about N90.
Date: 28 Sep 92 18:33:46 GMT
Reply-To: dbernard@thewho.Central.Sun.COM
Organization: Sun Microsystems

>probably find a solid market niche. It cannot replace the F3 in professional
>terms, as someone else has posted, but it may be substituted in the product line
>because of slumping F3 sales. 

This makes sense, in light of a previous release from Nikon, stating that
the F series specifically targets a high use market in terms of things such
as being able to tolerate, what, 100,000 shutter firings, while the "advanced
amateur (N8008? FE2?) offerings feature tolerances at half the professional
levels.

My only surprise is that Nikon has tolerated keeping the F3 line this long.  Am
I wrong, or is the F3 the longest running model Nikon has had (if we consider
FM/FM2/FM2n each as separate models)?

	Dave
Newsgroups: rec.photo
From: alix@indetech.com (Alexandria North)
Subject: Re: Popluar Photography (was does Popular Photography really protect/assist its readers?)
Organization: Independence Technologies, Inc. Fremont, CA
Distribution: usa
Date: Mon, 28 Sep 1992 23:07:18 GMT

In article <1992Sep26.035901.11698@cello.hpl.hp.com> jacobson@cello.hpl.hp.com (David Jacobson) writes:
>In article <9aS502P923A401@JUTS.ccc.amdahl.com>
>bjs@RUTS.ccc.amdahl.com (Barry Sherman) writes regarding Popular
>Photography:
>
>>In fact, I really need to examine what it is about it that so tweaks me.
>>I *should* be able to benignly ignore it as irrelevent.  Maybe it's that they
>>keep on sending it to me even though I've not paid them a cent in the last
>>year and a half and have even returned renewal notices with large notes
>>saying "STOP SENDING ME THIS MAGAZINE".
>
>I've been suspicious that there is some consumer spy agency that has
>some of us labeled BIG PHOTO SPENDERS.  Barry is a BIG PHOTO SPENDER,
>so he keeps getting PopPhoto free.  I am only a MEDIUM PHOTO SPENDER,
>so I get renewal notices for $5.95/year, when the Special Introductory
>Offer for the general public is something like $15.95/yr.  
>
>Maybe its because I've used my Visa card for purchases at Camera World
>of Oregon and Keeble and Shuchat (Palo Alto camera store).  Maybe its
>from sending in Nikon and Minolta "Warranty Registration" cards.  

By the way, I was wondering if anyone on the net has ever received their 
free Nikon magazine sample issue for sending in their warranty/reg cards
and filling out the questionnaire. I did this for my Nikon 8008s back in 
April, but I've never seen a Nikon magazine...

-- 
-----------------------------------------------------------
"Babies, babies, babies. Why did God make so many babies?
 But no, God didn't make them. Stupid people made them."
      -- Margaret Mitchell, Gone With The Wind
From: robert@apple.com (Rob O'Donnell)
Newsgroups: rec.photo
Subject: "Safe" cover for CRT
Date: 6 Oct 92 10:25:03 GMT
Followup-To: rec.photo
Organization: Apple Computer, Inc.

I am putting together a database for use in tracking my darkroom times and
film and print data.  I would really like to use this in my darkroom while
printing, so I need a source for a filter for the CRT (9" Macintosh) and
any advise or info anyone can provide.  I can put a frame together myself
if someone can advise me on what to use for the filter.

Thanks.  robert@apple.com
From: lenehanj@ul.ie
Newsgroups: rec.photo
Subject: Re: How do you pronounce Leica?
Date: 1 Oct 92 20:03:11 GMT
Organization: University of Limerick, Ireland

In article <1992Sep30.134224.3731@news.columbia.edu>, fag2@cunixb.cc.columbia.edu (Farul A Ghazali) writes:
> Like the subject line says, how do you pronounce Leica? Is is 'lay
> car' or 'lee car' or what? I'm having a bet with my friend and we need
> some expert advice to settle this thing.


Try "lie-ca". AS far as I know there isn't any "r" at the end !

Des O'Donoghue c/o lenehanj@ul.ie ( University of Limerick, Ireland)
From: moreaux@litsun22.epfl.ch (Michel Moreaux)
Newsgroups: rec.photo
Subject: Re: How to make a good ghost illusion?
Date: 28 Sep 92 14:49:04 GMT
	<1!!p+y=.sevenup@netcom.com>
Organization: Laboratoire d'informatique technique
In-reply-to: sevenup@netcom.com's message of 26 Sep 92 04:04:00 GMT


| Last year I did some experimenting with long exposures (multiple) to
| obtain ghost images. I got what I consider one of my best photographs
| ever but I must admit it was mostly luck. I was killing time in a
| hotel room and I had my tripod along with my F4 and SB24. I turned out
| all the lights and opened the shutter for 2 second intervals. While
| the shutter was open (I would remote trigger with the cordless :-) I
| would manually trigger the SB24 out of line of sight from the camera.
| I found that up to 5 images on one frame were possible (with Fuji 100
| slide @ f5.6) and the more images I used, the more the spill would
| illuminate the room and brighten the overall image. You can get some
| real cool images and I would like to try this outdoors some time as well
| (nudes ?). It requires a fair amount of bracketing and film waste but
---^

I used the same trick. It was in a room and the flash was held by a naked
model. The model held the flash in his/her hand with taking care not to direct
the light in the direction of the camera. The room was in complete darkness
and the camera shutter maintained open with a B pause. The model just wandered
in the room, taking some corporal expressions and deciding when the flash had
to be triggered. We took two rolls of 36 pictures. A lot of them were wasted
althought we used a B/W negative film. There was a great picture with 5
different postures of the model (lying on the floor, standing, sitting in an
"ood" chair ...). This picture looked terrific, kind of simultaneous
appearences of an ectoplams. Great.

_Michel.
--
------------------------------------------------------------------------------
Michel Moreaux,                           | "Ceux qui ne savent rien en savent
Ecole Polytechnique Federale de Lausanne  |  toujours tout autant que ceux qui
Departement d'Informatique                |  n'en savent pas plus qu'eux"
Laboratoire d'Informatique Technique      |                  P. Dac.
EL-Ecublens                               |___________________________________
CH-1015 Lausanne                           
Phone # : (21) 693-46-72,   e-mail : moreaux@litsun.epfl.ch
------------------------------------------------------------------------------
Newsgroups: rec.photo
From: brein@gpvax.jpl.nasa.gov (Barry Rein)
Subject: Bullets through balloons
Followup-To: rec.photo
Organization: Jet Propulsion Laboratory
Date: Fri, 2 Oct 1992 16:49:33 GMT

I have a Canon A-1, and a Speedlite 199A flash.

As the question implies, I am interested in taking photos of high-speed
phenomena like liquids dripping, hammers smashing light-bulbs, etcetera.

I understand the technique involves opening the shutter in a dark place,
then firing the flash at the exact moment your balloon bursts.

I further understand that a good way of triggering the flash is with a
microphone circuit.

My questions are:

1. What is the duration of a standard camera flash, such as the one I have?
2. Is this fast enough for short-lived phenomena?
3. If not, what sort of strobe should I look for?
4. Does anyone have information on sound-triggered flash circuits,
particularly  
   schematics. Or commercially available units?

Thank you very much.

Please reply to rec.photo, or directly to the address below.

******************************************
*       Barry Rein                       *
*       brein@dsfvax.jpl.nasa.gov        *
******************************************
*       No clever comment.               *
******************************************
Xref: sparky rec.photo:17210 misc.forsale:27644 ne.forsale:4358
From: ryuen@BBN.COM (Ray Yuen)
Newsgroups: bbn.bboard,rec.photo,misc.forsale,ne.forsale
Subject: Canon lens forsale
Date: 1 Oct 92 19:16:48 GMT
Reply-To: ryuen@BBN.COM (Ray Yuen)
Distribution: na
Organization: Bolt Beranek and Newman Inc., Cambridge MA
NNTP-Posting-Host: bbn.com



 I have a Canon 50mm F3.5 FD Macro lens with the FD25-U extension tube
 forsale.  It's in mint condition.  The lens sells for about $260 new.

 Price: $150.00

 Ray Yuen  (ryuen@bbn.com)
 (617) 873-8627  (days)
 (617) 783-1714  (evenings)
From: goldberg@oasys.dt.navy.mil (Mark Goldberg)
Newsgroups: rec.photo
Subject: Re: Olympus SuperZoom 3000 reliability and suitability
Date: 6 Oct 92 13:54:05 GMT
Reply-To: goldberg@oasys.dt.navy.mil (Mark Goldberg)
Organization: Naval Surface Warfare Center, Annapolis, MD

In rec.photo, news@walter.bellcore.com writes:
>In article <BvnI45.6FD@cs.dal.ca> armstrng@cs.dal.ca (Stan Armstrong) writes:
>Three months ago, I bought one for my mother-in-law as a gift. I
>am disappointed.
>The lens has very small maximum apertures
>(6.7 - 8.5ish). Combined with a very weak flash, you almost certain have
>to use ISO 400+ films for most situations.
>Thirdly, picture quality. Obviously inferier to an SLR even on 3x5s.
[elaboration deleted]

My wife bought this camera because of the many features included in
a small size package and friend's experience with another Olympus camera.
She didn't want the hassle of using either of my Nikon 8008 bodies,
zooms, flashes, etc. She like the idea of carrying it easily in my son's
diaper bag or in her belt pouch.  IT seems like a fairly feature packed
camera for its size and price.  I thought it would be easier to use
than my fancy Nikon systems.  I though it would be fairly relieable
in producing  acceptable shots.

Well, it is easier to use, but it's not as easy for one to get acceptable
shots.  If I had to train someone new to photography in a short time
and have them get good shots, I'd certainly direct them to my Nikon
instead.  ON the 3000, it is very easy to block the flahs with one's
finger.  The parallax changes with distance, making one unsure of composition.
The power zoom is a nifty feature, but I thinkk manual zoom is instinctively
easier.

My indictment of the camera may not be specific to this one.  It is
a criticism of the assumption that point and shoot cameras are inherently
easier to use in getting good shots.  They are not easier, just smaller
and lighter.
Newsgroups: rec.photo
From: dsp@halcyon.com (Don Smith)
Subject: ASMP Copyright Guide now available
Keywords: Copyright e-mail ASMP
Organization: Northwest Nexus Inc. (206) 455-3505
Date: Mon, 5 Oct 1992 01:42:23 GMT

 Hello,

 The Copyright Guide from the American Society of Media Photographers
is now available via e-mail. It's just over 17K long and can be had
just by sending a request to yours truely.

   Thanks,

     Don


 Don Smith Photography
 dsp@halcyon.com

Newsgroups: rec.photo
From: "martin tai" <martin.tai@canrem.com>
Subject: leica, why so high
Reply-To: "martin tai" <martin.tai@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 3 Oct 92 10:34:00 EST




1)    Leica, in particular the  M series, are made in Germany.
All German camera's are expensive, due to their higher cost.

2).   The  Leica body,  ( M series)  are precision machine
and of  highest  quality, robust and long lasting.

3)  The  optical lenses  of  Leitz  are  among the best.

4)  The  only  35mm  camera which  beside  having  excellant
   optical  imaging  property, also  process  exceptional
   social   imaging  property, i.e, it is  a status symbol.
   it is the  Rolls  Royce of  camera.
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.photo
From: news@walter.bellcore.com
Subject: Re: Experience with Canon EF 70-210USM
Reply-To: jchen@wind.UUCP (Jason Chen)
Organization: Bellcore, Morristown, NJ
Date: Tue, 6 Oct 92 03:10:49 GMT

In article <1992Oct6.025312.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au (Paul Repacholi) writes:
>In article <BvIFsn.KuJ@acsu.buffalo.edu>, tklai@acsu.buffalo.edu (Tobysze K. Lai) writes:
>> So, what's the f/ stop reading when the focal length of the 70-210 USM
>> reaches 100mm?  Still 3.5?  
>> 
>No. It is down to f4 at about 95mm. The other thing, Canon skimped on the length
>of the blades of the iris, so untill f8 the ends protrude into the apature and
>increase difraction.
>
>~Paul

Paul is right. It drops to f4 at about 95 mm and to f4.5 at about 200 mm.


C. Jason Chen 
jchen@wind.bellcore.com
Newsgroups: rec.photo
From: rajiv@hilltop.mitre.org (Rajiv Kohli)
Subject: Filters, Lots of Qs...Please help
Organization: The MITRE Corporation, Bedford, MA
Distribution: usa
Date: Mon, 5 Oct 1992 16:54:59 GMT


I just bought two filter, Polarizer and a tungsten Color Correction.
I was just wondering if somebody could guide me the use of mixing two of
them together. I don't like the idea of switching lenses in the first
place and then followed by switching filters..OOOOOH!

What I was wondering the results would be if I left the polarizer on and
for night photography put the color correction on top of it. Is it a NOT!

How about in the daytime if I left the Color correction filter on? Is
this a NOT, too?

I use a Minolta 7000 SLR
	with 4000AF flash
	100ASA or 125ASA Kodak

Does the color correction work only for Tube lit room or for filament
bulbs too?

What make of filters are good? I was told that COKIN are plastic and not
recommended. So I bought HOYO. Then somebody told me that I should have
bought TIFFIN. The latter two are in glass.

Last of all. When I use a 28mm setting on my 28-85 lens with wifee
standing on the side and I try to cover a wide area (Also using a auto
focus auto zoom flash), my wifee almost always comes out over exposed.
Since she is always standing at a variant distance from the camera I am
looking for a general to avoid over exposure of objects close to the
camera when one is using a wide angle to cover a vast area. 
---------------------------------------------------------------------------
Rajiv Kohli		Email: rajiv@mbunix.mitre.org Tel: (617) 271-3506
Mitre Corporation 	Intelligence System Integration and Support
202 Burlington Road 	Bedford, MA-01730 Mail Stop: K 306
---------------------------------------------------------------------------
 @                               _                                  ,,       
 \\   _   @'                    ( )_                       .      _  \\     
  \\_( )_//                    / Y |                   .      /--( )_//     
    | Y/--                    /\   /               .        '//  \~ \       
    |_/       _ / o"         ( _\ /            .                   - \      
  _ //\      | | |    .       \_\\\        .                     //  \\--,  
 /_// /      | | |      .    / \ \\\ .                           \\         
/ // /_______|_|_|__________/_/_\ \_______________________________\\_______
-------------------------------------------- Play Cricket -----------------
Organization: University of Illinois at Chicago
Date: Tuesday, 29 Sep 1992 06:59:00 CDT
From: Allan H. Yamakawa <U43367@uicvm.uic.edu>
Newsgroups: rec.photo
Subject: Re: Is Polaroid Type 47 film still available?
 <1992Sep22.013339.15727@news.weeg.uiowa.edu> <lbu5u8INNera@news.bbn.com>

My most recent correspondence with Polaroid Corp (within 6 months) was

that they continue to stock and sell it by mail order direct from the

factory.
Newsgroups: rec.photo
From: cathy@techbook.com (Cathy Gaupo)
Subject: Nicon F3 camera/motordrive
Organization: TECHbooks of Beaverton Oregon - Public Access Unix
Date: Tue, 29 Sep 1992 05:19:51 GMT

Several months ago,  I bought a motor drive for my Nicon F3.
I attached it and played with it and put the camera away and didn't
think about it for a long time.  Well, I wanted to use my camera this
past weekend without the motor drive attached.  But I couldn't because
it seems that I lost the round thing (sorry- not very technical) that
connects the camera to the motordrive.  (Not the item in the center
where you attach your motor drive to the camera, but the thing on the
side where you put your film in).  

So if anyone out there knows what I'm talking about, how easy is it to
buy a new one?  I called my camera shop, and they knew what I was
talking about, but said they couldn't get one.  

How important is it?  Will it let in light if I unattach my motor drive?

I realize these questions are fairly easy for all of you, but
I'm a very infrequent photographer with way too sophisicated camera my 
skill level.

Thanks,

cathy@techbook.com

Cathy

-- 
cathy@techbook.COM  Public Access User --- Not affiliated with InterCom
Public Access UNIX and Internet at (503) 220-0636 (1200/2400, N81)
Newsgroups: rec.photo
From: ehr@ecsvax.uncecs.edu (Ernest H. Robl)
Subject: Re: Studio flash advice request
Summary: tradeoffs
Organization: UNC Educational Computing Service
Date: Thu, 1 Oct 1992 21:22:26 GMT

In article <1992Oct1.182859.16684@bcrka451.bnr.ca>, ppt@bnr.ca (Peter Preston-Thomas) writes:
> 
> I'd like to buy some studio flash equipment in the under $1000 dollar
> range.  I could get a multi-flash kit such as the Studio-Pro Commercial
> kit or the Britek kits, or I could get something like the White
> Lightning flash units (just one for now - $$$).  I'm leaning away from
> the separate head & power-pack configuration but I'd be interested in 
> comments on these too.

  ... [rest deleted ] ...

Both monolights and central powerpack systems have advantages and
disadvantages:

Power Pack advantages:
-- Heads are smaller and lighter, requiring lighter stands and booms
-- Once you have the basic system, adding another light is cheaper
-- If you want to add or decrease power to all lights, you can do it
     at one place (on the power pack)
-- You can upgrade to more light output in most cases by keeping 
     your heads and just adding a more powerful powerpack

disadvantages:
-- If your pack dies, your whole lighting system is out of commission
-- All your power drain is on one circuit (This is a problem only 
    with high-end systems, which can overload circuits in some homes
    or other older buildings.)

Monolight advantages:
-- A failure will not disable your entire lighting system
-- More freedom in placement of lights over a large area, since you
     don't have to run cables to a central point, though you still
     need power outlets at each location.
-- Starter set of two or three lights may be cheaper per light

disadvantages
-- For larger light kits of several lights, total weight may be more
     since some equipment has to be duplicated in each light
-- Actual light heads are heavier per unit, requiring heavier stands
     and booms
-- Varying over-all power requires going around to each light to 
     change power settings

I've used both types of systems -- and still do.  Check out the 
low-end Novatron kits with two or three lights.

-- Ernest
-- 

"My other computer is a Nikon N8008." -- Ernest H. Robl
Ernest H. Robl (ehr@ecsvax)  Durham, NC, USA   +1  919   286-3845
                                         FAX:  +1  919   286-1696
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: EPP vs EPX
Date: 27 Sep 92 23:15:42 GMT

In <1a4516INNb1l@usenet.INS.CWRU.Edu> bu890@cleveland.Freenet.Edu (Brian Segal) writes:

>I mostly use Fujichromes as the range from Velvia to RDP allows one
>to vary color intensity and saturation once you know how to tweak it..for
>an all round film in E-6 RDP is hard to beat..and Velvia can be pure
>magic once you understand it's character.

Could you elaborate on this last paragraph?  I don't have much experience
with shooting slides.

Thanks.

>Brian

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: nmiller@starbase.trincoll.edu (norman miller)
Subject: Leicas for sale
Organization: Trinity College, Hartford, CT.
Date: Fri, 2 Oct 1992 20:31:01 GMT

Given the interest in Leicas I thought I'd
mention that I have a brand-new (unopened boxes)
Leica M6 outfit for sale: 35,50,90 Summicrons.

I'd rather not sell them but that's how things
go sometimes.  Needless to say, prices will be
below street price.
From: rkatos@hpunila.MSR.HP.COM (Ray Katos)
Newsgroups: rec.photo
Subject: Re: dark-field intensification (was: Postprocessing help!)
Date: 2 Oct 92 18:50:35 GMT
Organization: Hewlett Packard Sales, Naperville IL

Unfortunatly no.
At this point, film developed, and bleach/fixed, all that is 
left is color couplers.

If you have any more film taken under the same conditions and it
is undeveloped you can 'push' the film speed. This is done by
extending the time in the developer.  Color shifts and increases in
contrast take place, but its sometimes an effective trade-off.

Now that the film has been developed, your essentially out of options.
From: billn@hpcvaac.cv.hp.com (bill nelson)
Newsgroups: rec.photo
Subject: Re: Popluar Photography (was does Popular Photography really protect/assist its readers?)
Date: 29 Sep 92 19:02:51 GMT
Article-I.D.: hpcvaac.1992Sep29.190251.19020
Distribution: usa
Organization: Hewlett-Packard Company, Corvallis, Oregon USA

jacobson@cello.hpl.hp.com (David Jacobson) writes:
: 
: And, Barry, if you really want to make them stop, [[rumor mode on]]
: just go to the Post Office and say that this magazine has been sending
: you sexually explicit material that you find offensive.  You don't
: even have to prove it, just claim it, but you could take along one of
: the issues with nudes---I think the last one has a nude painted with
: blue paint---and they will give you a form to fill out.  That gets sent
: to Pop Photo, and if they don't stop once they've received it then
: you go back to the Post Office, and the rumor is that the PO really gets
: on their case.

It doesn't even have to be sexually explicit. All that is required is that
you feel the material is offensive.

Bill