HDTenEightyP/NetNews huggingface dataset:
From: dsp@halcyon.com (Don Smith)
Subject: Re: Disclaimer on Photos
Organization: Northwest Nexus Inc. (206) 455-3505
Distribution: usa
Date: Thu, 19 Nov 1992 19:05:53 GMT

  Steve gave you good advice about the correct notice to put on a print,
use it!

  One thing you need to be aware of is the difference between a
solicited and unsolicited submission. If you send mag's etc. original
chrome's, prints or any usable image without them asking for it, your
taking your chances.

  Basically the idea is to send them something that gives them a sense
of your work so that they become interested in what you have and do and
then ask or solicit a submision from you. A mailer or some type of mini
portfolio with a cover letter which also lists the other bands that you
have photo's of might be a good way to go. (I say mini portfolio in the
sense of a number of small prints with all of your information on them,
constructive (c) notices and contact information for you)

  One thing to keep in mind is what you see in all magazine mastheads.
"Not responsible for unsolicited submissions"... They don't have to
return it to you and if they use they might not even pay you.

  You might give the ASMP a call at: 212/889.9144  and ask about the
cost of the Forms that are available. They'll help you with Delivery
Memo's which spell out how long a client can keep your images, a count
and description of the images etc.   Basically they're a collection of
forms that you can use to establish a paper trail. The forms have been
around for years and most photog's and publishers are familier with
them,... ie. they're a good industry standard to use as a base.

  One other resource to look into are the books on pricing stock
photography by Jim Pickerell. He's been at it for 30 years and still
going strong. I'm no stock photographer and haven't seen the books but
when you consider that several years ago a client would pay $80K for 1
page of color in Natl. Geographic... it gives you an idea of how buying
photography fits into the overall budget.

   Good luck!

       Don


dsp@halcyon.com

Newsgroups: rec.photo
From: raju@cs.UAlberta.CA (Raju Patil)
Subject: Re: candid photo lens? is there such a thing?
Organization: University of Alberta, Edmonton, Canada
Date: Mon, 16 Nov 1992 22:42:25 GMT

supplies@sklib.usask.ca writes:

>Is there anything like a lens that has a 45 degree mirror in it
>that will take pictures at a right angle to the camera?
>I guess it would be a funny looking thing but you could be facing one
>direction while taking a candid photo of someone to the far left or right.
>Maybe its not a practical idea.
>If you have seen, heard of, or used one, please let me know about it.
>Thanks

>D.B.

 Exactly what i was thinking of a couple of weeks back --
 when i wanted to photograph someone (very shy).
 Advancing the idea a bit further, we could have pan/tilt
 controls for the mirror to take just about any picture,
 without changing the direction we are facing :-)

 One could then, not only use it for candids, but also 
 in situations like -- you are sitting in a car and want to take
 a snap without leaning out too far .. just protrude the 
 camera out a bit and take in the perpendicular view.. DREAM ON! ;-)

 Raju
From: epperly@osnome.che.wisc.edu (Tom Epperly)
Newsgroups: rec.photo
Subject: Pen ink on a negative
Date: 18 Nov 92 17:42:10 GMT
Article-I.D.: osnome.EPPERLY.92Nov18114151
Distribution: na
Organization: University of Wisconsin-Madison, Chemical Engineering

I have a small dot of blue ball point pen ink on one of my negatives.
A pen dropped on the negative while I was filling out a form to get an
enlargement of it.  Is there a safe way to remove ink from the
negative?  The ink is on the side opposite of the emulsion.

				Tom
--
-------------------------------------------------------------------------------
Tom Epperly	University of Wisconsin-Madison		Chemical Engineering
(608) 262-8264	epperly@osnome.che.wisc.edu		Graduate Student
Member of the League for Programming Freedom(fighting software monopolies)
	For more info contact me or lpf@uunet.uu.net.
If you feel you must flame, please send email rather than posting.
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Newsgroups: rec.photo
From: pd@sics.se (Per Danielsson)
Subject: Re: Setting up a darkroom...
Organization: Swedish Institute of Computer Science
	<BxvGBq.6wr@watserv1.uwaterloo.ca> <BxvK7u.3A1@watdragon.uwaterloo.ca>
Date: Wed, 18 Nov 1992 09:35:53 GMT

In article <BxvK7u.3A1@watdragon.uwaterloo.ca> drraymon@watdragon.uwaterloo.ca (Darrell Raymond) writes:

>  Stop bath is relatively inexpensive.  Rather than avoiding it so you 
>have "one less chemical" to wash out, I'd worry about whether your 
>fixer's acidity was prematurely exhausted, and whether you were 
>compensating for that by over-fixing.

Commercial stop bath is just acetic acid with some kind of indicator
(it changes color when depleted). You can save some money by buying
acetic acid and diluting it.
--
Per Danielsson				pd@sics.se
Swedish Institute of Computer Science, PO Box 1263, S-164 28 KISTA, SWEDEN
Newsgroups: rec.photo
From: sli@athena.mit.edu (Sheung L Li)
Subject: Boston Camera Club
Organization: Massachusetts Institute of Technology
Distribution: ne
Date: Wed, 18 Nov 1992 15:47:51 GMT

sli@athena.mit.edu
From: svaradar@mipos2.intel.com (Srivatsan Varadarajan)
Newsgroups: rec.photo
Subject: Good, lightweight video/photo tripods < $ 75.00 ??
Date: 16 Nov 92 18:26:42 GMT
Distribution: usa
Organization: Intel Corporation, Santa Clara, CA USA



Hi !

I am looking for a lightweight but reasonably sturdy 
tripod that can be used both with an 8mm camcorder and
an EOS 10s. By lightweight I mean that I should be able
to hand carry it without much effort (< 4 lbs ?). A fluid
pan head is obviously a requirement, as is the facility
to take vertical still shots.

I would also like to spend less than $ 75.00.

I have heard about the SLIK 503QF and 511QF, among other
models. Has anybody had any experience with these ? Pros/Cons ?

Recommendations and advice are greatly appreciated.


Thanks,

Sri


Srivatsan H. Varadarajan          
svaradar@sangeet.intel.com
(408)765-4866
Newsgroups: rec.photo
From: castellano_joe@Tandem.com (JoeCastellano)
Subject: Beseler Co. Location
Organization: Tandem
Distribution: usa
Date: Mon, 23 Nov 1992 17:38:43 GMT

I recently purchased a used Beseler Model 23 C II - XL color
enlarger, colorhead (8185) and PM2L Color Analyzer.
Trying to obtain a set of manuals but Beseler is no longer 
located in Florham N.J. which is the location indicated on
the enlargers model labels.
Any one know where I might obtain a set of manuals or where
Beseler is now located ??
                       Tnx. in advance
Joe Castellano
408 285-4221 
Newsgroups: rec.photo
From: sparks@col.hp.com (John Sparks)
Subject: Re: candids
Date: Wed, 18 Nov 1992 15:47:27 GMT
Organization: HP Colorado Springs Division

In article <BxuGv9.I23@cs.dal.ca> graham@ug.cs.dal.ca (Michael Graham) writes:
>I have to take candids for the university yearbook and I need advice on how
>to get good shots. I will be buying a x-300mm for my EOS 650, so that should
>help in that I don't have to be in a person's face to get a nice close-up.

You don't want to be in someones face for a candid.  Close-ups are generally
not good yearbook photographs (except for known people like department
heads or something).  Most yearbook photographs show people in context with
their surroundings.  You want to know that this person was in the library
or the computer lab or whatever.  These kinds of photographs are made 
most easily with a relatively normal focal length--say 35mm to 100mm.
My most used candid lens when I worked on the yearbook in college was
a 35mm f/2.8 lens.  With that I could make photographs inside most buildings
without flash with 400 speed film.  I don't think I ever made a candid
inside a building with anything longer than 105mm, although I occasionally
made candids outside with a 180mm and most outdoor sports required at least
a 300mm.  Things are better today than 10 years ago when I was in school,
so my idea at the time of a 35mm and 85mm combo might today be a f/2.8
35-70 zoom.  If you will be using a flash, even a slow 35-105 or so zoom
would work fine, but it's hard to be as unobtrusive with a flash.

It was really hard to get started, but after making photographs for a while,
you get really used to just taking out your camera and making photographs
anywhere any time.  People will ignore you, especially in school where 
yearbook and newspaper photographers are always making pictures.  If anyone
asks, just say its for the yearbook.  If anyone complains, just say sorry
and go somewhere else.  If you are in a small room with few people, it's
probably better to ask if its ok first (they are going to know you are 
photographing anyway).  If you are in a big room with lots of people or
a location where the subject may never know you made the photograph, don't
bother.

>So all I am going on right now is: fast film, long lens. 

I'd try 400 speed film, short to medium, fast lens.  If you are short
on cash, just get a 50mm 1.8 lens, this gives you lots of flexibility
and is really cheap.

John Sparks
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: LONG EOS lenses.  (was Re: EOS Rebel IIs vs competitors)
Date: 24 Nov 92 05:16:26 GMT

In <1992Nov23.223055.3058@cbnewsm.cb.att.com> ka1gt@cbnewsm.cb.att.com (robert.m.atkins) writes:

>I agree the Rebel is a great camera for the money. Now, is there really a
>1200mm f5.6 EF series lens? Was it one of the "Olympics specials"? (I know
>Canon in the past have produced some spectacular "one-off" lenses for such
>events). I assume they are unobtainable if so (and I assume no mortal could
>afford one if they were!).

I saw this mentioned in some UK photo mag (Photo Plus?).  It supposedly
lists at 33,000 pounds.  (No idea what the exchange rate on the British
pound is these days.  No matter what, I can't afford to even rent
one, and I don't believe in cruelty to tripods. :-)

I've also heard rumours of an 800/4.0L in the works...

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______________________|
From: Rev Dr Phil Herring <phil_herring@info-gw.uow.edu.au>
Newsgroups: rec.photo
Subject: Re: Schneider G Claron for Landscapes?
Date: 19 Nov 1992 23:52:29 GMT
Organization: The University of Wollongong
Distribution: world
NNTP-Posting-Host: the-big-iron.cs.uow.edu.au
X-UserAgent: Nuntius v1.1.1d12
X-XXMessage-ID: <A73263E3890140C2@the-big-iron.cs.uow.edu.au>
X-XXDate: Fri, 20 Nov 92 09:44:03 GMT

In article <1992Nov12.235200.806@mercury.cair.du.edu> Thorn Roby,
troby@diana.cair.du.edu writes:
>After seeing a recommendation for this lens in the Zone VI catalog
>as a good general purpose lens (despite the fact that it's optimized
>for closeups) I decided to give it a try. My initial tests of the
>150 (at 25 feet) are not too impressive - about 35 lp/mm. I'll be
>repeating the tests, but I thought I'd check to see whether anyone
>has used it for this purpose. By comparison, I shot the same test
>charts (at 12 feet) with my EL-Nikkor 80/5.6 (also a six element 
>design optimized for closeups) and got about 50 lp/mm.

The G-Claron should be diffraction-limited at f/22 and under. It
should cover 6 by 9 with ease and be sharp all the way to the corners
(they have an image circle of eighty degrees at f/22). They really
aren't designed to be used at their maximum aperture of f/9 or so;
use f/16 at least.

Assuming that you *were* using the lens at f/22 or better, you might
check that the lens is set up correctly. The aperture diaphragm should
be in the exact optical centre of the lens; if it isn't, it will have
to be seen to, otherwise you'll get aberrations (and probably focus
shift, too).



-- Phil.
-----------------------------------------------------------------------
       Rev Dr Phil Herring, University of Wollongong, Australia 
Copyright (c) 1992 Phil Herring         phil_herring@info-gw.uow.edu.au
"My manner of thinking, so you say, cannot be approved. Do you suppose 
I care? A poor fool indeed is he who adopts a manner of thinking for 
others! My manner of thinking stems straight from my considered 
reflections; it holds with my existence, with the way I am made. It is
not in my power to alter it; and were it, I'd not do so."
                                      Donatien Alphonse Francois de Sade
------------------------------------------------------------------------
Newsgroups: rec.photo
From: donl@glass.esd.sgi.com (donl mathis)
Subject: Re: Whither Fred Picker ?
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Distribution: rec.photo
Date: Mon, 16 Nov 1992 21:37:41 GMT


In article <MULLINS.92Nov14141449@media-lab.media.mit.edu>,
mullins@media.mit.edu (Atty Mullins) writes:
|> 
|> In the latest issue of Camera and Darkroom, Fred Picker's column was
|> conspicuously absent. Are we no longer to be blessed by his charming
|> anecdotes and terribly insightful criticism ? Please someone, tell
|> me it isn't so.

One can only hope.  I reread one of his reviews again this morning, and
it made me sick at heart for the poor guy who sent in a reasonably
nice photograph.  Picker can really be a turd.

Now let's hope they dump A. D. Coleman, who is a self-important
egocentric pompous arrogant snob who takes himself *much* too
seriously!

Actually, my solution is to dump Camera and Darkroom, as soon as the
subscription runs out.  Darkroom & Creative Camera Techniques is much
better all the way around, I think.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com
Newsgroups: rec.photo
From: ka1gt@cbnewsm.cb.att.com (robert.m.atkins)
Subject: Re: Comments on Pentax Stereo Adapter?
Organization: AT&T
Distribution: na
Date: Mon, 16 Nov 1992 17:45:17 GMT

In article <1992Nov16.090442.1757@guvax.acc.georgetown.edu>, dtalmage@guvax.acc.georgetown.edu writes:
> Pentax has a stereo adapter and viewer in their current product 
> catalog.  The adapter goes on your 50mm lens, letting you take 
> single-frame stereo slides.  You must use the special viewer to see 
> your slides.
> 
> I've seen some articles in rec.photo about Kodak Stereo Realist 
> cameras but nothing about the Pentax adapter.  Would anyone who has 
> used one of these rigs care to tell us about it?
> 
> BTW, the only price I could find in any Shutterbug ad was at Smile 
> Photo.  They want $84 for the adapter and $49 for the viewer.


I have one of these. The adapter is a beam splitter that produces two
images on each 35mm frame. They are thus vertical format (24mm high by
18mm wide). You need to use around f8 to get the best results. The viewer
is simple, just two lenses and a place to hold the slide - all in a plastic
body. The results are very good. You get a real 3-D impression. The vertical
format restriction is a bit limiting for those of us who are used to 35mm
horizontal format. One more point, the autoexposure system in most cameras
will be upset by the stereo adapter, which puts the split between the two
images on the center of the frame. It is best to meter the scene without
the adapter, set the aperture (around f8) and the shutter speed manually,
then screw on the adapter and take the picture.

You actually don't get a lot for your money - 4 small first surface mirrors,
two lenses and two plastic cases. However the results are good and the
Pentax adapter is pretty much the only one available (I've never seen
anything similar) so it's probably worth the price.


===============================================================
Bob Atkins  AT&T Bell Labs  email (direct)  att!clockwise!rma
===============================================================
From: robert@labtam.labtam.oz.au (Robert Groom)
Newsgroups: rec.photo
Subject: EOS 80-200 f/2.8L (was Re: Changing N8008 for the new Canon?)
Date: 18 Nov 92 03:57:29 GMT
Organization: Labtam Australia Pty. Ltd., Melbourne, Australia

jimc@tau-ceti.isc-br.com (Jim Cathey) writes:

>In article <1992Nov16.090512.15805@sequent.com> blue@sequent.com (Gil Delavous) writes:
>>consider to buy the new 28-105 3.3/4.5 USM then the 80-200 2.8 USM later. 
>>I was wondering if it would be a mistake to change my *metal-old-fashioned*
>>equipment for a *plastic-all-options* new one...

>The 80-200 f/2.8L is not a USM lens, though it's pretty quiet.  It's also
>metal-bodied (not just the mount).  Some innards may be plastic, though.
>I haven't the courage to open it and look!

It's not part of the "innards" but I know for certain the AF-MF switch on
the barrel of the EF 80-200 f/2.8L *is* plastic.
Mine broke due to a small flaw in the moulding.
I put this down to plain bad luck since I have never had (or heard of)
any similar problems with this or any other EF L series lenses.

BTW it took Canon Australia nearly two months to repair it - they had
to get a new switch sent from Japan! :-(

-- 
Robert Q. Groom                            "My other computer is an EOS-1"
robert@labtam.oz.au
Labtam Australia Pty Ltd         phone: +61-3-587-1444 fax: +61-3-580-5581
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: new from kodak... B&W in RA-4
Organization: Curtin University of Technology
Date: Mon, 23 Nov 1992 20:34:03 GMT

New from Kodak... A RA-4 paper fotr BLACK & WHITE prints from colour or
B&W negs... A combination of panalure and XP-1/2. I wonder whos patents
have just expired?? Call ektamax or some such I think... Can someone drag
real info from the Yellow Box for us??

~Paul
From: rbs@cyclops.micr.Virginia.EDU (Robert B. Sisk)
Newsgroups: rec.photo
Subject: Re: Elan vs 10s difference?
Date: 24 Nov 92 03:48:30 GMT
Distribution: usa
Organization: University of Virginia

In article <27793@oasys.dt.navy.mil> oreagan@oasys.dt.navy.mil (William Oreagan) writes:
>I've read the FAQ for the EOS series (thanks everyone ) but couldn't
>find the answer to this. What is the difference between the Elan and
>the 10s ? Is it strictly , or mostly, that the 10s is more metal in
>the body? Is the Elan quieter? What else? thanks.
>Bill O

This is the exact decision that I am facing!  Can someone help us out?
Is there a better camera for about the same price?  What about a Pentax?
Any suggestions would be appreciated.

Thanks
Bob


-- 
---------------------------------------------------------------------------
Robert B. Sisk  PhD			Internet: rbs@virginia.edu
NAR #53448				UUCP:     uunet!virginia!rbs
TRIPOLI #1583                           CIS:      71501.1651@CompuServe.COM
Newsgroups: rec.photo
From: dp@world.std.com (Jeff DelPapa)
Subject: Re: Contrast mask for Ciba's (was Re: Chrome prints other than Ciba's)
Organization: The World Public Access UNIX, Brookline, MA
Date: Wed, 18 Nov 1992 21:58:55 GMT


Has anyone tried the special glass intended for contrast masking? It
works like the automatic sunglasses - you lay the transparency on the
stuff and hit it with a uv-rich light source (an uncoated flash tube
was tyhe example I was given) - instant contrast mask - supposedly
lasting for 15 min - or until the stuff is heated past a certain
point...

<dp>
From: jwhitnell@cup.portal.com (Jerry D Whitnell)
Newsgroups: rec.photo
Subject: Re: Photo Schools
Date: Sun, 15 Nov 92 19:15:02 PST
Organization: The Portal System (TM)

|Has anyone out there had any experience with the various photo
|schools?  I'm especially interested in the Nikon School (one day
|seminar that travels around the country, $75) and the NYI School
|(correspondence course for 6mo-1yr, ~$800).  I'm not interested in
|full-time live-in schools.  Is there any correspondence course better
|than NYI?  I'm a serious amateur interested in taking better pictures,
|but have no intention of opening a studio.

I'm currently enrolled in the NYI program and have found it well worth
the money.  It is designed to take you from knowing nothing about
photography to the advanced amatuer-beginning pro level.  The course
is divided up into six units, each unit consisting of 3-6 lessons (30 page
booklets), 2 audio tapes, a quiz and a photo assignemnt.  The first three
units are also accompied by a video tape.  The photo assigment is three
photos you send in to be reviewd and you get back an audio tape with your
instructors comments on your images.

The first three units cover the basic technical side of photography (this
is film, this is camera, this is f-stop, this is depth-of-field), the last
three cover bredth of the field, with subjects including portrait, wedding,
nude, architecture, the zone system, etc.  

I like this program because, like you, I wanted something that I can work
into the rest of my life.  I listen to the tapes during my commute and can
shoot the lessons when I want to, not to meet some classes deadline.  The
biggest weakness is the lack of access to the instructors, but I take an
occasional weekend extension course to gain that and to get more in-depth
work in the areas I'm interested in.  For example, I just took "Fall at
Point Reyes", offered through the Berkley Extension.




|		Rob

Jerry
From: 6500rick@ucsbuxa.ucsb.edu (Richard J. Bessey)
Newsgroups: rec.photo
Subject: Posed photos.  Suggestions appreciated.
Date: 18 Nov 92 03:49:34 GMT
Distribution: rec

I have had to take some pictures of various people who
have won awards or honors.  Invariably, I have to take
these photos in an office.  Here's my question.

What can I do to make the standard desk shot more interesting?
Also, what else can I do in an office?

Any related responses will be greatly appreciated.

Rick
From: teter@vixvax.mgi.com
Newsgroups: rec.photo
Subject: Re: Turning photos into jig-saw puzzles
Date: 16 Nov 92 14:09:08 CDT
Organization: Management Graphics, Inc.

In article <1992Nov15.231218.3895@leland.Stanford.EDU>, ianchan@leland.Stanford.EDU (Ian Hin Yun Chan) writes:
> I've wanted for the longest time to have jig-saw puzzles with my very own
> photos on them. Can this be done? I was thinking they'll make great gifts.
> Does anybody have information about such services, and from what medium
> (eg negatives or slides?) do they require?
> Thanks!
> - Ian
-- 

YES!  J.C.Ayer & Company in Salem, Massachusetts   508-741-1522
	Wood puzzles with photo print mounted.

I have used this company with excellent results.

They use a proprietary water jet to carve the puzzle.  The kerf (width of cut)
is VERY SMALL.  They use a computer to design the pieces.  You can have custom
shapes and things like names as pieces.  The overall shape can be anything you
desire.

Process:
Sent negative and they make the proper print.  Also sent an example print
for them to use as a color reference so I did not get something that was
'too green etc.'  Allow a couple weeks in non-Christmas season.

This is expensive.  I spent $180 for one.

-----------------------------------------------------------------------------
Jim Teter					 Internet:      teter@mgi.com
Management Graphics, Inc.			 MGI Main:    +1 612 854 1220
1401 East 79th St.				 MGI FAX:     +1 612 851 6159
Minneapolis, Minnesota 55425-1128 USA		 Desk /vmail: +1 612 851 6101
From: falk@peregrine.Sun.COM (Ed Falk)
Newsgroups: rec.photo
Subject: Re: Tree Sap
Date: 19 Nov 1992 02:23:54 GMT
Organization: Sun Microsystems, Mt. View, Ca.
Distribution: na
NNTP-Posting-Host: peregrine

In article <1992Nov18.000118.23370@bcrka451.bnr.ca> poole@bnr.ca (Thomas Poole) writes:
>When I was a kid we always used margarine to
>remove tree sap from our hands.

Fine, but how do you remove margarine from a Nikon?

		-ed falk, sun microsystems
		 sun!falk, falk@sun.com
To be loyal to rags, to shout for rags, to worship rags, to die for rags 
-- that is a loyalty of unreason, it is pure animal (Mark Twain).