HDTenEightyP/NetNews huggingface dataset:
From: rodgers@ismdqa.intel.com (Mike Rodgers ~)
Newsgroups: rec.photo
Subject: Re: Help with Minolta 8000i (again)
Date: 17 Dec 92 05:35:30 GMT
Organization: Intel Corp.

In article <1992Dec16.085234.9816@leland.Stanford.EDU> ianchan@leland.Stanford.EDU (Ian Hin Yun Chan) writes:
>Thanks for responding about the exposure icon-thing. But now I've noticed that
>the "MODE" and the button just beside it, when pressed together changes s
>*something* from M to ME, and this time I'm absolutely clueless as to what's
>going on. So what_is_ going on?
>- Ian

Given that Minolta, along with other SLR manufacturers, have decided
to put a zillion useless beels and whistles on their AF bodies along
with the 8 to 10 actually useful features, you're never gonna get by
asking the net every time you find a new button or feature on your 8000i.
Call around to your local photo stores like Keeble and Shucat in Palo
Alto or Ewert's in Santa Clara or Gasser's in SF or Alph in Oakland or
Reed's in Walnut Creek and find somebody with an 8000i still in stock.
Ask them if you can go down and photcopy their 8000i manual in the store.
It shouldn't be too difficult to arrange and them you can play with
all the software to find those 8 to 10 features of value.  I did the
same thing when I bought my 8000i in Japan two years ago (after 
destroying another body during the trip) and only had a Japanese
manual when I got back to the US.  I've long since forgotton how to
use all the other features or where I left the photcopied manual ...

Good luck and MERRY CHRISTMAS!!!

Mike Rodgers
From: kting@cse.unl.edu (Kea Ting)
Newsgroups: rec.photo
Subject: Re: For Sale!
Date: 17 Dec 92 02:40:29 GMT
Organization: University of Nebraska--Lincoln
NNTP-Posting-Host: cse.unl.edu

fred-mckenzie@ksc.nasa.gov (Fred McKenzie) writes:

>It seems that Minolta made the "i" series cameras a little different than
>the older models.  Some of the second-source lenses wouldn't work properly
>with the 7000i and 8000i bodies, even though they worked very well with the
>older non-i bodies.  If you have a friend with an older body, try your
>Sigma lens on it.  It may be OK, just not compatible with the newer body.

   I have a 24-50mm sigma AF lens. It work fine on my 7000i. So what is the
reasoning here ? By the way, this 24-50mm sigma lens is a much newer design,
I suppose, I bought it about a year ago. (it came into market about the same time)
--
soon

University Of                  Disclaimer :
Nebraska-Lincoln               I always speak for myself.
From: yu@cvdv72.mayo.edu
Newsgroups: rec.photo
Subject: Re: Nikon MF lenses on AF bodies
Date: 15 Dec 92 15:27:09 GMT
Reply-To: syu@mayo.edu
Organization: Mayo Clinic, Rochester, MN



--
In article <1992Dec14.182747.25100@cs.UAlberta.CA> you write:
Newsgroups: rec.photo
From: rodney@cs.UAlberta.CA (Rodney Gitzel)
Subject: Nikon MF lenses on AF bodies
Organization: University of Alberta, Edmonton, Canada
Date: Mon, 14 Dec 1992 18:27:47 GMT


>Is there any performance penalty in using
> MF lenses on AF bodies (for Nikon)?  I'm
> just wondering, as someone told me once that
> you lose 2/3 of a stop of lens speed.
>
>Thanks.
>
>Rodney Gitzel

Nikon F4 or N8008/N8008s, in conjunction with the Autofocus Converter TC-16A,
enables the camera to work in the autofocus mode with more than 30 non-AF Nikor
lenses.  The TC-16A works as a teleconverter.  It increases the focal length of
compatible lenses by a factor or 1.6, accompanied by a proportional decrease
in the aperture.

For a list of compatible lenses, you can call Nikon at 1-800-NIKON-US


-
*******************************************************************************
Shu-Hon Yu                                   Internet: syu@mayo.edu
Mayo Clinic                                  Voice: (507) 255-6664
200 First Street SW                          FAX: (507) 255-5484
Mail Stop 2D-336 STM            
Rochester, MN  55905            
*******************************************************************************
Newsgroups: rec.photo
From: ioannis@isis.sce.carleton.ca (Ioannis Lambadaris)
Subject: Popular Photography & Chasseur d' Images  (sp?)
Organization: Systems & Computer Eng. Dept., Carleton University, Ottawa, Canada
Date: Thu, 17 Dec 1992 21:38:04 GMT

I was in Magazine/News store in Montreal last week reading the
well celebrated French magazine Chasseur d' Images. There was a test
for the Tamron 35-105 f2.8 zoom lens (I am pretty sure that was the lens)
and to make the story short, this optical wonder received 2 stars a modest
rating. Popular photography found this lens to be well above average!!!!

In another occasion Popular tested two Canon autofocus 50mm f1.8 lenses
and the old version was found very good (the one with the focusing distances
included) while the new version (with no focusing distances) was so so.
Of course the newer lens was rated highly although there was a big
difference between the charts of the two lenses.

In another occasion Popular presented a test of a Nikon lens (cant
remember exactly since I misplaced the pages during a move, I intent to
search and give details, but I think it was the 28-70 zoom) where the
color corresponding to performance B+ (normally orange)
was light red giving a false
impression that the performance was A (but not A+ deep red) should somebody
was scanning the test without reading the numbers. The principle
is the reder the lens the better....

I understand that there are no absolute criteria in this world but what 
someone could conclude based on the above mess?

John.
 

Newsgroups: rec.photo
From: markt@cup.hp.com (Mark Thompson)
Subject: Bessler 23c non flat negs
Date: Mon, 14 Dec 1992 23:10:26 GMT
Organization: Hewlett-Packard
X-Newsreader: Tin 1.1scd1 PL4

I picked up a beseler 23c about six months ago and have been fighting this
problem, thoght i would throw it out there.

It is a 23cXL fairly recient model.  The negitive carier has four large
centering pins that have a grove in them that the edge of the neg goes into.
The problem is that when the carrier is closed the neg is not heald totaly
flat.  I have to be really careful not to touch the carrier after focusing
or the neg will move and end up out of focus.  This has lead me to think
about getting a negatrans.  It would be nice anyway for making working prints
rapidly (if any one has one for sale [35mm] let me know). I would really like
to know what experiences people have had with these carriers.

Mark
From: monson@hobo.ECE.ORST.EDU (Ty Monson)
Newsgroups: rec.photo
Subject: Re: Vivitar 2x for Hasselblad
Date: 16 Dec 92 19:47:32 GMT
Article-I.D.: flop.1go14kINNmft
Organization: ECE Dept.,OSU,Corvallis
NNTP-Posting-Host: hobo.ece.orst.edu

In article <1gn6oiINNogv@usenet.INS.CWRU.Edu> bu890@cleveland.Freenet.Edu (Brian Segal) writes:
>
>In theory, according to Hasselblad the non-mutar 2X's are not great at widest
>apertures, but I have not found this to be the case. I use it on my 50, 80 and
>120 mm lenses with very good results (the 50 becomes a very sharp 100mm lens
>and is very hands, and the 80 becomes a great f 5.6 portrait lens).  Although
>Hasselblad warns against using even Mutars with the 120, I have had entirely 
 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
 So this means that the 2x converters are inappropriate to use with
 the longer lenses? (eg. 250mm)
Newsgroups: rec.photo
From: accwai@math.uwaterloo.ca (Andy Wai)
Subject: Re: Medium format enlarger recommendation needed
Organization: Math Faculty Computing Facility, University of Waterloo
Distribution: na
Date: Sat, 12 Dec 1992 13:11:16 GMT

In article <1992Dec12.010912.7863@unislc.uucp> erc@unislc.uucp (Ed Carp) writes:
>
>[...]  Most (if not all) of the great printers use cold light.

Hmmm, quite a number of good b&w printers I know personally use color
heads to work with VC papers (oops, another NoNo).  And even up to now,
a small minority still insist on condensers or even point source (now
that's sacrilegious).  Their work speak eloquently for them.  But then
again, they can't be all that great if Mr. Picker says otherwise...

>If you want to read (and actually see) about the difference, grab a copy of
>Fred Picker's "Zone VI Workshop". It's about $12 or so, and worth every penny.
>From the text:
>
>	Recently, a student brought me a print, proof, and negative
>	of a mountain stream in sun and shade.  He had made the print
>	on the softest paper grade, but a foreground rock in sun was
>	blocked and showed a textureless gray and white water had the
>	same plaster-like quality.  [...]
>	We made a straight print using my enlarger and easily obtained
>	a fine result with a #2 (normal) paper.  The foreground rock
>	in sun and the sunlit water were brilliant and full of delicate
>	textures, [...]
>	The reason for this difference in print quality was soley due
>	to the type of printing illumination.  His enlarger is a new 4x5
>	model with a condenser head.  My enlarger has a cold light head.

Well, if you overdeveloped, you're forced to go down a paper grade and
local contrast suffers.  Cold lights (and color heads also) don't induce
Callier effect and so requires negatives with slightly higher contrast.
So cold lights can deal with negatives that's overdeveloped for condenser
much better than the condensers, sure.  Mr. Picker than blatantly claim
that cold light is thus superior.  Interesting jump in logic, but why am
I not surprised here?  Personally, I wouldn't buy a used car guide by a
used car salesman.

In any case, experiments done by myself and by a few others indicate that
once the negative is matched to the light source, the difference is minimal.
They may not be identical, but certainly not different enough to make one
definitely better than the other.

Andy Wai
From: markt@cup.hp.com (Mark Thompson)
Newsgroups: rec.photo
Subject: Re: Restoring Old Photos
Date: 14 Dec 92 23:30:57 GMT
Distribution: usa
Organization: Hewlett-Packard
X-Newsreader: Tin 1.1scd1 PL4

I too am interested in doing things like this but wonder how you would go
about getting good quality output.  The resolution of most affordable pc
stuff is way below photo resolution.  If you could write it on to a CD 
then you may be able to get the local photo finisher to print it, but then
you would need a writable cd.

Just some of the things that have kept me from doing this.

Mark
Newsgroups: rec.photo
From: ka1gt@cbnewsm.cb.att.com (robert.m.atkins)
Subject: Re: Lithiums vs. alkalines (was Re: was going to get 8008s but EOS 10s recommended)
Organization: AT&T
Distribution: na
Date: Thu, 17 Dec 1992 18:26:22 GMT

In article <1992Dec17.062322.8914@jarvis.csri.toronto.edu>, acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
> (fairly straight discharge curve, etc., etc.).  If a lithium 2CR5 only
> lasts 5 rolls for some users, a nicad version it might not make it
> through one roll!  (Actually, I think someone posted saying this is
> what happened when they tried it!)
> 
It was me. You can get one roll of film through the camera provided you
don't do much else than push the shutter release once per exposure. I you
mess around focusing a lot and taking exposure readings (or even think
of using flash) then you are in trouble.

> Supposedly there is a battery technology that may be able to provide
> the equivalent of a rechargeable 2CR5--nickel metal-hydride.  Hope it
> happens soon!

NiMH batteries aren't that much better than NiCads. They have around 1.8
times the capacity - still nowhere near Li cells.

===============================================================
Bob Atkins  AT&T Bell Labs  email (direct)  att!clockwise!rma
===============================================================
From: mcovingt@aisun3.ai.uga.edu (Michael Covington)
Newsgroups: rec.photo
Subject: Re: "Signature Color" film -- what's the story?
Date: 16 Dec 92 16:21:53 GMT
Organization: AI Programs, University of Georgia, Athens

Re the use of 35mm color movie film to make both prints and slides:

There's a lab in Seattle that has been doing this for years.

With careful processing, it seems to work well.  However, I don't
think it's due to the superiority of the film.  (Kodak has every
incentive to sell good film to ordinary people, without going to
roundabout means such as this.)  Rather, my guess is that it's due to
the care that is taken with the processing and printing.

An obvious disadvantage is that you can't get good prints made by
anyone other than the few special labs that handle this film.
The color balance is a little different than ordinary negative film.

-- 
:-  Michael A. Covington     internet mcovingt@uga.cc.uga.edu :   Verbum caro
:-  Artificial Intelligence Programs       phone 706 542-0358 :    factum est
:-  The University of Georgia                fax 706 542-0349 :  et habitavit
:-  Athens, Georgia 30602-7415 U.S.A.     amateur radio N4TMI :   in nobis...
Newsgroups: rec.photo
From: dbsbanka@solomon.technet.sg (Teo Pit Koon)
Subject: Re: Phantom lights-pse explain
Organization: TECHNET, Singapore
X-Newsreader: TIN [version 1.1 PL8]
Date: Fri, 18 Dec 1992 03:54:16 GMT

yu@cvdv72.mayo.edu wrote:

: --You did not mention the exposure time or whether you were using flash.
: If you were using flash and a long exposure, then the flash would have
: frozen the objects to give them sharp images and the motion of the camera
: would give you light streaks.

: It is just guess.

 I did use the flash light as it was around late afternoon and we were
having a gathering around a Christmas tree, but I did not use a long exposure.
It was a very simple camera. Even granted that the freak lights could have
been caused by exposure, how do you explain some of the photos which showed
the transparent picture of a group of persons with the wall (background) super
imposed on it! Has anyone done this kind of photo before, I mean is it
something easy to produce (I didn't use any trick at all)?
From: samuel@cs.ubc.ca (Stephen Samuel)
Newsgroups: rec.photo
Subject: Re: Idea for Photo Publicaton
Date: 14 Dec 1992 19:55:11 -0800
Organization: Computer Science, University of B.C., Vancouver, B.C., Canada
NNTP-Posting-Host: cheech.cs.ubc.ca

rdf@pinet.aip.org (Robert Feinman) writes:


>I have been contemplating the idea of a new photo magazine
>for several years and would like to start a discussion on the
>feasibility and desirability for this sort of publication.

>Presently there are no avenues available for photographers to
>show off their work. The commercial photo magazines are primarily
>equipment oriented. For example, the December Pop Photo mentions
>that in the Dec 1942 issue there was an insert containing more than
>200 photographs. As a contrast Dec 1992 contains an insert showing
>off 40 top cameras.

There used to be (a few years ago) somebody who organized collecting
and mailing groups of photographs around the country to people who then
commented on those photos.  Is this still being done? (I've not seen any
signs of it so far (I've only started reading this group, again, today).

If it's not being done, does anybody have a copy of the rules that were 
used for the original groups?  I'd like to start something like this up
again.
-- 
-- 
Stephen Samuel 		(604)822-9248		samuel@cs.ubc.ca
The first prerequisite to winning is playing the game.
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: EOS lens list
Date: 13 Dec 92 08:00:50 GMT

In <92346.134219DCROWE@GTRI01.GATECH.EDU> <DCROWE@GTRI01.GATECH.EDU> writes:

>The list is very good, and since it includes the 28-105mm zoom is a recent one.
>It does omit the new 35-350mm lens, however, which has been described in detail
>in this group.

I wouldn't worry too much.  It's not like anyone buys lenses based on the
number of elements and groups!  (This is why so much rec.photo bandwidth
is spent on begging around for lens test info!)

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: al@crucible.powertools.com (Al Evans)
Newsgroups: rec.photo
Subject: Re: EP-2 or RA-4 in JOBO CPE-2
Summary: No problem
Date: 15 Dec 92 13:43:06 GMT
Followup-To: rec.photo
Distribution: usa
Organization: PowerTools, Austin, Texas

In article <1992Dec14.131127.22951@tijc02.uucp> kjf388@tijc02.uucp (Ken Fisher          ) writes:

>Anyway what are current Chemistry recommendations for the smaller Jobo
>home drum processors?  I know RA-4 is supposed to be much faster, and
>that certainly would be welcome, but how does it work in a drum?  

You will change to RA4 and you will be very happy. The chemicals are
much faster to mix, and the developer is much more stable. The paper
is actually white, instead of yellow. I supppose you could develop it
in such a way that the colors would come out wrong, but I don't really
know how -- apparently anywhere between 45 seconds and 2 minutes at
95 degrees F works just fine.

The paper comes in three different contrast grades, which is very
handy.

The only problem I have with it is that processing in a drum has become
more tedious than ever, even with the shorter times. There's not even
any way to screw it up anymore. I want a tabletop processor for
Christmas!
					--Al Evans--
-- 

Al Evans						 Tu causes, tu causes
al@crucible.powertools.com	 	      C'est tout ce que tu sais faire
cs.utexas.edu!crucible!al					 -- LaVerdure
Newsgroups: rec.photo
From: kjf388@tijc02.uucp (Ken Fisher          )
Subject: EP-2 or RA-4 in JOBO CPE-2
Organization: Siemens Industrial Automation, Johnson City TN
Distribution: usa
Date: Mon, 14 Dec 92 13:11:27 GMT

I have set up my jobo CPE-2 again after about a year's hiatus and am
curious about the status of CP-2 vs RA-4.  I always used JOBO Photocolor
II and Ektacolor Plus in the past. 

I dug thru back issues of photo mags in the library but didn't find much,
except one mention that CP-2 will give way to RA-4 over time, but that
it is not easily available for the home darkroom yet.    However I couldn't
find Photocolor II anymore at two photo stores this weekend, and clerks
couldn't supply any real information.  I think I couldn't use Ektacolor
Plus anymore either with RA-4 - right?  

I did see a fair amount of RA-4 chemistry on the shelf, but it seemed
pretty expensive compared to what I remember paying for EP-2.  

Anyway what are current Chemistry recommendations for the smaller Jobo
home drum processors?  I know RA-4 is supposed to be much faster, and
that certainly would be welcome, but how does it work in a drum?  

Appreciate any comments.  

-------------------------------------------------------------------------
Ken Fisher                          | kjf388%tijc02@uunet.uu.net
Siemens Industrial Automation, Inc. | UUCP: uunet!tijc02!kjf388
Johnson City, Tn. 37605             | Phone: 615-461-2125
-------------------------------------------------------------------------
Newsgroups: rec.photo
From: artc@iplmail.orl.mmc.com (Art Chang)
Subject: WANTED; Nikon F4 & SB24
Organization: Martin Marietta
Date: Tue, 15 Dec 1992 19:04:15 GMT


Looking for an used F4 & SB24....
please e-mail me w/ your asking price
and the condition of your equip.



thanks
Art
From: sparks@col.hp.com (John Sparks)
Newsgroups: rec.photo
Subject: Re: Need help getting dark B&W sky
Date: 14 Dec 1992 18:03:03 GMT
Organization: HP Colorado Springs Division
NNTP-Posting-Host: hplsdrq4.col.hp.com

In article <1992Dec13.061722.25059@unislc.uucp> erc@unislc.uucp (Ed Carp) writes:
>I have examined "Moon And Half Dome" as well as Adams' other well-known
>(and not-so-well known) photographs that show sky detail.  I have also
>examined "Examples", and his three-volume set "The Camera", "The Negative",
>and "The Print".  In none of these books does he suggest that he had to
>do anything to get the darker sky other than by using #12 (yellow) or
>#25 or #29 (red and deep red, respectively) filters.  Indeed, with some of
>his prints, printing down the sky would have been very noticeable.  If you
>want to see a sky that is somewhat suggestive of this particular style, I
>refer you to "Monolith, the Face of Half Dome" (1927), in which he gives
>a lot of technical details about how he made this picture (using a #29
>dark red filter) - "The Negative, pp. 4-5.

Well, I don't know about "Moon and Half Dome", but this summer at a John
Sexton workshop, he had some origional Ansel Adams prints including things
like straight prints and final prints of such well known images as 
"Moon Rise Hernandez" and "Clearing Winter Storm" and the amount of sky
burning took me completely by surprise (the straight prints had basicly 
white skys with almost no detail).  Adams may have gotten the dark skys simply
by using a red filter, but I would not be at all surprised to find that he
printed down the sky as well.  When you are talking about someone with the
darkroom skill of Ansel Adams (or even someone with much less skill than him),
you will NEVER be able to determine what was done to make the print unless
you also see a straight print.  Adams' darkroom manipulation cannot be
detected.

On the other hand, I have some negatives with almost black skys taken at
high altitude on a very, very clear day with only a #12 yellow filter.  The
thing to remember is that filters are only effective if the sky is really
blue.  A day with high clouds and lots of haze will result in light skys no
matter what filter you use (maybe you should just try again in the Sierra 
or Rocky Mountains :-) ).

John Sparks
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Newsgroups: rec.photo
Subject: Re: Hasselblad Film Flatness
Date: 13 Dec 1992 00:31:55 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


Hasselblad Forum is available from a distributor by subscription.
Victor Hasselblad INc in the UIS should be able to get you a
subscription.  It is a beautiful magazine, and the older editions
are now collectors items.

Tacks are, of course, sharp at the POINTY end as any carpet layer who
has seen a hasselblad transparency can attest!!!!

brian
From: boh@fraser.sfu.ca (Changhao Boh)
Newsgroups: rec.photo
Subject: Re: Canon EF28-70/f3.5-? II vs. EF28-105/f3.5-? USM
Date: 21 Dec 92 01:00:26 GMT
Organization: Simon Fraser University, Burnaby, B.C., Canada

hsong@ardour.bellcore.com (G. Hugh Song) writes:

I've just bought a Canon EOS A2 with an EF28-105 /F3.5-4.5 USM, so I might 
be able to answer some of your questions.

>It is pretty well-known that EF28-70mm/f3.5-4.5 II is an excellent 
>piece of glass.   I have also been told all the good things about the new
>EF28-105mm/f3.5-? USM.   Several questions for you:

>1. Is the front element of EF28-70mm/f3.5-4.5 II nonrotating?

If you meant if this lens uses internal focusing, I really don't know and
there is no mention of this either in the lens manuals.  However, the
front element of the lens, and thus your filters and lens hoods, do not
rotate during focusing or zooming.

>2. Just from a glance, it looks like that it can 
>   accommodate a filter with no problem.  Is there any problem with filters?

The EF28-105 uses 58mm filters.  I don't really know what you infer by
problems but a single filter in front of the lens does not result in
clipping at 28mm.

>3. Is it worth $260.00?

Living in Canada, and with our stupid import taxes and stuff, I paid
US$364 for the EF28-105mm.  The quality of the lens is pretty good.
Mechanically, there are no shaky zoom and focusing rings and zooming
action is rather smooth.  Optically, there are some pin cushion through out
the zoom range.

I cannot answer the rest of the question because I don't have a EF28-70.

Good Health.

Changhao
boh@sfu.ca
Newsgroups: rec.photo