HDTenEightyP/NetNews huggingface dataset:
From: risto@math.utah.edu (Risto M Tolonen)
Subject: FOR SALE: Bronica ETRS etc.
Date: Wed, 6 Jan 1993 18:57:16 GMT
Distribution: rec.photo
Organization: Department of Mathematics, University of Utah


	Bronica ETRS with AE-II prism, 120 back and 40mm/4.0 wide angle lens
	for sale. All items from excellent to excellent+ condition.

	Asking $1100 + shipping.

	Please contact at either: risto@math.utah.edu or
				  kiva!risto@snowbird.central.sun.com

	Risto Tolonen

Newsgroups: rec.photo
From: e92mlu@efd.lth.se (Marcus Lundahl)
Subject: Camerabag for mediumformat
Organization: Lund Institute of Technology, Sweden
Date: Fri, 8 Jan 1993 00:09:12 GMT

Can anobody help me? As it is now, I'm carrying my Hasselblad
equipment in a Billingham, but I would prefer carrying it on
my back. It's alot more comfortable when running around here
in the woods in Sweden.
I've been looking at Tamrac's new model, but I'm not sure.
Is there anybody out there who could maybe help me with my
choice. I want it to be rather big and room for more than
the 205. Is there maybe a new model in the states that hasn't
come to Europe yet?
By the way, one more question, I will maybe fly to New York
within some months, what are the prices there on used
Hasselblad equipment?

Marcus Lundahl

Lund University of Technology in Sweden
From: robert@sys.sweden.dg.com (Robert Claeson)
Newsgroups: rec.photo
Subject: Re: STUCK Fujichrome 34 prints: help!
Date: 7 Jan 93 09:03:43 GMT
Organization: Data General AB, Akalla, Sweden

In article <1992Dec16.090511.10140@netcom.com>, micki@netcom.com (Michelle Stone) writes:
> jromao@bragg.bio.purdue.edu writes:

> >	Does anyone know how to separate Fujichrome Type 34 prints that got
> >stuck face-to-back during mailing?

> Now... let's see.  Fujicolor is the print film and Fujichrome is the 
> slide film right? (hehehe) Can I have some fun at your expense?

Fujicolor is the generic name for Fuji's negative color materials,
both films and papers. Likewise, Fujichrome is the generic name for
positive (a k a reversal) color matierials. Thus, a Fujichrome Type
34 print is a color print made on the (excellent, I have to say)
Fujichrome R34 paper.

-- 
--------------------- This mass of gibberish came from ---------------------
         ____
        |    |               Robert Claeson
        |    |               Data General AB
 _______|____|_              Box 28
|    |    _    |_____        S-164 93 KISTA
|_/\ |   / \   |     |       Sweden
| \/ |   \_/   |   . |
|    |    |    |_____|       robert@sys.sweden.dg.com
|____|_________|-
Newsgroups: rec.photo
From: pokey@cbnewse.cb.att.com (s.b.hughes)
Subject: Tokina ATX 90 f2.5 Macro
Organization: AT&T
Date: Tue, 5 Jan 1993 02:05:39 GMT


   Netters;

   I'm considering purchasing the atx 90 f2.5 macro lens made by
 Tokina. Does anyone have any experience with this lens. I thought
it would be a decent lens for portraits, teamed with my Canon T-90..

                           Your feedback would be much appreciated!!!!

                                  Steve Hughes

From: tonya@hpldsla.sid.hp.com (Tony Arnerich)
Date: Wed, 6 Jan 1993 18:20:51 GMT
Subject: Re: Nikon F3 quirk?
Organization: HP Scientific Instruments Division - Palo Alto, CA
Newsgroups: rec.photo

TP>Just after loading a new roll of film the shutter
TP>speed will be set to 1/80 until the frame counter
TP>reaches 1. Don't ask me why.

     "It's not a bug, it's a feature."
 (reprinted without permission from the gravestone 
  of the Unknown Software Developer)

No, really, it is supposed to do that, for the reason already mentioned.
It was a bummer in comparison to the F2 (all manual) which could have
made use of at least one of those early frames. But unfortunately you
need safety features to protect you from the automation behaviors.

BTW my microwave does *not*, I repeat *NOT*, have a keyboard. Oh yeah I
drive a stick shift, too. No, I don't wear a hat.   :-)
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Best cold weather performance? (was Re: Lithiums vs. alkalines)
Organization: Curtin University of Technology
Date: Mon, 11 Jan 1993 18:13:16 GMT

In article <1993Jan7.092340.16132@sys.sweden.dg.com>, robert@sys.sweden.dg.com (Robert Claeson) writes:
> In article <1992Dec17.231954.3022@csus.edu>, swansond@nextnet.csus.edu (Dennis Swanson) writes:
> 
...
> Alkalines are probably the worst kind of batteries to use in cold
> weather. I most often use eight AA alkalines in my EOS-1, but they'll
> only last for between one and five rolls of film in cold weather.
> If I use AA lithium cells instead (UCAR LithEon, expensive but good),
> I'll get a whopping 25 to 35 rolls of film per battery set (which more
> than enough covers the extra cost of the lithium cells). I sometimes
> also use NiCd or NiHy cells. The give a performance in cold weather
> that's similar to that of lithium cells -- between 20 and 30 rolls per
> set.
> 

Sounds like NiCds in the current 40C weather we are having. My Safts are dead
after a week - 10 days, even if I don't shoot any thing! Anyone know how NiMH
cells go in hot conditions?

> If I had a better charger, I'd use NiCd's or NiHy's all the time; if
> the Lithium's were easier to find, I'd use them more often. The only
> advantage with alkaline's, from my point of view, is that they're
> the easiest to find.
> 

I keep a dozen in the car for the day murphy drops by. Swap them over ever month
or so at one of my regular suppliers.

~Paul

Newsgroups: rec.photo
From: Harald.Brandt@eua.ericsson.se (Harald Brandt)
Subject: Re: Tilt Shift (Was: Canon 10s Vs Nikon N90, Which one?)
Organization: Ellemtel Utvecklings AB, Sweden
Date: Mon, 4 Jan 1993 16:34:52 GMT

In article <1992Dec30.201548.14760@walter.bellcore.com> 
jchen@wind.bellcore.com (Jason Chen) writes:
> Don't know about the 24 mm TS-E. But the 45 mm TS-E is one of the 
sharpest
> lenses around.

Do you have more info?

      /harald



PS: I appreciate the info that Tamron makes an EOS mount for their macro but 
without possibility to AF!, which rules out the lens completely for portrait 
purpose. When I checked a half a year ago, the representative for Tamron 
said they did not have EOS mount for that lens and had no plans for it. 
DS
Newsgroups: rec.photo
From: geoff@pmafire.inel.gov (Geoff Allen)
Date: Fri, 8 Jan 93 16:57:48 GMT
Organization: Roller Coaster fanatic with no hope for a cure
Subject: Re: Some very BASIC questions.
Summary: 
Followup-To: 
Organization: Roller Coaster fanatic with no hope for a cure
Keywords: 

shekhar@sinai.pilgrim.umass.edu (Ajay Shekhar) writes:
>* What does the term Depth Field Preview mean ?

Other questions have been answered, but I thought I'd answer this one
(hey, the one I *can* answer!)

``Depth of field'' refers to how much of the scene is within some
pre-defined criterion of sharpness.  As you use a smaller aperture
(higher f-number), more and more of the scene will be in focus
(actually, within the above-mentioned predefined criterion of focus or
sharpness). 

Many lenses have a depth-of-field scale that will give you two lines
indicating the near and far distances of depth of field at various
apertures.  You can then line these marks up with the distances marked
on the focusing ring to get everything in focus that you want in focus. 
(I prefer to use the marks for one stop larger than I'm actually using,
because I'm a bit conservative about sharpness; so if I'm shooting at
f/16, I'll use the f/11 marks on the depth-of-field scale.)

(One practical use of the marks is to line up the ``far'' mark with
infinity.  This will give you the most in-focus that you can get.  Handy
for landscapes and such.)

Depth of field preview allows you to close the lens to the aperture
that's been set (the lens usually stays at the largest aperture, no
matter what you set, and only stops down when you press the shutter;
this gives you the brightest possible image in the viewfinder at all
times).  When the lens is stopped down, you can get a feel for how much
of the scene will be in focus, and can try a different aperture if needed.

I'd recommend finding a copy of the Ansel Adams book, _The_Camera_ in a
library near you.  It'll explain this and a whole lot more.  Don't worry
if you don't understand everything on the first reading; there's a lot
of information in this book.  You can especially skip the view camera
stuff (for now, at least. ;^)   Just read through it for a general
understanding of the workings of a camera and lens(es).

Geoff

-- 
Geoff Allen          \  Why is it that no one ever admits to watching Hee Haw
uunet!pmafire!geoff   \  but they all know the words to ``Where, Oh Where,
geoff@pauling.inel.gov \  Are You Tonight?''
From: mbarnes@finally.Sun.COM (Mike Barnes - Intelligence Natl Sales Manager Washington DC)
Newsgroups: rec.photo
Subject: Re: WANTED: Seattle photo stores
Date: 4 Jan 1993 16:54:37 GMT
Organization: Sun Microsystems, Inc., Vienna, VA. 
NNTP-Posting-Host: finally.east.sun.com
Summary: Sigma 70-300 APO




Ritz remarkets the Sigma lens under their own label.  They are marketing the 75 to 300 APO.  The
price for the Sigma lens in most mail order houses is about $250.  Ritz has this lens for $179.95.
The price for the NIKON and EOS mounts are the same.
From: cht@titan.ucc.umass.edu (Chester Liu)
Newsgroups: rec.photo
Subject: Best film mail-order?
Date: 5 Jan 1993 19:31:05 -0500
Organization: University of Massachusetts, Amherst
Distribution: usa
NNTP-Posting-Host: titan.ucc.umass.edu

Hello, 

	I was reading the ads of the mail-order places in Popular
Photography and noticed that film is much cheaper than in stores.
However, the shipping is also quite expensive, $6-7.  I plan on
buying about 15-20 rolls of 24-exp color print and slide film.

	Does anyone have any good suggestions on a reliable and
inexpensive company?  Also, how long do print and slide films
last if kept in a refrigerator?  (for non-professional films)

	By the way, which companies are known to deceive or rip people off?


much appreciated!
CHester Liu

cht@titan.ucc.umass.edu
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Photographing people; need permission?
Date: 12 Jan 93 23:57:57 GMT

In <1230@racerx.bridge.COM> ken@racerx.bridge.COM (Ken Hardy) writes:

>In article <C0q7py.ML2@athena.cs.uga.edu> mcovingt@aisun3.ai.uga.edu (Michael Covington) writes:
>>People engaging in political protest marches, etc., usually do NOT want
>>to be photographed, and are very emphatic about it.

>If they are in a public place taking part in a public demonstration,
>I'd think that it would pass the newsworthiness test, and they would be
>s.o.l. if you published their photo in a journalistic manner.  Don't
>know about non-journalistic use, though, as in a show.

I think you're missing the point.  The point is that there are people
who get *violent* about being photographed!

This past summer, there was a riot in Toronto (nothing compared to
Los Angeles, but pretty severe by Toronto standards), and rioters
were *physically* attacking the press because they did not want
any evidence to be available to the police.  (Indeed, there was a bit
of problem because the police wanted to sieze *unused* footage as
evidence, but that's another story.  You know, freedom of the press
and all that.)

So, there may be people in protest marches with a vested interest in
*not* being indentified (for whatever reason).

ACS
-- 
 ___ ___ ___ ______________________________________________________________
|   |   | __|"The Nikon lens owners are more gratingly smug, while the     |
| - | --|__ | Canon lens owners are more verbally abusive." - Tony Arnerich|
|_|_|___|___|______________________________________________________________|
Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|
From: shtono34@wharton.upenn.edu
Newsgroups: rec.photo
Subject: Re: Bargains in Moscow?
Date: 11 Jan 93 16:35:30 GMT
Organization: University of Pennsylvania

In article <122380050@hpfcso.FC.HP.COM>, mic@hpfcso.FC.HP.COM (Marc Clarke) 
writes:

> The Zenit line of 35mm and view cameras and optics are also inferior
> to just about anything except a pinhole camera.  Good luck getting one
> repaired when it breaks, which it will do on about the second roll of
> film.

You really got it wrong here. Zenit cameras never break. My father used to
have a Zenit ZR-1 and he did treat it pretty abusively at times. That piece
survived an accidental burial in sand, tempreture extremes like 45 degrees 
(C) under very high humidity (this is in tropical Africa), etc. However, it
never, never failed. So you might forget about "getting one repaired".

The optics is definitely not as good as modern glass but this is of less value
to some people. Quite a few of us regard photography as a way of remembering
events rather than art. My father never made enlargements of his photos but
he was really happy to have been able to take these photos. Another point, how
many modern cameras will continue working at -35 degrees (C)? My guess is not
many while most Zenits just sing at that point...

> For the same dollar amount you will get a much better camera buying
> used gear from one of the advertisers in Shutterbug.

It is a matter of 'feature evaluation on a personal basis' as noted before in
this newsgroup. If you like playing around with lots of electronic modes then
avoid it. If you prefer taking pictures (and are not very demanding on optical
quality) then you can hardly beat it for value.

- Star
From: jay@intermec.com (Jay Schlegel x6878)
Newsgroups: rec.photo
Subject: Re: Autofocus Accuracy
Date: 8 Jan 93 01:13:57 GMT
Reply-To: jay@intermec.com (Jay Schlegel x6878)
Organization: Intermec Corporation, Everett WA

>Will a fast lens on an AF camera produce a sharper image than a slower lens?
>For example, compare a 70-210 f/4-5.6 versus a 70-210 f/2.8 (constant).
>Suppose I want to take a picture at the 210mm end at f/8.  Assuming both
>lenses are optically perfect and equal in every other way, would the f/2.8
>lens produce a sharper image?  You could say that since there's less depth of
>field at f/2.8, the AF mechanism (which works with the lens wide open) can
>get that much closer to the critical focus.  However, you could also say
>that since the AF sensor is in the camera and not the lens, the camera will
>focus either lens to within the same tolerance based on the image it sees.
.
.
.

  I would have to believe that narrow depth of field would indeed result in a
narrower tolerance of acceptability, thereby increasing AF accuracy in general.
What this actually amounts to in practice may be only a slight, if any, improvement.

Moreso than shallow DOF, the higher light level provided by a larger max-aperture
will provide greater benefit in low-light situations, reducing overshoot and hunting,
and potentially increasing accuracy.  When shooting very bright subjects you would
max out the +EV capability of the AF system sooner with a brighter lens.

.
.
.

-- 
-*jay  Jay Schlegel --> Intermec Corp., Everett Wa.
						     fluke!
	jay@intermec.com      OR  -->	    uunet!pilchuck!intermec!jay
Newsgroups: rec.photo
From: phg+@CS.CMU.EDU (Paul Gleichauf)
Subject: Re: F2AS
Organization: Carnegie Mellon University
Date: Tue, 12 Jan 1993 16:53:50 GMT

The F2AS has a solid state meter using a pair (fairly high drain) LED
arrows to indicate exposure in a rather binary manner.  This means that 
the display was not capable of indicating the amount of under and over
exposure, but since one adjusted exposure manually there was tactile 
feedback.  The standard galvanometer based meter movement on all the 
Phototonic bodies (F and F2) suffered from a relative fragility and
aging trouble.  The solid state F2AS series was very rugged.
There were two variations of the F2AS (I believe the second had the
first provisions for AI-S style lenses, but I only owned the first
version).
							Paul
Newsgroups: rec.photo
From: srfergu@rufus.erenj.com (Scott Ferguson)
Subject: Re: Questions about everything
Organization: Exxon Research & Engineering Co.
Date: Thu, 7 Jan 1993 19:36:38 GMT

In article <C0HBsE.F0M@hpwin052.uksr.hp.com>, bob@hpwin052.uksr.hp.com (Bob Easton) writes:
|> | 
|> | 8)  What is the air speed velocity of an unlaiden swallow?
|> 
|> From my throat to my oesophagus, about 1 sec. Can't get the tape measure 
|> down there to measure the distance tho.

Sounds like the right place for a remote sensing application. Can you deduce
the distance by measuring the movement of your Adam's Apple?

-- 
----------------------------------------------------------------------
Scott Ferguson                        Exxon Research & Engineering Co.
Project Engineer                      New Jersey
----------------------------------------------------------------------
"Always bark at a dog."
From: 1k1mgm@kuhub.cc.ukans.edu (Christopher Gunn)
Newsgroups: rec.photo
Subject: Canon macro lens advice?
Date: 12 Jan 93 16:32:07 GMT
Organization: University of Kansas Academic Computing Services

Can someone out there supply me with opinions and/or pricing on
macro lenses for Canon EF mounts?  Primary application of the *lens*
would be shooting slides from high-resolution CRT graphics screens.
(Goal here is a lab camera to replace an ancient Pentax with a
copy-stand macro lens;  usability of body for other purposes is
a consideration, which is why I'm leaning toward EOS.  Idiot-
proofing of film-loading and advance is another consideration,
since main cause of photo failure with the Pentax is that folks
[including me a time or two...] don't get the film secured enough
to advance.)

Appreciate any advice.  No Canon dealers in town, and the one
nearest I don't trust for recommendations.

Christopher Gunn	Molecular Graphics and Modeling Lab
SPAN--KUPHSX::GUNN	Department of Medicinal Chemistry, Malott Hall
913-864-4428 or -4495	University of Kansas, Lawrence, KS  66045
Newsgroups: rec.photo
From: rjw@nsa.hp.com (Richard Webber)
Subject: Re: Bargains in Moscow?
Date: Tue, 12 Jan 1993 00:17:43 GMT
	<1228@racerx.bridge.COM>
Organization: Networked Systems Architecture, Hewlett-Packard

In article <1228@racerx.bridge.COM> ken@racerx.bridge.COM (Ken Hardy) writes:

   I've no personal experience with these "paper weights," but I seem to
   recall an article in one of the photo mags within the past year or two
   about a visit to photo shops in Moscow, which you might find very
   interesting.

   I don't recall which magazine; I'm most
   likely to have read Peterson's Photographic, Pop. Photography, and
   Shutterbug.  It actually seems to me now to have been in Shutterbug,
   though I'm not sure.  You might try looking through the Readers Guide
   to Periodical Literature at the library for a reference to the
   article (unless someone else here recalls the same article.)

If anyone could find this article for me I'd be interested in reading it.
Thanks for all the comments so far - there seems to be some disparity of
opinion.  I guess I'll have to see what the going rate for these "paper
weights" is.  Anyone know of any large format stuff?  Field or monorail
cameras?

Richard
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Crap about optical glasses
Organization: Curtin University of Technology
Date: Tue, 12 Jan 1993 14:25:04 GMT

In article <1993Jan11.204058.2889@netcom.com>, hchong@netcom.com (Hoi Chong) writes:
> From article <1993Jan11.035411.26906@schunix.uucp>, by rwyble@schunix.uucp (Richard J. Wyble):
>> yen@epcot.spdc.ti.com (Tony Yen) writes:
...
>> : Leica no longer holds the lead in optics design as it did before WWII. 
>> : The Japanese do.
...
>> Impressionistic, but questionable for distribution. Please state your
>> facts for the edification of all.
> 
> Huh?
> 
> First of all, Leica optics is still numero uno -- others will not beat
> it because leica uses expensive (read better) glass raw material to
> start with.
> 

What a load of crap. Sorry to inject a little reality but you should read up a
few basics of optical engineering before you start off with that sort of rubish.
First, you can get the most used glasses from most optical glass works, ( Schott,
Corning, Nikon etc ). Each *LOT* should have at least the RI and Dispersion
index *OF THAT LOT*. If you don't mind paying ~100x-10000x normal price, most
will agree to supply glass to type, RI and V specs, but you may prefer a kilo or
two of gold instead!
So, you then have to either mix and match elements ( production ) or
re-compute the design ( one-off, limited production ). The thing the japs have
mastered is low cost, high volume production and testing, so the old job of
matching elements is now automated. It also allows using both for limited
production lines, IE Canon's Ls or UD Nikors.

Also don't forget they were the first to have generaly available UD glass lenses,
flourite elements, aspheric elements, and the wide use of super-computers for
lens design.

The photo-journalists who first used Nikons in the early 50s in the US did so
because of the better lens quality.

~Paul
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Newsgroups: rec.photo
Subject: Re: Blad vs Mamiya (Lenses, Weight, Other)
Date: 8 Jan 1993 13:31:52 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


Re: investments...

Here's how I look at it - the capital (considerable) that I have tied up
in photography equipment earns me a better rate of return from assignments
that I could ever hope to get on the stock market, real estate or money
market..so it is capital well invested.

As far as intrinsic value is concerned, it is  not gold, art, or diamonds,
and so, will probably not have any capital appreciation as such. However,
let's say my hasselblad lasts 30 years (probably longer than me at this stage!)
and I get 25% of its value at resale..chalk that up against having to
replace or do major overhauls on less durable equipment, and there is also
a savings over time that contributes to return on investment (ROI).

If you aren't working your equipment, then you are a true amateur, and 
ROI is probably not worth worrying about...just have fun!...look at all
those people who spent tens of thousands on their sailboats, yachts, fancy
cars and so on, and expect no return other than pleasure....

brian
Newsgroups: rec.photo
From: goldis@news.weeg.uiowa.edu (Al Goldis)
Subject: Thomas Duplex Safelights (was Fluorescent safelights)
Organization: University of Iowa, Iowa City, IA, USA
Date: Tue, 5 Jan 1993 19:06:17 GMT

In <5fUE02T1302T01@JUTS.ccc.amdahl.com> bjs@RUTS.ccc.amdahl.com (Barry Sherman) writes:
>It appears to be less safe for variable contrast papers than for graded
>papers.  I've tested it with Ilford Multigrade paper in Dektol 1:2, using
>the standard technique of pre-fogging the paper to just below the level where a
>visible gray is seen.  I found that with the shutters wide open it fogged
>the paper in ~1-2 minutes.  I've found that with the shutters just barely open
>I can expose my paper to it for 8 minutes safely.  Even at this level, it's
>bright enough to read large print by.  I usually close the shutters all the
>way while dodging/burning both to make it easier to see what I'm doing and
>also to prevent fogging when doing complicated "recipes".

My experience is the same.

>it arrived with the bulb broken.  That's the most expensive part of the
>lamp and he had to replace it nearly the price that I paid him.

Speaking of bulbs, I've heard that they don't like to be turned on and
off and last longer if you just leave them on.  Can anyone confirm or
deny this?
--
Al Goldis           alan-goldis@uiowa.edu
"Pictures are moments truth, touched by light, that show character."
                          --Annie Griffiths-Belt
Newsgroups: rec.photo
From: nicholson@main.mndly.umn.edu (JOHN JAY NICHOLSON)
Subject: Difference in polarizers
Organization: the Minnesota Daily (U of MN Student Newspaper)
Date: Wed, 6 Jan 1993 17:50:19 GMT


I went into a Ritz Camera and wanted to buy a polarizer for my Nikon F3.   
They had a Nikon circular polarizer that sold for 149.95 (72mm).  Why are 
they so expensive?  The non-Nikon circular polarizers are cheaper, but then 
are they not made as well?  Just what is the difference?  Please help!
Newsgroups: rec.photo