HDTenEightyP/NetNews huggingface dataset:
From: sgccpgs@citec.oz.au (Paul Salanitri)
Subject: Cannon A-1
Organization: CITEC
Date: Tue, 24 Nov 1992 02:00:50 GMT

What do people think of the Cannon A-1 (released around 1980)
????
As far as I can see it is a very good camera,
I'm about to buy one second hand, but would like a bit more info than
an old add.
(It will come with 3 months warranty)  


--

==========================================================================
 Paul Salanitri                               sgccpgs@citec.oz.au
  P.O. Box 12702, Elizabeth Street, Brisbane QLD 4002, AUSTRALIA
   Committee for the Liberation and Intergration of Terrifying 
         Organisms and their Rehabilitation Into Society
             E quindi uscimmo a riveder le stelle.  
==========================================================================
From: andpph@ritvax.isc.rit.edu
Newsgroups: rec.photo
Subject: film latitude
Date: 16 Nov 92 01:30:08 GMT
Reply-To: andpph@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology

It seems to me that there is an awful lot of talk about "latitude" without
regard often for the fact that latitude is intimately connected with the scene
contrast. In fact, when photographing under contrasty conditions (again,
contrsty would have to be defined first!) I believe that it is possible that
many film have no latitiude at all... to the point that one has to either
sacrifice the shadows (normally not done) or the highlights (more often the
case).

So saying a film has a latitude of 1, 2 or 3 stops means nothing unless we know
something about the scene "brightness" range. It might be better to simply
specify the useful log exposure range of a film, no?

On the other hand, there are conventions about what a "standard pictorial
scene" is in terms of contrast.... basically about 160:1 which is about 7 1/3
stops, if you specify it in stops or a log exposure range of about 2.20.

If your film can only accomodate a log exposure range of 8 stops then you
basically have a latitude of 2/3 stops, etc. for a "standard scene". 

In a remote way this is what the Zone System is all about but it sure seems a
much more straightforward way of controlling the process and predicting
results.

... just my 2c worth, andy

     .....                                                               \
.....|   |..                                                              \
            | Andrew Davidhazy, RIT, High Speed Photography Lab.           \
            :____________________________________________________ |'''''''\ \
            : IN%"andpph@ritvax.isc.rit.edu"    fax 716-475-5804  |......./ /
____________:                                                              /
                                                                          /
                                                                         /
 
Newsgroups: rec.photo
From: dp@world.std.com (Jeff DelPapa)
Subject: Re: Resolution of Lens ???
Organization: The World Public Access UNIX, Brookline, MA
Date: Wed, 18 Nov 1992 03:12:55 GMT

When I have had lenses tested, they were used in projection - an
etched resolution test reticle was placed at the film plane, with a
collimated light source behind it (the reticle was a peice of
aluminized glass - it looked a whole lot like a mask from an IC shop).
That was projected onto a screen, with the distance varied to get it
all to fit. The person then examined the projected image to see what
the smallest clearly projected portion of the chart was. He could make
judgement about field flatness, chromatic aberration, flare, and
lens alignment in addition to resolution. No math or measurment was
required to come up with the resolution number - you just read off the
number next to the last clearly resolved pattern. 

<dp>
Newsgroups: rec.photo
From: wiltz@after (David Wiltz)
Subject: Re: "point & Shoot" camera opinion needed
Organization: University of Illinois at Urbana
Date: Sun, 22 Nov 1992 03:55:57 GMT

dollbes@ucbeh.san.uc.edu writes:

>Will you out there help with an advice?

>Looking to buy a holiday present a 'point and shoot' camera. Musts: autofocus
>built in flash and databack. May benefit from autoloading etc. 
>Price limit $120 but prefer <$100.

>Suggestions? experience (good or bad)?

>Shaul
>dollbes@ucbeh.san.uc.edu


>*******************************************************************************

Good luck, especially if you want anything that will last.

The databack kinda throws a wrench into the works, so I'm not
sure as far as prices go.  

I also don't quite know the prices in your area, but I'd suggest
taking a look at the Nikon One Touch 100 and/or Olympus Infinity Jr,
provided that they (or their successors) still exist.

If you can't find what you want in a quality brand, it's time to
re-evaluate your *musts* list.  The thing I hated the most when I
worked retail is the customer who thinks that the Ansco model which is
$50 cheaper will last past Christmas day.

-Dave
Excerpt from a salesman's prayer:
"God save us from customers who know the price of everything
and the value of nothing."


--
   David Wiltz                                wiltz@after.math.uiuc.edu
   Calculus&Mathematica Development Team
   University of Illinois at Urbana-Champaign  NeXTmail always welcome!
-Doing business with the government is a lot like playing poker with God.-
From: ejh2p@faraday.clas.Virginia.EDU (Dread Pirate Roberts)
Newsgroups: rec.photo
Subject: Re: Concert Film Results.
Date: 24 Nov 92 04:50:56 GMT
Organization: University of Virginia

In article <1992Nov24.032413.18258@ecsvax.uncecs.edu> mvolo@ecsvax.uncecs.edu (Michael R. Volow) writes:
>
>It sounds like the authors of both concert postings evaluated their
>results based on mini-lab prints. The yellow cast discribe by the
>second poster is due to the tungsten light and can easily be
>corrected for in printing--but probably not by mini-labs. In the
>case of the poor results with Fuji Super HG 400, it is possible
>that the mini-lab had the right color compensation for Kodak Gold
>Plus 400 but not for the Fuji
>
>In short, you can't really evaluate a given film if you depend on
>mini-lab prints; you are really evaluating a film-lighting-Mini-lab
>combination.
>-- 

Well, I'm a photographer for my school yearbook, and as a result was
able to legitimately photograph 10,000 Maniacs a a short while ago.  I
used both color neg film and color slide film.  When i get the slides
back, I'll post my results.  No mini-labs to screw up these babies,
just my own stupidity (hopefully not :) ).  By the way, i was shooting
a Nikon F2 and FM2 with a 300mm 2.8, 85mm 1.4, 180mm 2.8, 50mm 1.4, and
a 16mm full frame fish-eye, all at once! (yeah right.) I don't expect 
anything at all from the 16mm.  I'll let y'all know how the slides
came out, though.
--
#################################
ejh2p@faraday.clas.virginia.edu
Newsgroups: rec.photo
From: phr@telebit.com (Paul Rubin)
Subject: Anyone ever used a bulk film back?
Organization: Telebit Corporation; Sunnyvale, CA, USA
Date: 23 Nov 92 17:46:03

Anyone ever used a 250 exposure back?  How about a 750?
What kind?
What was it like?
Was it practical to handhold the camera?
Could you swing it around to different subjects with a tele mounted?

I've always wondered how pro sports photogs who shoot 10+ rolls of film
an hour manage to not miss shots all the time because they're
changing film. 
Newsgroups: rec.photo
From: yankees@jhuvms.hcf.jhu.edu (Ken M Gelfand)
Subject: THIS IS A TEST ... PLEASE IGNORE
News-Software: VAX/VMS VNEWS 1.41    
Organization: The Johns Hopkins University - HCF
Distribution: usa
Date: Mon, 23 Nov 1992 00:11:00 GMT
From: yangchen@antigone.usc.edu (Yang Chen)
Newsgroups: rec.photo
Subject: Best price for Canon Elan?
Date: 17 Nov 1992 14:51:02 -0800
Organization: University of Southern California, Los Angeles, CA
Distribution: usa
NNTP-Posting-Host: antigone.usc.edu

I am in market for the Elan. If you recently bought one, could you
mail me the price you payed for? I'll post the result if I can get
more than 3 replies. 

I saw the Nov. issue of Popular Photography has ads from B&H saling
the Elan w/28-80, 3.5-5.6 USM lens for $569, CWO is $559 for the
same package. 47th St claim they have a 7% rebate, did any body
ever tried?

Yang
From: bruceb@mpd.tandem.com (Bruce Burden)
Newsgroups: rec.photo
Subject: Re: 80-200/f2.8 for $$$, why?
Date: 20 Nov 92 19:42:47 GMT
Distribution: na
Organization: Tandem Computers (MPD) Austin, TX

In article <1992Nov19.182009.4194@cbnewsm.cb.att.com> ka1gt@cbnewsm.cb.att.com (robert.m.atkins) writes:
>
>1 - Ability to take pictures earlier or later in the day (nature photographers
>often work at dawn and dusk).
>4 - Better ability to throw backgrounds out of focus
>8 - Tripod mount on lens (I think this is true for the example you quote)
>


	For me, these three points are key. Since changing from MF to
    AF, I have only one zoom lens (a 28-70 ATX), the others are prime
    lenses. I am considering the 100-300 ATX that Tokina recently brought
    to market as a flexible compliment to my prime lenses.

	Since I am often working in low light conditions, a tripod mount
    is quite nice as well (only wish Minolta had done so with their 100mm
    macro...)

	A point often missed is the ability to throw the background out 
    of focus. I never appreciated this ability while working with the
    slower MF lenses I had. While shooting burrowing owls in a school
    yard the modular class rooms would have defeated the pictures had
    they been in focus. With the wider aperture, however, the buildings
    bacame a pleasing tan background.



								Bruce



-------------------------------------------------------------------------------
  Bruce Burden            bruceb@mpd.tandem.com         Tandem Computers Inc.
From: kassover@rumsey.crd.ge.com (David Kassover)
Newsgroups: rec.photo
Subject: Re: Camera Feature Wars - Photo Getting Like Video
Date: 18 Nov 92 02:58:14 GMT
Distribution: usa
Organization: nope

In article <1992Nov17.212755.10296@odin.corp.sgi.com> bongers@gto400.asd.sgi.com (Hans L. Bongers) writes:
>In article <13850@texsun.Central.Sun.COM>, dbernard@clesun.Central.Sun.COM (Dave Bernard) writes:
>|> Mark Goldberg makes some good points.  New camera features give more and more
>|> control over less and less.  But in reality, once the film is loaded in your
>|> camera, the only controls you the photographer have are three:  shutter speed,
>|> focus, and aperture.  This is true whether you have a Leica M3 or a bar-code
>|> reading, card-eating, fuzzy-brained wonder.
>|> 
>|> 	Dave    
>
>What a limited viewpoint of control.  Besides shutter speed, focus & aperature,
>you might consider filters & movement (aka panning).  In addition the photographer
>can control lighting & subject...

Clearly, hans hasn't tried to take pictures of my kid lately.

Or gotten frostbite waiting for the clouds to go away so one
could take pictures of a sunrise.

8-)

>
>Should I continue or have you opened your mind to the possibilities???

Please continue.  But perhaps without the personal remarks.




-- 
David Kassover             "Proper technique helps protect you against
uupsi!khazad!kassover	          sharp weapons and dull judges."
kassover@aule-tek.com                   F. Collins
kassover@ra.crd.ge.com
Newsgroups: rec.photo
From: drraymon@watdragon.uwaterloo.ca (Darrell Raymond)
Subject: Re: Setting up a darkroom...
Keywords: fogging, developers, darkroom, old enlargers
Organization: University of Waterloo
Date: Tue, 17 Nov 1992 19:16:41 GMT

In article <BxvGBq.6wr@watserv1.uwaterloo.ca>, imprint@watserv1.uwaterloo.ca (IMPRINT -- UW's Student Newspaper) writes:
> 
> Well, all stop bath does is neutralize developer, whereas a water bath 
> simply attempts to leach developer from the print.  The fix is an acid
> as well, and can likely neutralize any developer that remains after the
> water bath.  Another plus to a water bath between dev. and fix. is that
> there's one less chemical to wash out of the print.
> 	And unless you're using that special paper (can't remember the
> name of it) that will keep developing until it's black, there's no
> real need to have development stopped instantly.

  This from the Kodak Encyclopedia of Practical Photography:

    The primary reasons for using an acid rinse or stop bath between
    development and fixing are to check development instantaneously
    by neutralizing the developer carried over, and to maintain
    fixing bath acidity and capacity.  The capacity figures given
    for fixers usually apply only when a stop bath is used.  An acid
    stop bath also minimizes the formation of dichroic fog, removes
    calcium scum that may have formed in the developer, and tends to
    prevent the formation of alum scum and sludge in the fixing bath.

  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.

-Darrell.
Newsgroups: rec.photo
From: jprjl@alf.uib.no (Julius Loennechen)
Subject: Re: SCUBA questions (new Ektachrome + Nikon Action Touch)
Organization: University of Bergen, Norway
Date: Thu, 19 Nov 92 08:03:14 GMT

In article <PHILG.92Nov10221316@zug.ai.mit.edu> philg@zurich.ai.mit.edu (Philip
Greenspun) writes:
>
>In article <1992Nov9.233601.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au
writes:
>
>   > 
>   > 1) Does anyone know when the new Kodak SCUBA Ektachrome will be
>   > available?  Has anyone ever seen it either here or in Europe (where
>   > Kodak lately seems to be introducing its best stuff first rather than
>   > here in the Third World)?  I leave for the Great Barrier Reef on Dec
>   > 11th and I'd like to get some by then.
>   > 
>
>   Have you more details? Ill ask Kodak over here for you... Are you just
visiting
>   the east, or are you crossing the 'great divide' and comming over west?
>
>Sorry, no more details, but I think it is called "Ektachrome UW" or
>something.  I'm actually just stopping off on my way to New Zealand.
>For the same extortionate fare, I get a free stopover in Cairns.


This new Kodak Ektachrome for UW use, sounds interesting.

I'll be glad if you could mail me some inormation about this film when/if you
get some.

Regards,
Julius Loennechen
jprjl@alf.uib.no
From: blue@sequent.com (Gil Delavous)
Newsgroups: rec.photo
Subject: Changing N8008 for the new Canon?
Date: 16 Nov 92 09:05:12 GMT
Article-I.D.: sequent.1992Nov16.090512.15805
Followup-To: rec.photo
Organization: Sequent Computer Systems, Inc.

Hi Gurus,

I own a Nikon F-801 (N8008), an SB-24 flash, and the following three lenses:
- 35-70 3.3/4.5 AF 
- 50 1.8 AF
- 70-210 4/5.6 AF

Since the F90 came to the market I got frustrated that my equipment became
*old fashioned* and if I would go for the F90, I'd have to change both the
flash and the lenses (I know I could keep them but it would be something
like driving a Ferrari on a speed limited freeway!). 
Anyway, I'm thinking about changing the camera since the spot metering is 
missing and the auto-focus is slowwwwww and noisy, and I'm quite interrested 
about purchasing the new Canon EOS 5 (A2?). Not so for the AF eye control, 
rather because it has all the options an amateur can dream about! I would 
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...

Does anyone bought the Canon? What do you think about it?
BTW, is Canon better or worse than Nikon about the lenses, in general?

Thanks to help a lost man ;-)

Gil Delavous.
blue@sequent.sequent.com

PS: Not to open a new war between Canon and Nikon fans! Please answer frankly
:-) :-) :-)
Newsgroups: rec.photo
From: abelsey@scoayr.enet.dec.com (Andy Belsey)
Subject: Re: Flashing "ISO" in Elan
Reply-To: abelsey@scoayr.enet.dec.com (Andy Belsey)
Organization: Digital Equipment Corporation
Date: Mon, 16 Nov 1992 08:38:16 GMT

 In the Canon EOS 100 (U.K. version of the Elan) 
you can easily stop the ISO flashing by setting
CF3 (which disables reading the DX information
from the film canister).  The camera checks the
DX information if this function is not set and
will flash the ISO announciator regardless of
what happens after that if there is no DX code.

 If you set CF3, this check does not occur and
the ISO announciator will not flash (even if you
reset CF3 after loading the film).

 The checks all occur when the back is closed
and the film auto-loads. You can't change
things after the film is loaded.

 Don't forget to set the correct ISO manually
(it will remain at its last setting).

	/andy
From: jimc@tau-ceti.isc-br.com (Jim Cathey)
Newsgroups: rec.photo
Subject: Re: Comments on Pentax Stereo Adapter?
Date: 17 Nov 92 01:48:24 GMT
Organization: ISC - Bunker Ramo, Spokane, WA

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?

Yup.  The adapter may be ordered with either a 49mm or a 52mm filter
ring size.  It goes on 50-55mm focal length lenses.  It takes a vertical
stereo picture (slide) about like a vertical composition with a 70mm
lens.  Aperture is recommended to be f/5.6 to f/8.  Too open and the
images blur together (and the DOF needed for good stereo isn't there). 
Too closed and too much of the image disappears from the center, due to
the construction.

It is just four front-surface mirrors that fold two views onto the same
film.  The black stripe down the center of the frame will fool AE
systems sometimes, and AF systems too.  Go manual.  The viewer's
similar, but in reverse and with with two little eye lenses. 

The system works like a charm, but the format is a little limiting.
I haven't used mine since I got my Stereo Realist (for $90).

Normal automatic mounting is what you have done for the slides.  I've
never had Kodasux mis-cut the mounts, but it couldn't hurt to start out
the roll with a regular shot or two to synchronize the cutter. 

>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.

This sounds about normal.

-- 
+----------------+
! II      CCCCCC !  Jim Cathey
! II  SSSSCC     !  ISC-Bunker Ramo
! II      CC     !  TAF-C8;  Spokane, WA  99220
! IISSSS  CC     !  UUCP: uunet!isc-br!jimc (jimc@isc-br.isc-br.com)
! II      CCCCCC !  (509) 927-5757
+----------------+
			One Design to rule them all; one Design to find them.
			One Design to bring them all and in the darkness bind
			them.  In the land of Mediocrity where the PC's lie.
From: yavor@acpub.duke.edu (Yavor B. Parashkevov)
Newsgroups: rec.photo
Subject: Re: FM & FE + MD11 or MD12
Date: 18 Nov 92 22:42:28 GMT
Organization: Duke University; Durham, N.C.

In article <1992Nov18.150742.52251@ns1.cc.lehigh.edu> sh09@ns1.cc.lehigh.edu (STEVEN HIGGINS) writes:
>In article <1992Nov17.152446.25970@galileo.cc.rochester.edu>, eugene@briar.lle.r
>ochester.edu (Eugene Kowaluk) writes:
>>
>>Paul Rubin writes:
>>
>>> Don't use an MD11 on an FE2.  It will fit but the meter batteries will
>>> go dead if you forget to turn it off.  You need an MD12.
>>> The MD11 also works with the FM, though.
[lots of stuff deleted]

The manual for FM2 describes MD12 as the only drive to use. It also says
that when attached and turned on, the MD12 will supply power to the
meter in order to conserve the camera's battery. Now I gather that the
MD11 will also fit, but will apparently wear down the camera's
battery. Is this simply because MD11 will keep the meter on at all
times, and not power it through its own batteries, or is there some
basic cirquit incompatibility?. Does the manual list MD12 only just
because the MD11 is discontinued? In short - can I use MD11 on FM2,
and will this involve any sacrifices?

>    By the way...If anybody needs an MD-11 (for an FM/FM2???) I know where you
>    can find one....    :-)

Sure, I may need it, if it can work on FM2... E-mail is below.

>    Regards,
>
>
>    
>-- 
>
>~Steve
>sh09@lehigh.edu

Same,

Yavor
yavor@acpub.duke.edu
Newsgroups: rec.photo
From: jennings@tran.fishkill.ibm.com ()
Subject: Re: candids
Date: Wed, 18 Nov 92 14:47:24 GMT
Reply-To: jennings@tran.fishkill.ibm.com ()
Disclaimer: This posting represents the poster's views, not necessarily those of IBM
Organization: IBM T.J. Watson Research Center

I was head photographer for our highschool way back when. We looked into
using zooms for candids, but quickly abandoned them. The main reason is
that by the time you have finished mucking around with the zoom, framing
and such, the *candidicisity?* of the situation had passed. Also, these
lenses arn't as fast as good single focal length lenses (as others have
stated here). So, as others have stated, use your standard 50mm lens. If
you're really looking for something a little longer, buy a good (brand
name) portrait lens (a nice 85mm f/2 would really fit the bill).		

We always used tri-x 400, and we did push it to 1600 sometimes (mostly
indoor sports when we were not permitted to use flash), but there is
much more grain. But, if it's the only way to get the shot..... Lastly,
if the yearbook is picking up the tab for the film, shoot *lots* and
*lots* of rolls. The more you shoot, the better chance of getting a real gem. 

*****Now, a question for the net.....

I was recently given a Voigtlander Vitessa T camera. This German made
camera has the following characteristics:		

-rangefinder
-50mm color skopar f/2.8 lens (bayonett mount, pretty slick for a late
50's camera)	
-built in selenium light meter
-shutter from B to 1/500 (integral leaf shutter in body)

This thing seems to be a quality built camera, has anyone heard of
these? Are they any good? Is it worth anything?		

Thanks,
Bill
Newsgroups: rec.photo
From: jmb5b@faraday.clas.Virginia.EDU (John M. Bozeman)
Subject: Re: The color developer in the E-6 process
Organization: University of Virginia
Date: Tue, 24 Nov 1992 03:59:45 GMT

In article <1992Nov23.181412.22577@pmafire.inel.gov> geoff@pmafire.inel.gov (Geoff Allen) writes:
>| : > (There is no way I'm going back to a formaldehyde-rich stabilizer
>| : > --- yeech!)
>| : 
>| : The Beseler kit had a formaldehyde-based stabilizer---does
>| : formaldehyde really have a stench?  It may be just me, but I didn't
>| : smell anything in particular.  Or is the "yeech" for the toxicity?
>| 
>| I was referring to the toxicity.  As far as I know, it does not have
>| a smell.
>| 
>| Jay Ts
>
>
>Didn't you guys ever take a biology class and have the joy of dissecting
>a formaldehyde-saturated frog or worm or cow's eye or other type of
>beastie?
>
>At least I *thought* the stench was from formaldehyde used to preserve
>the little darlings....i

Formaldehyde is toxic.  It does have the nasty, medicinal smell.  The
stuff that frogs are in is probably a formalin (water + formaldehyde) 
mixture, or else isoproyl (sp?) alcohol.


Newsgroups: rec.photo
From: daveb@Ingres.COM (Dave Brower, DBMS hack, [510] 748-3418)
Subject: Cheapest place to buy batteries?
Originator: daveb@lotus
Reply-To: daveb@lotus (Dave Brower, DBMS hack, [510] 748-3418)
Organization: Ingres, an ASK Company
Distribution: na
Date: 19 Nov 92 20:09:54 GMT

I want to buy a dozen SR76 batteries; they typically go full price
around $3-4 a pop.  Does anyone sell them for like $1.50?

BTW, I find Costco the place to get AA alkalines: Panasonic 4 x 4
packs for $4.64.

thanks,
-dB

-- 
Windows/NT - the VMS of the 90s

Newsgroups: rec.photo