HDTenEightyP/NetNews huggingface dataset:
From: jacobson@cello.hpl.hp.com (David Jacobson)
Newsgroups: rec.photo
Subject: Re: SB-24 Speedlight -- Nikon Video and Hove Book
Date: 12 Aug 92 23:40:58 GMT
Article-I.D.: cello.1992Aug12.234058.27062
Distribution: na
Organization: Hewlett-Packard Laboratories

In article <1992Aug12.202951.14338@cbnewsj.cb.att.com> duane@cbnewsj.cb.att.com (duane.galensky) writes:
>actually, flash seems an inherently pedestrian topic...
>about the only fancy (gimmicky?) things i can see (not
>being an authority on these things, mind you):
>
>	- set a slow shutter speed and set rear curtain synch
>	  to leave trails behind moving objects (yawn)
>
>	- set a slow shutter speed and set it to flash multiple
>	  times while the shutter's open (zzzzz)
>
>	- adjust the flash/ambient ratio (!)
>
>other than that, as long as you're operating within the
>range, what else is there to know?  am i missing something?

Here are other controls on the SB-24.

You can select "TTL flash" vs. "fill flash".  TTL flash just causes a
fixed amount of light, dependent only on the film speed, to be
accumulated.  The "fill flash" mode makes some kind of proprietary
computation based on the ambient light to decide how much flash power
should be used.  That computation in turn depends on the body's
metering mode.  On my 8008 you get the choice of Matrix balanced vs
center weighted.  On I presume the 8008s adds spot.

You can also select "auto" mode.  This is useful for firing a
pre-flash to see if you are close enough, especially when you are
using bounce flash or a diffuser, since the LCD bar chart on the back
is not applicable then (it doesn't even light up if the head is tipped
up).  (Sorry, there is no way to tell if your are too close.)

There is the zoom control.  It can be set to auto or any of a fixed
set of focal lengths.

There is manual mode.  In it you can set the power anywhere from full
to 1/16th.

And if you don't have an F4 or 8008(s), you get to tell it the
aperture and film speed.

I've probably forgotten something, but that's all for now.
  -- David Jacobson
Newsgroups: rec.photo
From: duane@cbnewsj.cb.att.com (duane.galensky)
Subject: Re: Qualex complaints (was Fuji E-6 labs)
Organization: AT&T
Distribution: na
Date: Fri, 21 Aug 1992 12:55:11 GMT

In article <1992Aug19.211600.17950@cbnewsm.cb.att.com> ka1gt@cbnewsm.cb.att.com (robert.m.atkins) writes:
>In article <1992Aug18.133058.1@acad3.alaska.edu>, fsjfz@acad3.alaska.edu writes:
>> In article <1992Aug17.194314.15859@u.washington.edu>, watters@mendel.genetics.washington.edu (Mike Watters) writes:
>> > Problems with mailers:
>> > 	I can't speak for Fuji, but I sent in a Kodak slide mailer 3 weeks
>> > ago and have yet to get my film back.
>> > 
>> > mike
>> > 
>> For Qualex's sake, i hope that they have a rep somewhere paying attention to
>> this kind of complaint.  Qualex's ``improvement'' by going to bulk mailings
>
>I seem to be the only person who gets good service from Kodalux! My last set

indeed...you probably ARE the only one!  :-)

last two times my local lab sent to them: lost into the abyss.
luckily, the first one was found some time later...the second
never did show up.

too bad because it's getting tougher and tougher to get
kodachrome processed...

duane
Newsgroups: rec.photo
From: glp@tfs.com (Gregory Pease)
Subject: Re: Novice with printing problem
Organization: TRW Financial Systems
Distribution: na
Date: Wed, 12 Aug 1992 18:37:57 GMT

In article <85977@netnews.upenn.edu> zaidel@muzungu.cis.upenn.edu (Martin J. Zaidel) writes:
>I have a shot of a wrought iron grill against a cloudy sky.
>When enlarging it, I use a long exposure to burn in the grill
>and to bring out the contrast in the clouds.  The problem is
>that after processing, the finished print looks as if the 
>black of the grill has bled into the surrounding light regions 
>of the sky.  As a result, instead of a sharp silhouette, I have
>a mushy dark blob.
>
>Any ideas on what's happening and what I can do to avoid it?

A couple of possibilities come to mind.  The symptom is most likely a 
result of your enlarging lens.  If your enlarging lens is dirty, or has
inherently low contrast, light from the low density parts of the negtive 
can diffuse into adjacent high density areas.  Less likely, but possible, 
is fogging from the easel.  (Some easels are painted a sort of non-fog
yellow, to minimise the efect of light being reflected back through
single weght papers.)  Also, if the walls are white, and there is a light 
leak in the enlarger, the stray light could pre-sensitize the paper, and 
make it more succeptable to highlight depression, which would exacerbate 
any contrast loss or bleed from the rest of the enlarging system.

So:  What kind of lens are you using?  Is it *absolutely* clean, free from
fingerprints, smudges and *dust*?  Are you using single weight paper and
a white easel?  Are you smoking in the darkroom?  (Smoke makes a lovely
diffuser...)
-- 
Gregory Pease    | "The imitator is a flute
glp@tfs.com      | that sounds pitiful 
510/704-3133     | in order to be bought."
Newsgroups: rec.photo
From: G0900@vmcms.csuohio.edu
Subject: Re: Printing from Slides at home
Organization: CSU
Date: Tue, 18 Aug 1992 21:07:21 GMT

In article <1992Aug18.161142.5454@midway.uchicago.edu>
ar12@quads.uchicago.edu (Richard Nixon) writes:
 
>
>I'm curious about the slide printer-
>Is it possible to make larger prints than 3x5- does Vivitar make an 8x10
>printer? How much do these machines cost? This sounds like a great way
>of making polaroid transfer prints from 35mm slides!
>Andre
>
>C
 
That was my idea to, the cost I was hearing about was between $1 - $5
per print.  I saw this printer in a catalog for $60.  This printer
can only make prints from slides and in the size 3 1/4 x 4 1/4 .
I am looking more into it to see if there is a possiblity to get other
sizes.  If I come across more information I will post it to the list.
but for $60 the prints are nice, I just have to figure out how to handle
night shots.
 
Katherine    g0900 at csuohio or g0900 at vmcms.csuohio.edu
>
From: wkc@cup.portal.com (William Kirk Clendinning)
Newsgroups: rec.photo
Subject: Re: photo-developing, specifically nudes
Date: Thu, 13 Aug 92 18:40:08 PDT
Organization: The Portal System (TM)
Distribution: world
  <63809@cup.portal.com> <1992Aug11.151059.8168@hubcap.clemson.edu>
  <63858@cup.portal.com> <Aug.12.15.35.56.1992.9312@math.rutgers.edu>

Getting the *initial* temp right is just half the battle.  If you want
to avoid grain, reticulation and a slew of other problems, don't let
your temperature drift.  Yes, even in B&W you can increase the grain
by using warmer water, or even cause the soft emulsion to split when
subjected to a large temperature change.  I've found my work much more
consistent when temperatures remain constant thoughout the process.
The refrigerator or microwave is great for mixing chemicals, but not
for the volume of water needed to take a process through final rinse.
I gave up on that *years* ago...
Newsgroups: rec.photo
From: joec@fid.morgan.com (Joe Collins)
Subject: Re: mail order developing companies
Organization: None
Distribution: usa
Date: Fri, 21 Aug 1992 20:44:46 GMT

In article <21AUG199215575105@watson.bms.com> kaufman@watson.bms.com (Jon Kaufman) writes:
>Could anyone tell me the names and addresses of companies that
>specialize in mail order developing.  Please also comment on 
>price and quality of development.
>
>My email address is:  kaufman@watson.bms.com
>
>Thanks!

How about we post that info as well! I would like to know the info also.


Joe
joec@morgan.com
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.photo
Subject: Re: photo-developing, specifically nudes
Date: 13 Aug 92 19:42:44 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

eclipse@netcom.com (Brian McCullough) wrote:
> Here we are, all of us with computers, with an utter revolution in digital
> imaging ahead of us, and we hear from a fellow who still suffers from
> monochrome bias!  Isn't that _quaint_? 

"Bias" is a peculiar word to use for an objective interest in image
permanence.  Digital technology is irrelevant to this since the results of
the high-end technologies are output onto ordinary photographic materials
anyway, and tape or CD as end media rather than temporary storage for an
image processor are even less durable than RA-4 (two years MTF for a
cartridge tape, maybe 5 for a write-once CD?) and aimed at the same market.
(The current issue of a British magazine reproduces a computer-processed
image printed in platinum: though that particular picture is a yawn, the
approach starts to get interesting...)

One group of people who *ought* to be worrying about image permanence was
the one I was talking about in my original article: those who want to
preserve the lost youth of their lovers.  This may not be a large
proportion of amateur nude photographers but is certainly a substantial
one; and since monochrome suits the vast majority of nude images, these
people are just being swindled if the marketroids flog them RA-4 instead.

And another, which is where I fit in, is people who see their activity as
historical documentation: I want someone to dig out my pictures a hundred
years from now and see something about late 20th-century life in them, and
in particular I'd like them to see more than "that dye technology was
crap".  If I couldn't use something with the permanence of monochrome I
wouldn't bother with photography at all.  I can play music if I want a
transitory performance medium.

I do use colour, but only when I don't care if I outlive the end-product.

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.photo,alt.models
From: ksampath@magnus.acs.ohio-state.edu (Krishna S Sampath)
Subject: Re: looking for information on pinhole photography.
Keywords: pinhole, mineral oil
Organization: The Ohio State University
Date: Wed, 19 Aug 1992 20:40:42 GMT

>In article <1992Aug19.031500.28649@panix.com> reynolds@panix.com 
>(Brian Reynolds) writes:
>
....lots of useful info deleted....
>
>The upshot is that if you haven't tried a pinhole camera, it's easy and yuh
>oughta!
>
>John Bercovitz     (JHBercovitz@lbl.gov)
>

    can someone amend this useful article by explaining what happens to 
    the calculations if one uses a liquid (i remember mineral oil mentioned 
    a while ago) to make a 'lens' at the pinhole?

krishna

-- 
krishna s. sampath....graduate research assoc.....kss@ampere.eng.ohio-state.edu
ohio state u, electroscience lab......(614) 292-7981 (w)....(614) 292-7297  (f)
1320 kinnear rd, columbus, oh 43212...(614) 293-0913 (h)...011-91-4542-4127 (H)
-------------------------------------------------------------------------------
From: lihan@ccwf.cc.utexas.edu (Bruce G. Bostwick)
Newsgroups: rec.photo
Subject: Re: Ricoh KR-10 Super questions
Date: 17 Aug 92 17:35:44 GMT
Distribution: usa
Organization: The University of Texas at Austin, Austin TX

In article <1992Aug13.193501.7763@pbhya.PacBell.COM> whheydt@PacBell.COM (Wilson Heydt) writes:
>In article <1992Aug13.163836.25647@javelin.sim.es.com> rspeirs@javelin.sim.es.com (Ron Speirs) writes:
>>I don't think that your flash sync is out of adjustment.  Many cameras have
>>a maximum shutter speed for flash sync of 1/60.  Shooting flash at faster
>>speeds will result in part of the frame being unexposed.

No, the flash sync speed marked on the dial is 1/125, and this is also
the speed the camera sets itself to when the flash comes up ready.

>I think Mr. Spiers is probably right--though he's probably off on how
>far out of adjustment the camera is.
>
>If it's the 'bottom quarter' that's dark, then he has a vertically
>travelling shutter and 1/125 is a reasonable sync speed.  Olympus, for
>instance, uses a horizontal travel and syncs at 1/60.

The shutter is a vertical metal-leaf type and it does travel rather
fast -- the minimum full-aperture speed is 1/250.  When I bought the
thing years and years ago, the salesman showed me a Nikon with a
similar shutter that was capable of 1/4000 exposures.  I preferred
mine which has up to 16 seconds on the dial.  (Handy for moonlight
shots ..)

>If the 'bottom 1/4' is dark, and the shutter speed is 1/125, then the
>total exposure is 8 milliseconds, and the timing is out by 2 ms.  It
>will depend on which way the curtains travel that determine which one
>is in error.  It could be that a downward moving first curtain hasn't
>cleared the frame when the X-sync is fired or an early upward-moving
>second curtain has started too soon.  Either way, his analysis of the
>underlying problem is sound.

I stand corrected .. the estimate I included in my original post was
an top-of-the-head guess and probably wrong by an order of magnitude.
The shutter travel is from bottom to top, and I checked the flash sync
by removing the lens and back and triggering camera and flash toward a
white wall -- therefore 'bottom' means the physical bottom of the
camera and not the bottom of the upright image -- it would clip the
top 1/4 of the final printed image.

The $64,000 question remains though:  How do I correct this error?
The adjustment pots on the circuit board are unmarked, and there is no
indication of which does what anywhere else in the camera -- the
single IC module is potted to the board with a glob of black plastic.
If anyone happens to know the correct way to make this adjustment,
PLEASE let me know as it is a royal pain having to set to 1/60
manually for flash shots.  Thanks y'all!

-- 
<BGB>
lihan@ccwf.cc.utexas.edu        /     "I can't complain,
(really Bruce Bostwick)        /   but sometimes I still do"
from the great state of TEXAS /         --Joe Walsh--
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Re: Photography in low light?
Organization: Curtin University of Technology
Date: Fri, 21 Aug 1992 16:11:02 GMT

In article <1992Aug19.124540.1@acad3.alaska.edu>, fsjfz@acad3.alaska.edu writes:
...
> If the light is so low that the human eye can't see color, i'd say your only
> choice would be a high speed B&W.  THis summer, either Pop. Photo or Petersens
> Photo. had an article that mentioned T-MAX P3200 rated at EI25000 for
> surveillance work.  Try some T-MAX at 6400 or 12500 (and a hand-held meter
> that can handle the low light!).
> 

The good meter is a MUST. Many TTL metters croack at about LV 2-0, and will lie
about the exposure. I have shot one roll of P3200 at 50K in low light, 1/3 sec
@ f1.8. They have not been enlarged yet, but I'm not expecting fine grain!!

~Paul

Newsgroups: rec.photo
From: DH02 <DH02@polytec1.polymtl.ca>
Subject: Re: Printing from Slides at home
Organization: Ecole Polytechnique de Montreal
Date: Tue, 18 Aug 1992 19:27:32 GMT

In article <168479E34.G0900@vmcms.csuohio.edu> G0900@vmcms.csuohio.edu writes:
>I have just purchased a Vivitar's Instant Slide Printer.  It allows me
>
>Has anyone else used this type of printer? I have tried it and slides
>that are dark (night shots) so far are not coming out as nice as I
>.

I've been using the Vivitar Instant Slide printer for the past couple
of months. Generall, I try to avoid *trick* slide, i.e., restrict
to *average* slides.  I've had problems trying to get good to decent
prints from slides with less (or more) than average brightness!

And so, all I can suggest is stick to "average" slides; for night
shots etc., use a lab.....

Hope that helps!

-Tamal Ghosh
 Departement de Genie chimique
 Ecole Polytechnique de Montreal.

Newsgroups: rec.photo
From: berry@ssd.kodak.com (Mike Berry)
Subject: Processor recommendation needed
Originator: berry@crestone
Organization: Eastman Kodak
Date: Wed, 12 Aug 92 19:48:09 GMT



Hi folks,

	A friend of mine is in the process of building his own darkroom
and is looking for a print processor.  He has narrowed the choice down
to a Jobo CP31  and Durst Printo mudular system.   Does anybody
have any info on these two processors and recommendations on which
one would be a good buy???   I've sen the name Jobo mentioned
quite a few times in this group so I assume many of you have them.
DOn't remember seeing Durst though.  Anyway, any and all info
would be a great help.  If there is enough response I will post a summary
fo those that are interested.

This isn't in the FAQ is it??? hope not.


Thanks a lot
MIke

berry@ssd.kodak.com
From: mxl38@po.CWRU.Edu (Michel Labrousse)
Newsgroups: rec.photo
Subject: WANTED: Miranda lens 35 mm
Date: 18 Aug 92 16:49:10 GMT
Reply-To: mxl38@po.CWRU.Edu (Michel Labrousse)
Organization: Case Western Reserve University, Cleveland, OH (USA)


	I'm looking for a 35 or 28 mm lens for Miranda Sensorex. I would
pay around 50$ (plus shipping). 

Please answer via Email.
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: media permanence (was Re: photo-developing, specifically nudes)
Date: 19 Aug 92 21:38:32 GMT
Article-I.D.: clark.1992Aug19.213832.25543
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Aug19.182734.871@craycos.com> sog@craycos.com (Steve Gombosi) writes:
>In article <1992Aug19.155539.17331@clark.edu> gsnow@clark.edu (Gary Snow) writes:
>>
>>Hold it, are you trying to tell me that a B&W PRINT can out live its digital
>>counter-part?  I don't think so.
>
>An archivally processed B&W print ought to be good for a few centuries.
>That may or may not be true of a Photo-CD. You pays your money and you takes
>your chances.

What kind of process is that, "archivally processed B&W print", and what does
it do to help an image retain its ORIGINAL likeness?

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
Newsgroups: rec.photo
From: ptse@bwdls49.bnr.ca (Paul Tse)
Subject: SB-24 on Canon A1 (Summary)
Summary: How to use SB-24 with Canon
Keywords: flash
Organization: Bell-Northern Research, Ottawa, Canada
Date: Thu, 13 Aug 1992 13:28:21 GMT

Thanks to all who responded.

The consensus was that there is a very real potential for 
damage to either flash or camera if direct hot-shoe connection
is attempted.
 
Best bet is to use a PC-sync connection between the Canon A1
and the SB24.  An alternative is to carefully mask the auxiliary
hot-shoe pins (ie. all, other than the center triggering pin) with
electrical tape.

Thanks again.

--paul
From: janowsky@math.rutgers.edu (Steven Janowsky)
Newsgroups: rec.photo
Subject: Re: photo-developing, specifically nudes
Date: 12 Aug 92 19:35:56 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

In article <63858@cup.portal.com> wkc@cup.portal.com (William Kirk Clendinning) writes:

> Secondly, even
> though temperature is less critical in B&W, it is usually best to use
> a process temp of about 68F.  I live in Texas and the water comes out
> of the tap at 80F some days.  Color slides use an elevated temperature
> which is much easier to maintain with the controls of a sink or bath
> tub.  I process my slides at about 98F.

The refrigerator or microwave make the initial temperature adjustment
trivial.  And the initial temp is usually good enough for BW.

> As I stated before, the 
> hardward to develop slides (as well as B&W film, before printing) is 
> about $125.

Then you are being ripped off.  All you NEED is a tank, changing bag,
thermometer and some containers.


SJ
From: donl@glass.esd.sgi.com (donl mathis)
Newsgroups: rec.photo
Subject: Re: View Camera Questions
Date: 14 Aug 92 08:58:23 GMT
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA


In article <td6m1=a.badboy@netcom.com>, badboy@netcom.com (Jay Keller) writes:

|> Also, what is meant by "yaw free" movements, as in the Sinar and other V.C.
|> ads?

If you tilt either the front or rear standard, and then swing it, and
if one corner rises above the other, so that the tops of the standards
are no longer in the same plane, that's yaw.  If you put a board on top
of the camera, it could be rocked along a diagonal.  If this happens at
the back, the image will have rotated a bit on the ground glass.  If it
happens at the front, the focal plane may not be where you intended it
to be.

Yaw is a function of how the axes are arranged for the movements.
Typically, there is no problem as long as the monorail or bed of the
camera is level.  Yaw annoys some people because they have to incline
the monorail, where swing will then induce yaw.  I hate thinking about
the geometry; it's left as an exercise to the reader.

Whether it is *important* or not is another question altogether.  If
the camera has sufficient rise and fall, you never have to tilt the
monorail, and thus you never have to suffer from yaw.  If you do get
yaw at the rear standard, it doesn't seem like that much trouble to
tilt the whole camera a little to make up for it, and put the image
horizontal and vertical again on the ground glass.  I suspect it's
primarily a problem in the studio, with those radical movements to
cover product shots and things like that.  Photographing in the field,
I've *never* been bothered by yaw, but then, my camera has quite a bit
of rise and fall, so I almost never have to incline the major axis.

In my opinion, it's not worth worrying about, especially on a first
camera.  If it's a problem in real life, and you're serious about this
view camera stuff, keep it in mind when you buy your *second* camera.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com
From: ob00@ns1.cc.lehigh.edu (OLCAY BOZ)
Newsgroups: rec.photo
Subject: HELP! scratch on FOCUSING SCREEN...
Date: 21 Aug 92 06:09:23 GMT
Organization: Lehigh University

Hi,

I have a CANON EOS REBEL S II.  I did sth very bad. While cleaning the camera
I created some scratches on the focusing screen.  What should I do now?
Scratces are not very bad. Can the focusing screen be changed? If so how much
does it cost? Any help will be appreciated very much.

P.S.  I am very new to photography.
-- 


         -----------------------------------------------------------------
         |  OLCAY BOZ                     |  OB00@NS1.CC.LEHIGH.EDU      |
         |  LEHIGH UNIVERSITY             |                              |
         |  COMPUTER SCIENCE DEPARTMENT   |                              |
         |  Ph. D. Student                |  phone : (215) 758-1886      |
From: fred-mckenzie@ksc.nasa.gov (Fred McKenzie)
Newsgroups: rec.photo
Subject: Re: The quality of Nikon "E" lenses?
Date: 21 Aug 92 13:46:22 GMT
Followup-To: rec.photo
Organization: NASA/Kennedy Space Center, Florida

In article <1992Aug21.133300.1@cc.helsinki.fi>, mlindholm@cc.helsinki.fi
wrote:
>     Are the Nikon E-series lenses inferior in some way to the standard
>     Nikon manual focus lenses (e.g. the AI-series)?

Mikko-

The "word" is that the E-series lenses, which were produced in conjunction
with the Nikon EM, are optically the equal of similar Nikkor's.  They
apparently are made with more plastic/less metal, to be economical to
produce.

I doubt you will ever be disappointed with them for casual photography, and
you can save a little money.  I have the 36 to 72mm E-series zoom.  It is
probably as sharp as any zoom lens I have.  I'm quite impressed with it.

fred-mckenzie@ksc.nasa.gov