HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Problem with Elan Lens Holder Pin
Date: 26 Jan 93 03:26:02 GMT

In <1993Jan25.194238.15234@watson.ibm.com> picheny@watson.ibm.com (MA.Picheny;340090) writes:

>The little pin that pops up to hold the lens in place on
>my ELan is stuck and does not pop up. Is the only option to
>send it in for service (yuk, and I have it for 13 months, so I must
>fight on warranty issues) or is there something simple and clever I can do?

Depends.  Can you give more details?

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______________________|
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Elan Telephoto Zoom Lenses
Organization: Curtin University of Technology
Date: Fri, 22 Jan 1993 10:27:16 GMT

In article <C173wy.MtA@fulcrum.co.uk>, rct@fulcrum.co.uk (Richard Taylor) writes:
> In article <1993Jan20.034757.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au writes:
>>In article <1993Jan19.171541.24635@watson.ibm.com>, picheny@watson.ibm.com (MA.Picheny;340090) writes:
...
>>Forget the 75-300.
> 
> Because......?
> 

Fragile, low optical quality ( poor resolution, largish lateral colour ).
For near same price, the 70-210 or 100-300 USMs are streets ahead. 

BTW, the 35-135, 70-210, and 100-300 are all the same price in .au.

~Paul

Newsgroups: rec.photo
From: hagmeier@dfki.uni-kl.de (Joachim Hagmeier)
Subject: Re: Ni-Cd Cells in Canon F1 motor drive
Organization: DFKI Kaiserslautern
Date: Wed, 27 Jan 1993 16:06:38 GMT


I was told that is can be dangerous to use Ni-Cd Cells in winders.
Because of their low internal resistance they can burn the motor,
when it tries to wind after the last picture on the film, because it realices
that the film is full.
In this moment the motor tries to wind, but can't due of the end of the film.
Because of the very low internal resistance of the Ni-Cd cell this results
in a high current that can burn the winder motor.
Well, that's what I was told. Does anyone know more about it? Is this true
or not?

Bye
	Jimmy
From: asanders@adobe.com (Alan Sanders)
Newsgroups: rec.photo
Subject: Re: Plastic Canon
Date: 25 Jan 93 17:48:09 GMT
Organization: Adobe Systems Incorporated

| Exactly how "solid" do many of the mid-range Nikons "feel". 

					-Damon

Well, an 8008(s) is certainly no match for the F4s, but everything
is relative (as they say). There are days when I wish my 8008s
looked and felt more like an F4s (without the extra weight, of
course!), but the 8008 is a very solid and well-built body
compared to most of the Canons I've tried.

			   -Alan
From: mikec@spider.co.uk (Mike Coren)
Newsgroups: rec.photo
Subject: Re: Need fix for slides developed as prints
Date: 23 Jan 93 19:19:30 GMT
Organization: Spider Systems Limited, Edinburgh, UK.

In article <CAPELLA.93Jan21111113@masig.fsu.edu> capella@masig.fsu.edu (Jorge Capella) writes:
>A local photo shop recently developed several rolls of slide film as
>if they were prints.  We are now the owners of numerous "negative
>slides".  
>

AAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!

I hope you very careful not to hit any innocent bystanders when you drove
your car through their storefront.

Was this a one-hour place?  Did you at least have the satisfaction of
knowing you screwed up their chemistry, or would E6 be OK in C41?
How do they look?  Like negatives?  Like slides?
Like Ansel Adams meets Salvadore Dali?  Details, please.

Mike

-- 
Michael D. Coren, Electrical Engineer             mikec@spider.co.uk
Telecommunications Techniques Corporation, Germantown, Maryland, USA.
Temporarily at Spider Systems Limited, Edinburgh, Scotland, UK.
From: rwt@ohm.york.ac.uk (Richard Taylor)
Newsgroups: rec.photo
Subject: Re: Nikon F3
Keywords: Nikon F3 interchangeable film cassettes
Date: 21 Jan 93 09:21:14 GMT
Organization: Electronics Department, University of York, UK

My father has a Zeiss Contarex ("cyclops") - a lovely camera with
wonderful lenses. It has removable backs for 35mm film. When you
want to remove a back you insert a small plate and the film is then
safe. I think the camera is late 60's early 70's

rwt


-- 
    ,_~o    Dr. Richard Taylor         email : rwt@uk.ac.york.ohm
  _-\_<,    CSEG, University of York   tel   : (44) 904 432351
(*)/'(*)    Y015DD, England            fax   : (44) 904 432335
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: reloading film on an EOS 10s
Date: 28 Jan 93 15:14:16 GMT

In <1k8q2tINN8no@geraldo.cc.utexas.edu> ravenone@ccwf.cc.utexas.edu (Robert Marsa) writes:

>If I shoot part of a roll of film on my 10s and then switch films and later
>wish to reload, what should I do?  Should I advance one frame past the last
>frame I shot, or is the reload accurate enough to synch to the exposed frames?

You probably know to shoot at fastest shutter speed with smallest
aperture with the lens cap on when winding your film on.

I leave a blank frame just in case.  Better to waste (at most) one
blank frame than burn two exposed frames!

There probably are tricks, but I don't think it's worth the hassle.  It
has something to do with marking one of the sprocket teeth and making
sure a certain hole lines up with the marked tooth every time.  Since I
shoot a fair proportion of bulk-loaded film, the leaders aren't cut
exactly the same, so I don't know what one does in that case.

>If I have the film processed by Kodalux will my slides be cut wrong?

Never dealt with Kodalux.  Most of the time, I make an effort to note
that the film was rewound and reloaded.  I guess you scribble a note on
your Kodalux mailer in big black letters.  (I don't recommend colours
for emphasis, since there is the odd story of a colourblind machine
operator!) That way I can rag on them if they slice and dice my
frames.  (Arg.  Forgot to do that on the last roll I turned in.  Hmph.)


A good tip is to write all of the useful information on the film leader
using a permanent marker.  I've found the "Sandford Sharpie" quite
good.  (Those little "data markers" they sell at my local photoshops
are useless.)  For each roll, I get, I immediately write on who owns it
(school newspaper, or yearbook, or me), what speed I'm exposing it at
(bulk cannisters, not DXed, may push sometimes, but rarely), and what
frames I've exposed.  That way, you never lose the information.

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______________________|
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Gels For Strobes
Keywords: Blast 'Em
Date: 22 Jan 93 05:20:49 GMT

In <1993Jan21.222920.12429@pony.Ingres.COM> bbarton@Ingres.COM (Brian Barton) writes:

>In particular, does anyone know anything about what Sunpak offers for their
>"hot shoe" flashes?  I keep on cutting up my Wrattens and taping them on
>my strobes and this is getting expensive $$$!

>Any wisdom?

>Someone...Anyone?

Well, I don't know if it's wisdom, but I'll take a crack at it.
(I haven't gotten around to playing around with flash filters, but I'm
close!  I feel it! :-)

How about putting your filters in little plastic "ziplock" bags that
are commonly used to hold little parts.  Then you are applying tape to
something more durable.  Indeed, they need not be ziplock bags if you
have some means of sealing your gels into a plastic envelope of some
kind.  Heck!  Use tape to keep the gel inside the plastic!

If you use filters on the flash lots and lots, you might want to leave
a "tab" on the plastic and attach velcro there.

Does this sound at all reasonable?

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______________________|
Newsgroups: rec.photo
From: ka1gt@cbnewsm.cb.att.com (robert.m.atkins)
Subject: Re: Canon EF teleconverters (was Re: When does price beat out the best choice for you?)
Organization: AT&T
Distribution: na
Date: Thu, 28 Jan 1993 18:05:37 GMT

In article <1993Jan28.145828.2689@walter.bellcore.com>, jchen@wind.bellcore.com (Jason Chen) writes:
> In article <1993Jan27.212035.7051@cbnewsm.cb.att.com> ka1gt@cbnewsm.cb.att.com (robert.m.atkins) writes:
> >In article <1993Jan27.174119.19856@walter.bellcore.com>, jchen@wind.bellcore.com (Jason Chen) writes:
> >> Is physical compatibility all what the problem is? How about optical 
> >> compatibility? 
> >> 
> >> If I can mate a lens with a Canon TC physically, does it mean that it will
> >> work perfectly?
> >
> >Nothing works "perfectly", and what do you mean by "perfectly" anyway?
> >If you could get a Canon EF converter on one of the other lenses it
> >would work in the sense that you would get the expected increase in
> >effective focal length. In fact you can put the converters on ANY canon
> >EF lens if you use the extension tube. You only get macro focusing
> >capabilities however. Optical quality of the result? Probably fair but
> >not great if you short focal length lenses.
> >
> "Perfectly" means whatever a TC should do, given its imperfections.
> 
> The reason that I asked the question is that the rear element of the
> 50-200L lens has about 3/4-1 inch recess. If I can fit the Canon TC
> physically, I wonder if the Canon TC is compatible with the len optically:
> being able to focus on infinity, no light fall-off at corners, etc.
> 
> Jason Chen
> 

If you can get a mechanical coupling, you should be able to get infinity
focus and you probably will see no more light fall off at the edges than
you do now. The 100-300L also has a recessed rear element, but the
size of the "hole" at the back of the lens is (or so I'm told) too
small for the EF1.4x front element. I have not seen the 50-200L, so I
can't comment there. One thing to bear in mind is that the Canon EF1.4x
is around $300. For that kind of $ you might pick up a better 300mm lens
than the 50-200L + 1.4x would give you (Sigma 75-300APO, or even a Canon
100-300USM).


===============================================================
Bob Atkins  AT&T Bell Labs  email (direct)  att!clockwise!rma
===============================================================
From: monson@ece.orst.edu
Newsgroups: rec.photo
Subject: Marketing Polaroid Transfer Prints
Date: 27 Jan 93 22:24:17 GMT
Distribution: na
Organization: Oregon State University, Corvallis
NNTP-Posting-Host: hobo.ece.orst.edu


  We had a discussion on making polaroid transfer prints some months
  back. I will assume readers are familiar with the process. But I
  thought I'd pass along some information I've gathered about selling
  transfer prints ("T-roids"  :-) ) in hopes of stimulating discussion that
  may provide even more ideas for making some $$$$.


  One artist in Portland, Oregon makes 4x5 T-roids of floral arrangements,
  modifies the prints (according to her taste) by wiping dye off 
  certain areas of the transfers while wet and/or painting with water
  colors. The prints are then nicely matted (single, white) and put
  in a wood frame. These sell (repeatedly, not just an isolated sale)
  for $180. She works through an art gallery, so I don't know
  what her take is, but the point is that there are people 
  willing to pay one hundred and eighty bucks for a framed 4x5 polaroid
  transfer print of flowers!

  I recently spoke with another photographer who used T-roids for 
  "figure studies." (translation: pictures of naked women) This
  individual worked with the smaller 2 1/4 x 3 1/4 polaroid pack film.
  Matted and framed, the prints *sold* at $95 each during one exhibition
  here in little, rural Corvallis, Or. (The gallery commission for these
  sales was 35%)

  After learning about these sales, I got to thinking that there may
  actually be an opportunity to make money selling "art" photographs.
  Does anyone else know of instances where T-roids are selling?
  Where?  What kinds of subject matter, and what prices?
From: johno@sdd.hp.com (John Ongtooguk)
Newsgroups: rec.photo
Subject: Re: Slide film and Flash photography
Date: 21 Jan 1993 18:32:14 GMT
Organization: Hewlett-Packard, San Diego Division
Distribution: world
NNTP-Posting-Host: hpsdlg10.sdd.hp.com

In article <42Ld025633cR01@JUTS.ccc.amdahl.com>, pvk00@RUTS.ccc.amdahl.com (Prasad Kongara) writes:
|> ..... 
|> After I got the films developed, I was quite pleased
|> with the results of the print film and I was quite
|> disappointed with the results of the slide film. All
|> slides came out too dark. When I project them, I see
|> faces that are too dark with eyes too glittery.
|>
   You can't judge correct exposure from print film due
   to the compensation during printing. With slide film
   what you shoot is what you get, for better or worse.
   The slides are underexposed, due to a number of possible
   reasons: 

    The flash isn't providing enough light. Try it with the 
    sensor on the flash where you should get some sort of
    green/red (enough/not enough) indicator. 

    The room is light and results in incorrect exposure when
    using an auto exposure on the flash or camera. 

    The auto sensors are reading the wrong subject, typically
    one too close, and quenching the flash too soon.
 
    With bounce flash it's easy to get underexposed faces if
    you're bouncing too close to the subjects or the bounce
    angle is too steep. Try it straight up or adding a small
    card to the flash to lighten up the subjects. 
   
   etc. If you have a flash meter you can calibrate your
   flash easily, if not try it in manual mode and using
   guide numbers. I use slide film all the time with flash 
   but I usually bounce using the sensor on the flash as
   I have a manual camera. I use Kodachrome 64 most of the 
   time but have had good results with K200 too. Good luck.

   John Ongtooguk (johno@sdd.hp.com)
Newsgroups: rec.photo
From: Harald.Brandt@eua.ericsson.se (Harald Brandt)
Subject: Re: Actual vs. advertised lens focal lengths
Organization: Ellemtel Utvecklings AB, Sweden
Date: Fri, 22 Jan 1993 16:20:21 GMT


In article <1993Jan19.152408.37954@ns1.cc.lehigh.edu> 
vl01@ns1.cc.lehigh.edu (VINCENZO LIOTTA) writes:
> focal lengths may vary up to 10 mm from the advertised number.
> Is this a common practice ? Does anyone have the REAL foacal lengths for 
> these lenses?

Yes it is common practice, unfortunately. (10 mm deviation for a 
tele lens zoom). Aktuellt  Fotografi (Sweden) measured: 29-102 mm on 
that lens you asked about (the 28-105 f/3.5-4.5) 
Pretty normal deviation for Canon and such a lens. 

/Harald
From: wave@waits.media.mit.edu (Michael B. Johnson)
Newsgroups: rec.photo
Subject: "Panoramic option" for Maxxum 7xi & 9xi
Date: 26 Jan 93 21:46:02 GMT
Article-I.D.: news.1993Jan26.214602.23354
Organization: MIT Media Laboratory

Kim A. Tan writes
> In article <1993Jan26.115215.22931@spider.co.uk> mikec@spider.co.uk (Mike  
Coren) writes:
> 
> >I don't know about a new high end, but I've heard that in Japan you can buy
> >Minolta Dynaxes with a special "panoramic" option that lets you take  
panoramic
> >pictures.  I suspect it's like the disposables, where you only get a narrow
> >exposure in a standard 35mm frame.  In any event, last I heard they weren't
> >being sold outside of Japan, but I suppose it's up to the individual  
distrib-
> >utors whether they feel it's worthwhile to import or not.
> 
> You can, in canada, get the panoramic option for the 7xi and 9xi.
> 

The "panoramic option" is just a little matte that goes in the back of the  
camera, over the shutter.  Costs about $30.  I have it for my 9xi and have had  
a lot of fun with it.

--

-->  Michael B. Johnson
-->  MIT Media Lab      --  Computer Graphics & Animation Group
-->  (617) 253-0663     --  wave@media-lab.media.mit.edu
-->  NeXT Mail accepted at  wave@nordine.media.mit.edu
Newsgroups: rec.photo
From: joe.hayashibara@nb.rockwell.com (Joe Hayashibara)
Subject: Minolta XE-7/ Auto flash 128 question...
Followup-To: rec.photo
Organization: Rockwell International
Date: Wed, 27 Jan 1993 23:57:44 GMT

Greeting Minolta users...

I have a friend that has a XE-7 with an autoflash 128 that he lost the
instuctions to. (So what else is new...)

His question is this... How do you use the camera and flash together???

I don't remeber if the XE-7 can be left on "AUTO" or has to be set on 
X-sync before the flash can be used. The back of the flash has a dial that
I assume has to be set to the proper ASA before useage.

Please respond to me at the address listed below.

Thanks,

Joe.

------------------------------------------------------------------------------
Joe Hayashibara
Rockwell International
Newport Beach, CA.
joe.hayashibara@nb.rockwell.com

This message by no means expresses the views of Rockwell International!!!
------------------------------------------------------------------------------
From: kbb0@harvey.gte.com (Kevin Burke)
Newsgroups: rec.photo
Subject: Re: Funky Leica Winder?
Date: 21 Jan 93 18:57:45 GMT

In article <1993Jan21.131802.29139@schunix.uucp>, rwyble@schunix.uucp (Richard J. Wyble) writes:
> bbarton@Ingres.COM (Brian Barton) writes:
> : Has anybody heard of this funky Leica Rangefinder winder made by a third
> : party manufacturer for Leica Rangefinder cameras?
> 
> Is this a new product? Leica made such a thing in years past.

A few years ago a company (the name escapes me at the moment)
introduced a "trigger-wind" baseplate winder functionally similar to
those supplied on the old Leica MP. I've also seen such contraptions for
old Canon rangefinders (model VT, I think) in one of Jason Schneider's
books. The new model was intended to be used on later model M-series
cameras since the MP winder can't be used on, say, an M4-P. Also, MP
cameras and winders are collectors items, scarce and expensive.

Basically, the hand that cradles the camera from below is used to
laterally pull a protruding "trigger" or lever (kind of like a squeezing
motion).  Supposedly the advance is very quick and dependent only on the
speed with which you can squeeze. The lever folds into the bottom of the
unit when not in use.

I would think a Leica specialty dealer such as Stan Tamarkin's could
tell you a whole lot more about it if you were considering a purchase.

Regards, Kevin
From: auyeung@toadflax.cs.ucdavis.edu (Tak [UlTech] AuYeung)
Newsgroups: rec.photo
Subject: for sale: Canon EF70-210f/4 for $170+shipping
Date: 26 Jan 93 08:11:43 GMT
Distribution: usa
Organization: Department of Computer Science, University of California, Davis

Since my 35-70 is broken and Canon won't fix it for free, I'd like to
sell my 2-month old (bought for a trip in Christmas) EF70-210f/4.  It
is not USM, but is a straight 4, nonetheless.  I'll include the
invoice from Beach Camera, which they claim is the warrantee (and is
verified at a local Canon service center).

The price is pretty firm as a new 35-70 is about $100 (from B&H), and
the Tamron 28-200 (which I plan to buy) is about $270.  If I cannot
sell the 70-210 for $170, I'd just buy a new 35-70.

Please direct all offers to this account.  Thanks!

--Tak
Newsgroups: rec.photo
From: exjtmm@tts.lth.se (Thommy M. Malmstr|m)
Subject: Re: Apartment Darkrooms
Organization: Communication Systems, Lund Institute of Technology, Sweden
	<vbf310o@zola.esd.sgi.com> <2538@blue.cis.pitt.edu>
Date: 27 Jan 93 09:52:19

>>>>> "HB" == Harry Bloomberg <hpb@hpb.cis.pitt.edu> writes:

HB>    The key to the whole kitchen-darkroom project was an "eureka" moment.
HB> I noticed that my kitchen was long and narrow with a doorless doorway as
HB> the only entrance.  I realized that I could easily drape some
HB> light-tight cloth over this entrance and have a really dark darkroom.  I
HB> ordered some cloth from Calumet (a real first rate outfit), borrowed an
HB> enlarger from a friend, and I'm now in business.

I have my equipment in the bathroom with the enlarger on a low
cupboard and the trays at a board placed on the bathtub. It's
becoming quite annoying to bend down to the trays so I'm about to
switch to the kitchen. My problem is that my kitchen has a large
window. What is the easiest way to cover the window? There is also a
small "window" above the door to the livingroom. Is it possible to
cover that window with some cind of red filter-plastic so that I will
have a overall red darkroom light?

/Thommy M.

--
Thommy M. MALMSTR\M    |  o ,__Q  |  Lund Institute of Technology
K{mn{rsv{gen 3 A:202   |  \-\_<,  |  Dept. of Communication Systems
S-226 46 LUND, SWEDEN  | (*)/'(*) |  Box 118, S-221 00 LUND, SWEDEN
+46-(0)46 13 21 78     |~~~~~~~~~~|  Tfn:+46-46 10 90 08, Fax:+46-46 14 58 23
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Elan Zoom Lens and 430EZ Flash
Date: 25 Jan 93 22:01:20 GMT

In <1993Jan25.194009.32482@watson.ibm.com> picheny@watson.ibm.com (MA.Picheny;340090) writes:

>I have a 100-300 USM lens for my Elan and a 430EZ flash.  Is there
>any special instructions on how to use the flash with this size zoom, or do I
>just treat it as if it were like the 28-80 lens that came with the camera?	

The 430EZ will automatically zoom to 80mm.  Nothing special needs to be done.

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______________________|
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Film Reccomendations Summary
Organization: Curtin University of Technology
Date: Sat, 23 Jan 1993 22:03:45 GMT

In article <147273@lll-winken.LLNL.GOV>, agosta@mred.llnl.gov (Keith Agosta) writes:
> Recently I posted an article requesting film suggestions for 35mm 
> twilight landscapes in both B&W and color.

2 that come to mind. Well 3 acctualy... Ektar 25 or 25 pro. Finest grain,
minimal RF. No correction at 10 sec.

For B/W good old Tech Pan. A bit of a pain in the **** to use, but... Well
worth the trouble.

~Paul

Newsgroups: rec.photo