HDTenEightyP/NetNews huggingface dataset:
From: ray@anaconda.cis.ohio-state.edu (william c ray)
Subject: Re: moonlit landscapes / stars (4x5)
Organization: The Ohio State University Dept. of Computer and Info. Science
Date: Fri, 16 Oct 1992 13:36:58 GMT

In article <1992Oct15.182644.1@vms.ocom.okstate.edu> chorley@vms.ocom.okstate.edu writes:
(various other people write too, discussing ideas on photographing by available moonlight)
>
>More points: If you stop and think hard, what you will be photographing 
>will be essentially a high-contrast monochromatic landscape. Why not try 
>B&W THEN, you could use the Zone System and get really confused
>

Let's think about that one a bit more... You are photographing by moonlight, which is just
reflected sunlight, from a rather grey, diffuse reflector, so the available light ought
to be fairly similar in spectrum to sunlight.  The colors of objects that your photographing
won't have changed.  So, why should the image be monochromatic?  (I've been thinking
about this one for the last several weeks, ever since I tried just this out in Utah on
my vacation.  I unfortunately only shot B/W, so I can't report on the color problem, but
I shot B/W for exactly this reason, and then started thinking about the logic later)

The reason that _we_ see the moon-illuminated landscape as being monochromatic is
because of the way that our eyes work.. Below a certain incident light level, our
color receptors do not function well, and we are left with only our intensity
receptors.  (I'm not a physiologist, so someone can correct me if I'm wrong, but I
believe that the color receptors are the rods, and the intensity receptors are 
the cones, both of which live intermingled in the retina, rods being concentrated
around the optical axis of the eye, and cones being more dense in a ring around
the axis.  therefore the tendency for the eye to be able to distinguish greater
low-light-level detail off-axis)  Because of the behaviour of these receptors, we
are seeing with only our cones at night, therefore, we do not percieve color
data.  This does not mean that it is non-existant, and film, which should not
suffer from our peculiar brand of light sensitivity, should have no problems 
resolving the color.  That make sense to anyone?

Now a question... Do we really _want_ that?  i.e.  we probably photographed the
night landscape to get something similar to what we see, and if the film is going
to render it in wonderful living color, rather than the somewhat eerie
monochromatic version we see, are we going to get anything even similar to 
what we wanted?  (this is of course neglecting some large factors like the
fact that the various layers of the emulsion will most likely have slightly
different sensitivities, and reciprocity will probably cause them to go
entirely out of balance, possibly creating that monochromatic landscape for
you all over again, even if it is rendered in magenta...)

Will Ray
ray@cis.ohio-state.edu


Newsgroups: rec.photo
From: hamm@weejordy.physics.mun.ca (Craig Hamm)
Subject: Help please: Polaroid 667 film
Organization: Ocean Sciences Centre
Date: Sat, 10 Oct 1992 14:22:17 GMT


	I have some of this film, which is not cheap, and an old, but
	mint condition, Polaroid 420 camera, and would like suggestions
	on homing in to correct exposures in few frames.

	The ASA is 3000.


-- 
  Craig Hamm, Memorial University, | He's big, he's bad, and he's mad. If the
  Newfoundland,              ______| odds are stacked against you...if you 
  DoD #1500,                / have nowhere left to turn...he's your last
  1981 Maxim 650            | resort. A berserk one-man juggernaut of death
  __________________________| on the trail to hell and back. -The Liquidizer

Newsgroups: rec.photo
From: matth@progress.COM (Matthew J. Harper)
Subject: Re: Ektar vs. Gold
Organization: Progress Software Corp.
Date: Thu, 8 Oct 1992 15:42:43 GMT

zawada@athens.eid.anl.gov (Dave Zawada) writes:

>I recently returned from a weekend in Zion National Park.  While there, I
>decided to pit Ektar 100, Fuji Super HG100, and Fuji Reala (ISO 100) 
>against one another.  The results were not even close.  The grain
>and color saturation of the Reala was leagues above the other two.  In fact
>the Ektar produced bland, flat looking pictures.

>When shooting prints in the future, I'm going to stick with the Reala.

>-- Dave

  You know, it's funny.  Last year I did the same thing (Ektar 125 .vs. Reala
100) on a trip to Alaska.

  I had just the opposite results.  The Ektar came out great and the Reala
came out flat and dull and crappy.

  My brother-in-law did the same.  Both of his came out fine.

  We both have Nikon 8008 and comparable lenses.

  All the rolls of film came from the same flat.

  Only thing different was where we got them developed.

  I surmise that some shops can do Kodak well, some can do Fuji well and
few can do both well.

-Matth


          Matthew J. Harper ! Progress Software Corp. ! {disclaimer.i}         
   God created heaven and earth to grow barley and hops. Now he homebrews !-)  
--
          Matthew J. Harper ! Progress Software Corp. ! {disclaimer.i}         
   God created heaven and earth to grow barley and hops. Now he homebrews !-)
From: f88mattb@fy.chalmers.se (Mattias Bryntesson)
Newsgroups: rec.photo
Subject: Spot metering
Date: 9 Oct 92 10:19:48 GMT
Organization: Chalmers University of Technology, G|teborg, Sweden


The first thing I looked for when the new Nikon came (as with every
new camera I see!) was if it had any spot metering capabilities. It
would be interesting to know what you netters think of it. Am I the
only one that think spot metering is the number one in metering?

Center-weighted metering does a good job in ~90% of all situations and
matrix metering does so in ~98%, but spot metering together with your
own eyes performs even better, IMHO.

When it comes to high-contrast subject and B/W work (zone system or
something) it's a must to be able to measure the shadows and the
highlights separately. Of course you can estimate the contrast, as
well as the total light. But why stop at metering an average, when
you can get it all?

The exposure of the film and the development is the most crucial step
in normal photography, and therefore most care should be taken. The
exposure determines what will be on the film and what will be lost.
This is especially true when you use slide film, because of its low
exposure latitude.

What do you people out there think?

Mattias
Newsgroups: rec.photo
From: blue@sequent.com (Gil Delavous)
Newsgroups: rec.photo
Subject: Multiple film exchange on a 24x36 camera
Date: 16 Oct 92 09:26:55 GMT
Article-I.D.: sequent.1992Oct16.092655.21409
Followup-To: blue@gateway.sequent.com
Organization: Sequent Computer Systems, Inc.

I was wondering how to change the film on a 24x36 camera to take
a picture which requires another sensibility, then put back the
film. I don't understand why this feature is not implemented on
24x36 cameras so far. Camera builders put dozains of options that
are mostly never used but don't seem to understand what is 
necessary. I can't buy 3 or 4 bodies using different films. The
first camera which support this feature, I buy it.

BTW, does anybody know how to change the film? Can I rewind the film,
load another one, shoot, then put back the old film, put the lens hood
and shoot until I reach the next picture? I have a Nikon N8008 body.

Thanks,
Gil Delavous
Sequent Computer Systems
blue@gateway.sequent.com
    _____
 ===========
|   /////   |----------------------------------------------------------+
|  /////    | [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] |
| /////     | +------------+ +------------+ +------------+             |
|/////      | |    o       | | /\    /\ o | |      o     |              \
|////       | |            | |/  \/\/  \__| |    _/>     |               \
|///        | |~~~~~~~~~~~~| |    \____   | |  (*)>(*)   |                \
|//         | +------------+ +------------+ +------------+                 \
|/  ISO 100 | [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] []|
|   36 EXP. |---------------------------------------------------------------+
 ===========

Disclaimer: These are my own opinions, not Sequent ones.
^^^^^^^^^^
From: tonya@hpldsla.sid.hp.com (Tony Arnerich)
Newsgroups: rec.photo
Subject: Re: Index for Darkroom & Creative Camera Techniques
Date: 8 Oct 92 20:26:59 GMT
Organization: HP Scientific Instruments Division - Palo Alto, CA

RSPEIRS@130.187.170.178 (RON SPEIRS) writes:

> Like many of you, I have found Darkroom & Creative Techniques magazine
> very useful and informative. ...
>           so I made an index.

... 

> PC where it was converted to Word Perfect 5.1.  It is not in a Database
> format.  It prints in landscape mode with a small (8 pt) font.

> Here's the offer:  I would be happy to share it with anyone who would 
> want it.  Just send a blank diskette (3.5 or 5.25, DD is ok) with a self-

How about an ASCII-only version that you can send out via email? I don't
need any fancy formatting, and you'll save yourself a *lot* of hassle. I'd
take a copy of that...

Just my $0.02.  - Tony
Newsgroups: rec.photo
From: twtan@essex.ecn.uoknor.edu (Tack Wee Tan)
Subject: Tokina AF 20-35mm : filter problm?
Date: Thu, 15 Oct 1992 00:01:13 GMT
Organization: Engineering Computer Network, University of Oklahoma, Norman, OK, USA

	I am contemplating buying the Tokina 20-35mm. My question is
: will there be problems when one use filters on the lens? 
Example: Cokin filter with adapter
         Circular Polarizer (Hoya etc.)

	I'm worried vignetting might occur since the lens is extremely
wide. All replies are appreciated. Thanks.


Colin Tan
twtan@essex.ecn.uoknor.edu

Newsgroups: rec.photo
From: twtan@essex.ecn.uoknor.edu (Tack Wee Tan)
Subject: FOR SALE: AF Nikon 24mm f2.8
Date: Mon, 12 Oct 1992 07:09:03 GMT
Organization: Engineering Computer Network, University of Oklahoma, Norman, OK, USA

	FOR SALE. FOR SALE.

	I have for sale a Nikkor AF 24mm f2.8 lens. It's only about
six months old. It is in perfect condition. There's absolutely nothing
wrong with it. There are no scratches whatsoever on the lens. All markings
still look new with no visible signs of usage. I decided to change to a 
zoom lens instead as I no longer have the time to do serious photography. 
                                        
	Nikkor AF 24mm f2.8                 $289 
        Original Nikon metal lens hood      $ 12
        Original Nikon UV filter            $ 24
        Shipping and Handling               $ 10

	Total cost of package               $335

	I'll sell the whole package for ONLY and ONLY $275.
                                                 ~~~~~~~~~~     
	I'll PAY for shipping and Handling. Not only that, you get
an original Nikon metal lens hood AND original Nikon UV filter all for 
FREE!!!! AND the lens still comes under its original US warranty with six
months more to go!!! Will also include in original receipts AND original
boxes. Price is negotiable. 
 
Colin Tan
twtan@essex.ecn.uoknor.edu

 

Newsgroups: rec.photo
From: kting@cse.unl.edu (Kea Ting)
Newsgroups: rec.photo
Subject: developer container
Keywords: t-max and d-76 developer
Date: 16 Oct 92 02:41:01 GMT
Organization: University of Nebraska--Lincoln
NNTP-Posting-Host: cse.unl.edu


Hi,
    I have a one gallon container that used to filled with T-max 
developer. Now I decided to move to D-76, can I use that same container
that used to fill with t-max developer to fill the D-76 developer ? Is there
any side effect of that of doing this ? I know I can't used the fixer container to fill with any kind of developer, because it will weaker the developer.

thanks.

--
soon

University Of                  Disclaimer :
Nebraska-Lincoln               I always speak for myself.
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: EF Life Size Converter
Organization: Curtin University of Technology
Date: Wed, 14 Oct 1992 21:57:32 GMT

The Canon EOS Close-up info arrived yesterday. One of the interesting tit-
bits is about the 'Life Size Converter EF' It IS a tele-converter, 1.6x
in fact, 50 -> 70mm. But, it does not allow the lens to focus to inf.

~Paul

Newsgroups: rec.photo
From: jim@neb (Jim Hood)
Subject: Re: Freezing Film
Organization: Nebula - Public Access Unix/bbs SLC Ut, USA
Date: Tue, 6 Oct 1992 18:20:46 GMT

>The part about not re-freezing is new and interesting to me.  Can
>anyone supply an explanation?  I've regularly been taking several
>rolls out of the freezer, taking them somewhere to shoot, then putting
>any unshot rolls left over back into the freezer for next time.  This
>has never caused me any problems that I've noticed.

I was always taught that the freezing process caused some of the chemicles
in the emultion to expand as it crystalizes (as water does), and that
this pushes the silver around and such.  The more your freeze your film
the grainer picture.

-jim
-- 
*****************************************************************************
*     Jim Hood     | mail/uucp: ..!uplherc.upl.com!neb!jim                  *
*    (alternate)   | mail/uucp: ..!uunet!hellgate.utah.edu!caeco!neb!jim    *
* For you @ people |               neb!jim@uplherc.upl.com                  *
*---------------------------------------------------------------------------*
*   Nebula - A Public Access Unix system/bbs  - Salt Lake City, Utah  USA   *
*   Public Node  (801)-572-4969    Telebit WorldBlazer  v.32/v.42bis/PEP    *
*****************************************************************************
Newsgroups: rec.photo
From: fjcppr@ritvax.isc.rit.edu
Subject: Re: 8x10, Christopher Burkett, light sources
Reply-To: fjcppr@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Sat, 17 Oct 1992 00:55:09 GMT

polaroid uses a transfer process. The right-reading positive image is 
formed by material transferred from the wrong-reading negative, which
is the surface that gets exposed in the view camera.
Newsgroups: rec.photo
From: jeff@eng.umd.edu (Jeffrey Frey)
Subject: Fie on Nye-kon
Date: Mon, 12 Oct 92 18:04:29 GMT
Organization: College of Engineering, University of Maryland, College Park

I visited the Nikon factory in Oi, near Tokyo, a couple of weeks ago on businessunrelated to cameras.  Oi is where Nikon SLRs, as well as some semiconductor
industry products, are made.  One of the engineers I was talking to 
consistently talked to me of Nye-kon this, Nye-kon that, etc., and I asked
him why he used this pronunciation when the Japanese pronunciation,
according to the usually used katakana, would be "Nee-kon".  He said yes, 
Nee-kon was the correct pronunciation, but some many foreigners used
Nye-kon that they have just fallen into step.

So, if your name card has your name in Japanese on the back, pronounce it
Nee-kon.  

Jeff

Newsgroups: rec.photo
From: bonnie@welchgate.welch.jhu.edu (Bonnie L. Maidak)
Subject: empty film cannister - recycling
Keywords: recycling
Organization: Johns Hopkins Univ. Welch Medical Library
Date: Tue, 13 Oct 1992 18:50:18 GMT

Hello photography afficiandos,

Does anyone know where empty film cannisters can be recycled? It tears
my heart that the plastic is going to end up in a land dump somewhere.

Please send e-mail or contact in other ways. I do not regularly read
this newsgroup, although I did check the topics of recent postings
and didn't see that this topic was mentioned.

If I receive enough informative replies, I will summarize and post.

Thanks very much.

-Bonnie L. Maidak
(410) 614-0443 (phone, with voice mail)
(410) 614-0434 (fax)
bonnie@library.welch.jhu.edu
Newsgroups: rec.photo
From: bredell@tdb.uu.se (Mats Bredell)
Subject: Photo-CD technical data
Reply-To: Mats.Bredell@udac.uu.se
Organization: Uppsala University Computing Center (UDAC)
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 15 Oct 1992 14:57:42 GMT


Hi!

I've heard about the Photo-CD for a year now, and when it's finally released
I went to my local photo dealer to get some info. The first dealer I tried
only said "You press this button, and the picture shows on this screen". He
didn't know anything more about it. Finally, I found someone who said he'd
been to some internal Kodak education about the Photo-CD. This are some of
the facts he told me:

The resolution is always 2048x3072. There are four more, lower resolutions,
but the image is always 2048x3072 on the disc. The player can deliver a lower
resolution if you want to, but in that case it's derived from the higher
resolution on the disc.

The compression is lossless. It's very simple: you take a 2x2-dot square, and
calculate the average value, and this is stored on the disc.

You always get exactly 100 pictures on the disc.

Ok, this sounds weird to me. I thought the disc itself supported 5 different
resolutions. The compression also sounds strange. How can it be lossless if
it works like that? I thought the JPEG algorithm was developed for use in
the Photo-CD technology. I also thought that the number of pictures on a
disc varied, depending on the type of pictures (amount of contrast and so
on).

So, what's the truth here?

/Mats
-- 
Mats Bredell                                   Mats.Bredell@udac.uu.se
Uppsala University Computing Center (UDAC)     Ph:  +46 18 187817
Department of medical systems                  Fax: +46 18 187825
Sweden                                         Think straight - be gay!
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.photo
Subject: Re: Developing Illford film is Kodak developers
Date: 16 Oct 92 15:44:14 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

liang@saul.cis.upenn.edu (Chuck Liang) wrote:
> I vaguely remember that Ilford ID-11 is basically the same as Kodak
> D-76.  Is this true? What about the dillusion ratios, are they the
> same too.  I find it a pain because there seem to be no publication
> indicating which chemical you should use with film of different
> brands.  The processing time chart packaged with the film only tells
> you what to do with the same manufacture's chemicals.  
>   More specifically, I need to develop Ilford FP4 in Tmax or D-76 and
> would like to know the proper time and dillusion ratio.

ID-11 is exactly the same as D-76 except that the newer formulation, ID-11+
(sold under the name ID-11 in some places) has an extra ingredient that
does not affect developing time.

This "no other manufacturer exists" flim-flam is purely a Kodak stunt.
Ilford and Agfa give times for other people's films in their developer
leaflets; Ilford, Agfa, Fuji, Konica, Efke/Jessop and the Hungarian state
film company all give times for other people's developers in their film
leaflets.

I'd be surprised if there wasn't *somebody* in Kodak somewhere whose job it
was to advise people who don't exclusively use yellow boxes.

-- 
--  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
From: jspirer@rain.next.com (Jeff Spirer)
Newsgroups: rec.photo
Subject: Re: F4s /8008s etc (Nikon)
Date: 12 Oct 92 17:15:30 GMT

In article <1992Oct9.050750.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au  
(Paul Repacholi) writes:
> Several cameras leave the finder cells 'in circuit' durring the  
exposure, and
> relie on 0 or very low light level in the prism. Stray light will bias  
exposure.
> The Pellix/F-1HSMD/RT/EOS-1HS are the limit example of the mirror  
problem...
> 


The Olympus cameras have the same problem.  It is probably exacerbated in  
the OM4 which can meter off-the-film into the minute range.  

Jeff
Newsgroups: rec.photo
From: doug@jhawk.b30.ingr.com (Doug Bradley)
Subject: Re: Bullets through balloons
Reply-To: doug@jhawk.b30.ingr.com.
Organization: Intergraph Corp. Huntsville, AL
Date: Mon, 12 Oct 1992 13:45:16 GMT

Dr. Harold Edgerton's pictures are probably what everyone thinks of when they
think of bullets going through balloons, apples or playing cards. He published
a book of pictures, but also put out a book on how to build the strobe units.
Both books are published by MIT Press.

Dr. Edgerton was quite a guy. Early pioneer in strobe, (the?) inventor of
modern xenon flashtube strobes. Nova did a special on him; I was fortunate to meet
him a few years ago and hear how he took the pictures. He's since passed on.

Doug
From: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: Macbeth Color Chart
Date: 9 Oct 92 18:38:30 GMT
Reply-To: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Followup-To: rec.photo
Organization: Amdahl Corporation, Sunnyvale CA

Dave Brower writes:

>Where does one get a Macbeth color chart, 

Any decent camera store, especially one which caters to darkroom workers.  Adorama
and B & H carry them also.

>and how much do they cost?

Too much.  (Like everything else photographic.)  I believe I paid $35 for mine.

Barry

--


|----------------------------------------------------------------------------|
| Barry Sherman, Amdahl Corp.  | PROGRAM: n. A magic spell cast over a com-  |
| bjs@ruts.ccc.amdahl.com      | puter allowing it to turn one's input into  |
|                              | error messages.  tr.v. To engage in a pas-  |
|                              | time similar to banging one's head against  |
|                              | a wall, but with fewer opportunities for    |
|                              | reward.                                     |
|----------------------------------------------------------------------------|
| Amdahl, being a corporation, is a legal fiction.  Therefore it is incapable|
| of holding, let alone expressing, opinions.  Unfortunately, this has been  |
| said of me as well.                                                        |
|----------------------------------------------------------------------------|
Newsgroups: rec.photo
From: mcvey@mpr.ca (Iain McVey)
Subject: Which process for Ilford XP2?
Organization: MPR Teltech Ltd., Burnaby, B.C., Canada
Date: Fri, 9 Oct 92 18:00:35 GMT


I just got back from vacation, and have some film to process, including
a roll of ilford XP2 (400asa).

The instructions mention that it can be processed with c41, or xp1.

Do you get better results with either?

- Iain -
-- 
Iain McVey (mcvey@mpr.ca)      | "Give me the old days!  To tell the
Software Designer              |  truth, they have improved the game
MPR Teltech Ltd.               |  until it is not baseball any more."
8999 Nelson Way, Burnaby, BC   |    -- Jesse Burkett, 1903
Newsgroups: rec.photo
From: tlee@uhunix.uhcc.Hawaii.Edu (Timothy Lee)
Subject: Re: Freezing Film
Organization: University of Hawaii
Date: Tue, 13 Oct 1992 08:43:32 GMT

>:      At Nikon School they told us to keep film in its original box and
>:      put it into a ziplock bag before freezing.  Frozen film should be
>:      allowed to thaw 6 hours before opening its air-tight canister,
>:      and should not be re-frozen or re-refrigerated.
>: 
>: The part about not re-freezing is new and interesting to me.  Can
>: anyone supply an explanation?  I've regularly been taking several
>: rolls out of the freezer, taking them somewhere to shoot, then putting
>: any unshot rolls left over back into the freezer for next time.  This
>: has never caused me any problems that I've noticed.
>
>It is new to me also. I have never had problems, even with film that has
>been frozen and thawed half a dozen times, or more.
>
>It sounds like they expect the film to have moisture in the emulsion which
>might cause problems on refreezing.
>

  I wonder if this is like re-refridgerating BEER from WARM TO COLD a couple
  of times ... I believe it supposed to make BEER a little stale or something.
  Maybe it goes same for FILM??   It goes stale ?? :>

			-tim

--
 Handy Guide To Modern Science:                 |  Timothy Lee
  1. If it's green or it wiggles, it's biology. |  tlee@uhunix.uhcc.hawaii.edu
  2. If it stinks, it's chemistry.              |  timlee@uhunix.uhcc.hawaii.edu
  3. If it doesn't work, it's physics.          |  timlee@WORK.SLEEPING.ZZZ
Newsgroups: rec.photo,alt.cd-rom,alt.graphics.pixutils