HDTenEightyP/NetNews huggingface dataset:
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.photo
Subject: Re: Screw sizes
Date: 13 Oct 92 11:11:33 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

jkk@aiai.uucp (John Kingston) wrote:
> My comment above was that U.S. tripods may not fit European cameras...

[ *are* there any US tripods?  I thought European manufacturers - Leitz,
  Manfrotto/Bogen, Benbo, Gandolfi - had the high end of the market, and
  the Asians - Velbon, Slik - most of the low end, though with some
  Europeans like Hama in there too... ]

All cameras and tripods use one of two originally-British screw sizes: 1/4"
Whitworth (as in "coach bolts") for small/amateur stuff, 3/8" Whitworth for
heavy/pro gear.  In the wide world of sane units, these screws and bushes
are nowadays described as being some peculiar fractional metric size, but
Whitworth nuts and bolts (available at almost any hardware shop) will
always fit them.  Continental manufacturers tended to use the 3/8" size for
smaller gear than the British or Japanese did; I have some prewar Zeiss
medium-format cameras which are lighter than an average plastic zoom
compact but still have 3/8" bushes.  Most good camera shops sell inserts to
adapt cameras like this to amateur-size tripod screws; the German firm Hama
makes them, priced at a few pence.

One thing to watch out for is the length of the tripod screw.  This is now
standardized, but didn't use to be, and an old tripod screw may well have
enough length to go right through the baseplate of a modern compact.

My pet peeve in this area is quick-release tripod mounts.  There are at
least ten times as many incompatible designs as there need to be.

-- 
--  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
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Apple/CD-ROM/Photo-CD
Date: Thu, 8 Oct 1992 03:57:25 GMT
Organization: Hewlett-Packard Laboratories

This announcement is copied from comp.sys.mac.announce, to which it
was apparently copied from comp.newprod.  -- DMJ

	===========================================================
	[ full announcement text was forwarded to comp.newprod
	[ (where it should appear shortly). if the full PR is not
	[ FTPable from FTP.APPLE.COM, it's Apple's own fault!  }$-)
	[ a condensed version follows.
	[				---Werner (CSMA-moderator)
	===========================================================

//////////////////////////////////////////////////////////////////////

	     Apple Unveils High-Performance CD-ROM Drive
 
Apple today introduced the new AppleCD 300 CD-ROM drive, available in
both external and internal versions, it is two times faster than most
CD-ROM drives, offers a choice of operating speeds, and supports new
CD-ROM formats, including Kodak Photo CD.

The AppleCD 300 is equipped with a large 256K data buffer.

With a speed select switch the user can choose single- or double-speed mode.

The CD 300 can read multi-session Kodak Photo CD discs.
A Photo CD image is a digitized version of a 35 MM photograph
A multi-session Photo CD disc allows additional photographic images
to be added to images already on it.

The CD 300 also supports several new CD formats, including CD+G and
CD+MIDI.  These new formats allow CD developers to better integrate
audio, text and graphics.  The CD+MIDI format, for example, will
allow professional and amateur musicians to more easily use MIDI-
synthesized music in a CD title.

To introduce new CD 300 users to the array of information available
on CD, Apple will ship a collection of 8 to 10 CD-ROM titles with the
drive.  These will include: Alice to Ocean, by Rick Smolan; Mozart:
String Quartet in C Major, by The Voyager Company; Cinderella, by
Discis Knowledge Research; Nautilus, by Metatec/Discovery Systems;
Photo CD Sampler, by Eastman Kodak Company, and The Chronicles and
Collections CD, by Apple.

An internal version, called the CD 300i, will be available as a
dealer-installable option (requires a 5.25-in. drive bay).

A new version of CD-Setup software (version 4.0.1) also supports
all other CD-ROM drives from Apple.

		   Pricing, Availability and Distribution

The AppleCD 300 will be available in December 1992 and the 300i Internal
Drive Upgrade Kit will be available in January 1993 through authorized
Apple resellers.  All AppleCD 300 drives carry a one-year limited warranty.
Pricing, availability and distribution will vary by country.
 
 
Product                              MSRP           Availability
 
AppleCD 300                         $599.00         December 1992
AppleCD 300i Internal Upgrade Kit   $499.00         January 1993
(Includes installation kit)

From: antonsen@hpcndaw.CND.HP.COM (Tim Antonsen)
Date: Thu, 15 Oct 1992 23:12:02 GMT
Subject: Re: Need Info on Light Meters
Organization: HP Network and System Management Division
Newsgroups: rec.photo

On Oct 13, 1992, Yuyun Ho (yyh@osustat.mps.ohio-state.edu) writes:

> I am planning on buying a light meter, since each and every
> photography book I read mentioned the impotance of a light meter.

This explains why my light meter never dates anyone ...   ;-)

--Tim
From: Rick.Ellis@ofa123.fidonet.org
Newsgroups: rec.photo
Subject: Spot metering
X-Sender: newtout 0.02 Oct  1 1992
Date: 09 Oct 92  13:15:25

On <Oct 09 13:15> Mattias Bryntesson writes:

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

All I ever use is a spot meter.  I can't see using anything else.

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

I agree!  How can the camera's "brain" know what I want?

 MB> When it comes to high-contrast subject and B/W work (zone system or
 MB> something) it's a must to be able to measure the shadows and the
 MB> highlights separately.

It's important with color as well.

 MB> Of course you can estimate the contrast, as
 MB> well as the total light. But why stop at metering an average, when
 MB> you can get it all?

Because so many people just want to point the camera and push the botton.
Newsgroups: rec.photo
From: cmoore@nefertiti.mit.edu (Christopher B. Moore)
Subject: Re: need advice on Rollei 25S
Organization: MIT Astrophysics
Date: Wed, 7 Oct 1992 14:21:10 GMT

In article <RINGO.92Oct6104102@grand-cayman.icad.com> ringo@icad.com (Amy Gorin) writes:
   ...
   I've aquired a camera which claims to be a "Rollei 25S," produced in 
   Singapore by the Rollei company.  I'm looking for instructions on
   its use (I can't even open the bloody thing to put film in it), and
   an idea of its value.  
   ...

Perhaps you mean the 35S?  The Rollei 35 series was a very small fully
manual full-frame 35mm camera (usually with a 35/2.8 or 3.5 lens).
I've got one and use it when I'd like to have a camera around but
don't want to drag around an SLR...

Christopher Moore
cmoore@maggie.mit.edu
From: mvolo@ecsvax.uncecs.edu (Michael R. Volow)
Newsgroups: rec.photo
Subject: Re: Agfa Multicontrast
Date: 16 Oct 92 13:37:43 GMT
Organization: UNC Educational Computing Service


Is there much difference between Ilford Multigrade Rapid RC (with the
incorporated developer) and Ilford Multigrade Deluxe RC )without the
incorporated developer)? I have the former.
-- 
Michael Volow, Psychiatry, Durham VA Med Center, Durham NC 27712
919 286 0411 Ext 6933               mvolo@uncecs.edu
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: AGFA, Fuji, Kodak or ?
Date: 8 Oct 92 21:25:45 GMT
Article-I.D.: clark.1992Oct8.212545.9619
Organization: Clark College, Vancouver, Wa.  USA

In article <NICHOLS.92Oct6184454@osric.cs.odu.edu> nichols@osric.cs.odu.edu (teresa nichols) writes:
>
>Dumb question, but are the AGFA films E-6 process?

I thought we were talking about Color Print Films...:-) In any case, I haven't
seen any AGFA Slide film that was anything other then E-6.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
From: mvolo@ecsvax.uncecs.edu (Michael R. Volow)
Newsgroups: rec.photo
Subject: Re: Ektar vs. Gold
Date: 9 Oct 92 03:16:09 GMT
Article-I.D.: ecsvax.1992Oct9.031609.19542
Organization: UNC Educational Computing Service


In the comparisons of Ektar 100-125 vs Fujicolor SuperHG100 vs
Fuji Reala mentioned in two recent articles (from Matthew Harper and
Dave Zawada), what was being compared? minilab prints or custom prints?
In general, minilab prints tell very little about the quality of
a color negative image and its potential for making a good, optimized
print.
-- 
Michael Volow, Psychiatry, Durham VA Med Center, Durham NC 27712
919 286 0411 Ext 6933               mvolo@uncecs.edu
Newsgroups: rec.photo
From: chorley@vms.ocom.okstate.edu
Subject: Re: Yashica -> Nikon lens converter
Organization: OSU College of Osteopathic Medicine
Date: Fri, 9 Oct 1992 20:00:33 GMT

In article <1992Oct9.011012.5714@gw.wmich.edu>, 739chan1@gw.wmich.edu writes:
> I am currently using a Yashica FX-3 2000. I also have various screw-mount    
> lenses. I managed to purchase a converter so that I could fit the screw-mount 
> lenses on the Yashica's bayonet mount. What I would like to know is, are there
> converters for Yashica -> Nikon? Canon? Anything other lens? I am planning to 
> buy new lenses and would like to have a good range to choose from.      

	If there isn't a FAQ file on this there should be.

There (probably) exists such a device to enable you to mount 42mm screw 
lenses on your Yashica, one such manufacturer was Samigon, whose 
distribution used to be handled by Kalt/Brandess/PRO et.al. , wholesalers 
to local retailers. Your local camera store, if it is half-way decent can 
order it for you, but why bother.( If price and other expense are the 
overriding factors, fair enough ) If you plan to spend serious money on an 
outfit, then sell your stuff to a friend and buy some NIKON equipment.:)
I would look for an FA or FE-2 used (bon chance mon ami) or the N90, N8008 
(s or not if it were cheap enough). A good plan B would incorporate a 
decision on your part to stay with manual focus and buy Tamron lenses which 
are halfway decent and have interchangeable mounts. See what other photo 
people have to say

		Dr. Strabismus
From: raymondu@terapin.com (Raymond Ulibarri)
Newsgroups: rec.photo
Subject: FREE! Marron Carrel 600
Date: 7 Oct 92 15:46:24 PST
Organization: BBS



The following item is surplus for our organization and is 
available for sale to interested individuals, or FREE to any 
interested non-profit organization, including schools and 
univerisities.

Marron Carrol 600 copy camera................................................. 
$6,000
Includes:

> Camera
> Copystand
> Compound
> Camera tec colorhead with keyboard
> Camera control box
> 80mm Nikkor lens
> 3" extension tube (for lens)
> 4 x 400' magazines
> foot pedal
> 1 - 46mm negative carrier
> 1 - 35mm negative carrier
> 1 - 35mm negative carrier for mounted slides
> 1 - 4x5 negative carrier for mounted slides

Estimated new purchase price of this item is in excess of 
$30,000.  We are seeking $6,000 or best offer for all items 
included above.

This camera setup is available as a FREE donation to any 
interested non-profit organization.  This includes schools and 
universities.  Any non-profit organizations are encouraged to 
take advantage of this offer.  Recipient takes responsibility for 
payment of shipping costs.  For details, requests for photos, or 
other information, call:

Raymond Ulibarri
Technical Services
Jack Morton Productions
350 Townsend Street
San Francisco, CA 94107
(415) 546-0800
(415) 495-3090 FAX


Raymond Ulibarri
Vice President
MultiCon
Multimedia Concepts
(510)261-1001
Newsgroups: rec.photo
From: "martin tai" <martin.tai@canrem.com>
Subject: empty film canister
Reply-To: "martin tai" <martin.tai@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 15 Oct 92 04:44:40 EST




   Empty  film canister makes ideal  coin holders for  dollars, quarters
dimes and cents.  Empty  those  coins  in  pocket of purse and put
them in these  cannisters and  put them in your pocket, purse or car
it is very  handy  for  changes, parking meters etc.

   Use your  cannister to  carry  a  litte water.  When  taking
close up  flower  shots,  sprinkle  some water on the flowers
to create  artifical dew drops.
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.photo
From: peterwu@microsoft.com (Peter Wu)
Subject: Mamiya camera @ dealer cost
Date: 16 Oct 92 22:34:06 GMT
Organization: mc
Distribution: usa

FYI Mamiya is sending a group around the country offering free cleaning
of Mamiya camera/lenses and also to sell Mamiya cameras/accessories at
dealer cost. And you still get the rebates/bonus!

I was too broke to buy the whole store. So I settled for a film back.
But it was great to see the dealer price list.

Now don't you wish all camera manufacturers offer this service?
Newsgroups: rec.photo
From: mattw@ux1.cso.uiuc.edu (Matt Ward)
Subject: Canon S.S.C lenses
Summary: Canon SSC lens questions.
Keywords: canon
Organization: University of Illinois at Urbana
Distribution: na
Date: Thu, 15 Oct 1992 04:42:20 GMT

I have a couple of Canon SSC FD lenses, and I am looking to
purchase a couple of more maybe.  I am looking through several
used camera catalogs and to my surprise I see that the Super
Spectra Coated (SSC) lenses are cheaper than non-coated
lenses.  Is this due to the fact that most SSC lenses are
older than most lenses or are they inferior in some way?  I
have a 50mm f/1.4 SSC FD and a 200mm f/2.8 SSC FD lens  and
both seem to be good lenses to me.  

I have noticed that SSC lenses tend to be the older style
mount, put lens in camera and turn the ring, rather than the
new style mount, insert lens and turn entire lens.  Personally
I like the older mount style better, can change lens with one
hand. 

Any information would be helpful.  Thanks in advance.


-- 
			Matt Ward
			mattw@ux1.cso.uiuc.edu
			University of Illinios
			Department of CCSO
From: kbb0@harvey.gte.com (Kevin Burke)
Newsgroups: rec.photo
Subject: Barnbaum and Sexton like the same rock?
Date: 9 Oct 92 16:52:43 GMT
Distribution: usa

While paging through the recent Annual Special #7 put out by the folks
who publish Darkroom and Creative Camera Techniques (issue name is
Mastering Black-and-White Photography, Vol. II), I noticed that in Bruce
Barnbaum's article there is a reproduction of his "Boulder,Sunwapta
Falls 1985" ( he refers to it as "Rock, Sunwapta Falls" in the body of
the text however) on page 12. On page 22 is a grinning John Sexton in a
Jobo ad which displays John's "Boulder, Sunwapta Falls, Canada, copyright
1988". While the boulder (or rock) in Barnbaum's print is covered with
ice, the flow of water in the foregrounds of both prints looks so
similar I'm guessing it's the same rock (oops, boulder). 

Must be one special rock. :)

Regards, Kevin a.k.a. "I'm packing my stuff for Sunwapta Falls"
Newsgroups: rec.photo
From: cvemuri@hubcap.clemson.edu (Sarat Vemuri)
Subject: Help on RICOH KR-5 lens type
Organization: Clemson University
Date: Wed, 14 Oct 1992 06:14:26 GMT


Hello,

First of all, let me say that I am relatively new to serious photography
and my knowledge of equipment is limited.  Forgive me for asking dumb 
questions. This is my first manual camera.

Some one gave me an SLR camera with 1:2 50mm lens.  Now I want to 
add some more lenses and I want to know which type of lens it takes.
It is a "RICHO KR-5 SUPER".  I haven't heard the name before.  The
manual came with it is very brief and mentions somewhere that this
camera is same as SR2000.  I don't know what that means. Can somebody
please tell me what kind of mount should I use?  

I can describe the 50mm lens I have right now.  To pull the lens out,
I press a button kind of thing right beside it, twist it in
anti-clockwise direction and pull it out.  To push it in, I
place it on the mount in certain postion, push it in and then twist it
until it locks.  The lens has a two levers.  One to lock on exposure meter
lever in the body and another to keep it at full apparture when focusing.

I appreciate any and all help you can give me.  It would be educating
to know all different kinds of mounts available if some one can explain
it.  

Thanks in advance

Sarat
cvemuri@hubcap.clemson.edu
From: daver@felix.filenet.com (Dave Richards)
Newsgroups: rec.photo
Subject: Re: How to make a good ghost illusion?
Keywords: Ghost, multiple exposure
Date: 15 Oct 92 00:43:18 GMT
Reply-To: daver@fritz.filenet.com (Dave Richards)
Organization: Costa Mesa, CA

A better ghost illusion can be produced in real time with the following
setup.  It has a couple of advantages:  No multiple exposure, you can see
exactly what effect you're getting as you photograph it, and you can meter
the scene directly through the camera.  It also has the disadvantage that
it may not be possible to use, depending on the particular background de-
sired.  You really need a studio, or an environment where you can control
the amount of light hitting the background and the ghost subject separately.

Here's a view looking down at the setup:

              Backdrop/background scene
--------------------------------------------------
\                                                     \
/                                                     /
\ flat                                                \
/ black         glass plate  /                        /  
\ light         at 45 deg  /                    O     \ light
/ absorber               /                   "ghost"  / absorber
\                           _                 subject \
/                         _| |_                       /
\                        |_____| camera               \


The degree of ghost effect is controlled by the relative intensity of
the "ghost" illumination to the background.  Obviously, you are shooting
the background through the glass, and the reflection of the "ghost" from
the surface of the glass.  As a result, the ghost image will be a mirror 
image, which may have to be taken into account.  The light absorber be-
hind the ghost subject on the right is to make sure the ghost is the only
image reflected from that direction.  You don't want unwanted ghost objects
showing up.  The light absorber on the left is probably optional.  Without
it, there is a possibility of background highlights reflecting off the
back side of the glass, then off the left wall (if it's light colored)
and then back onto the wall as well as the ghost subject.  This could
create a mottled appearance.

By the way, you don't need a huge sheet of glass.  If it's kept close
to the camera, it need only be a couple of inches square.

Have fun.

Dave
From: v462etnn@ubvmsd.cc.buffalo.edu (David L Anderson)
Newsgroups: rec.photo
Subject: Bayonette 30 to Screw filter adapter
Date: 13 Oct 92 19:23:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41

Help!

I'm the proud owner of a Rolleicord and a Yashica 635, both of
which take Bay30 filters.  However, there is a dearth of these
available.  So, before I have my jeweler friend cut up an old
Bay30 to Series V/Sunshade to acceptomething (Cokin, maybe)...

Does anyone know where I can get a Bay30 to some sort of screw
mount in a standard size?  Without vignetting (sorta important).
Yes, I realize this will cut into what I see in the viewing
lens.

Thanks.

David Anderson
From: jgallego@crash.cts.com (Jose Gallego)
Newsgroups: rec.photo
Subject: Processing NISMLO 3-D rolls
Date: 15 Oct 92 20:30:31 GMT
Organization: CTS Network Services (crash, ctsnet), El Cajon, CA

HI!
or actually... HELP!

I purchase a NIMSLO 3-D camera several years ago.  I used to send my rolls
to be develop to:

NIMSLO PROFESSIONAL PROCESSING
PO BOX 105099
ATLANTA, GA 30348

Apparently the are not at this address anymore.  Do any of you know where
can I find somebody to processing my film?

Are there any 3-D photo news here?

I would appreciate ANY information.

Thanks,
Jose~
Newsgroups: rec.photo
From: "martin tai" <martin.tai@canrem.com>
Subject: rollei  35s
Reply-To: "martin tai" <martin.tai@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 12 Oct 92 10:09:06 EST



    The   Rollei  25S  you  mentioned  is  really  Rollei 35S
In  early 30s, Rollei  Singapore  produced  two  small  35mm
cameras,  35  and  35S.  The  35  came with   Tessar f3.5 lense
and the  35S  came with    Sonnar 2.8  lens.

    These  cameras  are  getting  expensive,  you  will pay
more then  100%  over  its  original price for  a used one.
The   Rollei 35  with  Tessar lens  has a price tag  about
$230  and   Rollei  35S  fetches   $450 in   Toronto.


    The  Rollei  S35 and  35  were  discontinued  long time
ago. But   about  a  year  ago,  Rollei Germany  reintroduced
the    Rollei  35S,  and  called  it  the  Rollei Classic.
It  is  very  expensive.  It  comes with  three  finishes.
The  lowest priced one  is  about  $1500 , the  Titanium
finished  35S  is  about  $2000, and  the  gold  finished
Rollei 35S  is  $2500.   These  are  collector  items.

    Because of  this,  all  Singapore made  35S are  snapped
up  by  collectors.

    By the  way   Zeiss  designed  Sonnar lens used on the
Rollei  are  tack sharp  lens, very  high  quality.  The
Contax  T2  debuted  last year  also  use  Sonnar lens.
The  quality of  image  is  even  better than  the  Zeiss
Planar  F1.4  on  Contax  SLRs.
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
Newsgroups: rec.photo
From: clev@cisco.com (Robert Clevenger)
Subject: Re: Enlarger lens boards (question)
Organization: Cisco Systems
Date: Thu, 8 Oct 1992 21:37:50 GMT

In article <92106@netnews.upenn.edu> liang@saul.cis.upenn.edu (Chuck Liang) writes:

   From: liang@saul.cis.upenn.edu (Chuck Liang)
   Newsgroups: rec.photo
   Date: 8 Oct 92 06:08:43 GMT

     When I bought my enlarger (used), I was given two lens boards (into
   which you screw the lens).  One of the is simply flat, the other one,
   however, is recessed inward, bring the lens closer to the negative.  I
   do mainly 35mm enlargements with a 50mm EL-Nikkor.  I've been using
   the recessed lens board with no problems.  But does anyone know what
   differences the two lens boards will make?  Is one of them
   suppossed to be used with 75mm or 80mm lenses and the other one with
   50mm lenses?  

If you want to use a 75mm or 80mm lens with 35mm negs you may have to
use the recessed board as many enlargers do not focus/adjust close
enough to the negative.  I regularly use an 80mm El-Nikkor lens for
35mm negs on my Beseler 45m and have to crank the bellows fairly tight
to focus.