HDTenEightyP/NetNews huggingface dataset:
From: wiltz@after (David Wiltz)
Subject: Re: _Consumer Reports_ believable on cameras?
Organization: University of Illinois at Urbana
Date: Sun, 22 Nov 1992 00:50:05 GMT


>Do people ...

I posted this a while back in response to a similar ?.

Brief and to the point, my opinion is this--
I haven't trussted this publication since they came out
with camcorder reviews and said something to the effect of:

'Although the first two units sent to us were defective,
we believe that this camcorder is a good buy.'  

The ratings they gave it were pretty high.

My 10 kopeks worth.
-Dave
--
   David Wiltz                                wiltz@after.math.uiuc.edu
   Calculus&Mathematica Development Team
   University of Illinois at Urbana-Champaign  NeXTmail always welcome!
-Doing business with the government is a lot like playing poker with God.-
Newsgroups: rec.photo
From: bongers@gto400.asd.sgi.com (Hans L. Bongers)
Subject: Re: Camera Feature Wars - Photo Getting Like Video
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Distribution: usa
Date: Tue, 17 Nov 1992 21:27:55 GMT

In article <13850@texsun.Central.Sun.COM>, dbernard@clesun.Central.Sun.COM (Dave Bernard) writes:
|> Mark Goldberg makes some good points.  New camera features give more and more
|> control over less and less.  But in reality, once the film is loaded in your
|> camera, the only controls you the photographer have are three:  shutter speed,
|> focus, and aperture.  This is true whether you have a Leica M3 or a bar-code
|> reading, card-eating, fuzzy-brained wonder.
|> 
|> 	Dave    

What a limited viewpoint of control.  Besides shutter speed, focus & aperature,
you might consider filters & movement (aka panning).  In addition the photographer
can control lighting & subject...

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

--- hans
Newsgroups: rec.photo,alt.sex,alt.sex.movies
From: rkrouse@netcom.com (Robert K. Rouse)
Subject: Thru The Lens Calendar
Followup-To: poster
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Sun, 22 Nov 1992 15:35:06 GMT


	Thru The Lens Calender for December



	Thru The Lens, P.O. Box 236, Los Altos, CA 94023

	(415)940-1942  call Warren for details.



		*** December ***

Sat.	5	Mini Shoot with clinic	TTL Shop, Mountain View, CA 
1-3:30 pm

Sun.	13	Lingerie/Figure Maxi Shoot	TTL Shop, Mountain View, CA 
1-4:00 pm

Sun.	20	Lingerie/Figure Maxi Shoot	TTL Shop, Mountain View, CA 
1-4:00 pm



		*** January  ***

Sun.	10	Lingerie/Figure Maxi Shoot	TTL Shop, Mountain View, CA 
1-4:00 pm

Sat.	16	Mini Shoot with clinic	TTL Shop, Mountain View, CA 
1-3:30 pm

Sun.	24	Lingerie/Figure Maxi Shoot	TTL Shop, Mountain View, CA 
1-4:00 pm




-- 
            
	Robert K. Rouse		rkrouse@netcom.com

  "No creature with the right values is an alien to me."
						John Salter
From: jimc@tau-ceti.isc-br.com (Jim Cathey)
Newsgroups: rec.photo
Subject: Re: Changing N8008 for the new Canon?
Date: 17 Nov 92 01:40:37 GMT
Organization: ISC - Bunker Ramo, Spokane, WA

In article <1992Nov16.090512.15805@sequent.com> blue@sequent.com (Gil Delavous) writes:
>consider to buy the new 28-105 3.3/4.5 USM then the 80-200 2.8 USM later. 
>I was wondering if it would be a mistake to change my *metal-old-fashioned*
>equipment for a *plastic-all-options* new one...

The 80-200 f/2.8L is not a USM lens, though it's pretty quiet.  It's also
metal-bodied (not just the mount).  Some innards may be plastic, though.
I haven't the courage to open it and look!

-- 
+----------------+
! II      CCCCCC !  Jim Cathey
! II  SSSSCC     !  ISC-Bunker Ramo
! II      CC     !  TAF-C8;  Spokane, WA  99220
! IISSSS  CC     !  UUCP: uunet!isc-br!jimc (jimc@isc-br.isc-br.com)
! II      CCCCCC !  (509) 927-5757
+----------------+
			One Design to rule them all; one Design to find them.
			One Design to bring them all and in the darkness bind
			them.  In the land of Mediocrity where the PC's lie.
Newsgroups: rec.photo
From: rslugg@med.unc.edu (Robert Slugg)
Subject: Re: Disclaimer on Photos
Organization: UNC-CH School of Medicine
Distribution: usa
Date: Fri, 20 Nov 1992 17:00:12 GMT

In addition to marking roll# and frame # on the backs of proofs, most labs
are starting to add some sort of copywrite message with your name and
phone number, address, etc.

Bob

Newsgroups: rec.photo
From: alc@gdstech.GRUMMAN.COM (Al Chang)
Subject: Re: Setting up a darkroom...
Organization: Grumman Corporation
	<1992Nov17.042013.4411@crd.ge.com>
Date: Wed, 18 Nov 1992 18:56:37 GMT

In article <1992Nov17.042013.4411@crd.ge.com> kassover@rumsey.crd.ge.com (David Kassover) writes:

   >
   >>2 flourescent "bulb-style" fixtures in the ceiling fan, which tend to have
   >>an afterglow.
   >
   >This could be a problem - as I recall, not all of the afterglow from
   >fluorescents is in the visible portion of the spectrum. If they're emitting
   >UV, you're in *big* trouble. Any chance you could:
   >
   >a) remove them while you're printing, or
   >
   >b) cover them with something opaque?

   Some years ago, I had the opportunity[requirement] to work in a
   photomicrolithography lab.  (I wasn't doing the photography;
   actually I was doing plumbing and other mechanical tasks)  The
   fluorescent tubes were normal cool white of some variety or
   other, but they were covered with yellow filters.

   I don't believe that this yellow was a particular safelight for
   anything, since there were more normal red safelights available
   for when they were needed.  The filters may have been there for
   just such an afterglow as described.

   But after eight hours or so in that room, the real world looked
   awfully purple.


   -- 
I'm working with color, and last night I have what appears to be
either old paper or fogged. I have lots of fluorescent tube lights (cool
white) in the area which I had on in the course of the night but turn
off when making the print.

Can any one confirm that this can be the cause?

Thanks
Al 
--
     ---  My opinions do not represent the opinions of my employer.  ---  
******************************************************************************
Al Chang                                        email: alc@gdstech.grumman.com
Grumman Data Systems                                  Woodbury, New York 11797
******************************************************************************
-- 
     ---  My opinions do not represent the opinions of my employer.  ---  
******************************************************************************
Al Chang                                        email: alc@gdstech.grumman.com
Grumman Data Systems                                  Woodbury, New York 11797
Newsgroups: rec.photo
From: "Gary A. Woodward" <p00140@psilink.com>
Subject: microlithography
Organization: Performance Systems Int'l
Date: Mon, 23 Nov 1992 17:54:01 GMT
X-Mailer: PSILink (3.2)

I have not had very much luck in finding a source of information on this 
subject at the libraries.  Please forgive me for imposing on a rec. 
group for this-but I would be most appreciative if someone could point 
out a reference source for the microlithography that is used in the 
making of computer chips and the like.  e-mail is ok soas not to impose 
on bandwithd.

thanks in advance.

Gary Woodward.
From: andpph@ritvax.isc.rit.edu
Newsgroups: rec.photo
Subject: Re: Negative on Slide
Date: 16 Nov 92 01:03:45 GMT
Reply-To: andpph@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology

In article <7030014@hpunila.MSR.HP.COM>, rkatos@hpunila.MSR.HP.COM (Ray Katos) writes:
>Re: inverted slide to negative.
>I haven't tried it, but one issue to consider is 
>the orange color of all negative film serves as a 
>mask to aid in color balance.
...

it is my understanding that the orange mask is there to correct for unwanted
absorptions of the subtractive dyes. Basically it is a device that counteracts
deficiencies in real dyes and makes them behave more like perfect dyes.

i think, 
andy


        *  *  * * *  *
         \/\/\/\/\/\/   Andrew Davidhazy, RIT, High Speed Photography Lab.
          |        |    IN%"andpph@ritvax.isc.rit.edu"    fax 716-475-5804 
_________/          \_____________________________________________________
From: ark@alice.att.com (Andrew Koenig)
Newsgroups: rec.photo
Subject: Re: Backwards lens compatibility (was Re: Big/fast EOS lens advice sought)
Date: 17 Nov 92 22:00:17 GMT
Article-I.D.: alice.24218
Reply-To: ark@alice.UUCP ()
Organization: AT&T Bell Laboratories, Murray Hill NJ

In article <PD.92Nov17105403@horus.sics.se> pd@sics.se (Per Danielsson) writes:

> No, you can't mount a twenty year old Nikkor on a Nikon camera made
> today. Chances are you'll damage the camera, and the meter just won't
> work since modern Nikons don't have the mechanical coupling.

You're unlikely to damage the camera.  Moreover, I have a vintage-1964
lens that fits just fine on modern bodies.  Of course, it has been
modified a little.
-- 
				--Andrew Koenig
				  ark@europa.att.com
Newsgroups: rec.photo
From: tssmith@netcom.com (Tim Smith)
Subject: Tilt & Shift 35mm lenses
Summary: Are they useful?
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Fri, 20 Nov 1992 01:35:49 GMT

Has anyone had any experience with tilt and shift lenses for 35mm SLR
cameras?  Canon has (or had?) a 35mm FD one, and I think Nikon did too.

Are the adjustments sufficient to make them useful for architectural and
product illustration photography, or are they just marginal?  How do they
compare with what you can do with a good view camera.

E-mail me or post, I'll provide a summary.

Thanks.

--Tim (tssmith@netcom.com)
From: lakhindr@ESD.3Com.COM (Lakhinder Walia)
Newsgroups: rec.photo
Subject: Re: tripod for travel,or,why are Gitzos so expensive?
Date: 23 Nov 92 17:48:46 GMT

I heard Gitzos are cheap in UK.. ! 
Will somebody confirm..? 

-Lakhinder Walia


ktubman@inetg1.ARCO.COM (Ken Tubman) writes:

>I'm looking for advice on a good tripod for travelling.  I realize
>there is a tradeoff between stability and size.  I'm just trying to
>find a good compromise.  I have a Canon Elan which is just 35mm.
>My longest lens is the 100-300 USM so I think I can sacrifice some
>stability and still not have a big problem.

>I looked at the Bogen 3001.  It's OK but I like the quick release 
>on the 3021 better.  But the 3021 is bigger.  

3021 & quick release.: Heavy but very useful IMHO.

>I saw a Gitzo 126 which was small and seemed sturdy.  The legs are
>shorter and much of the height adjustment is with the long center post.

I wonder whether this is a very good approach.. ! I would rather have a 
smaller center-post and long legs.. ! For mechanical stablity/vibration, of 
course.
>This tripod is even smaller than the Bogen 3001, but feels just as strong.
>But it was more than $200!  What is it that makes Gitzo so expensive?  
>Is it that hard to make a smaller tripod stable?  Is Gitzo really worth
>the money?

>Any suggestions would be welcome about other brands to look at.  

Look at any brand which allows you full choice of camera  positions..
I had bought a light (& cheaper) tripod. The camera kept rotating about
the tripod-screw because there was no friction hold-- if you want to 
tilt by 90 deg: portrait mode. Problem is more serious with heavier lenses. 

>Is Gitzo the only brand that uses the same style and makes a decent tripod?
>Am I just chasing an impossible dream of a small, pretty stable tripod?
From: kassover@rumsey.crd.ge.com (David Kassover)
Newsgroups: rec.photo
Subject: Re: Setting up a darkroom...
Keywords: fogging, developers, darkroom, old enlargers
Date: 17 Nov 92 04:20:13 GMT
Organization: nope

>
>>2 flourescent "bulb-style" fixtures in the ceiling fan, which tend to have
>>an afterglow.
>
>This could be a problem - as I recall, not all of the afterglow from
>fluorescents is in the visible portion of the spectrum. If they're emitting
>UV, you're in *big* trouble. Any chance you could:
>
>a) remove them while you're printing, or
>
>b) cover them with something opaque?

Some years ago, I had the opportunity[requirement] to work in a
photomicrolithography lab.  (I wasn't doing the photography;
actually I was doing plumbing and other mechanical tasks)  The
fluorescent tubes were normal cool white of some variety or
other, but they were covered with yellow filters.

I don't believe that this yellow was a particular safelight for
anything, since there were more normal red safelights available
for when they were needed.  The filters may have been there for
just such an afterglow as described.

But after eight hours or so in that room, the real world looked
awfully purple.


-- 
David Kassover             "Proper technique helps protect you against
uupsi!khazad!kassover	          sharp weapons and dull judges."
kassover@aule-tek.com                   F. Collins
kassover@ra.crd.ge.com
From: rmihara@ocf.berkeley.edu (Randall A. Mihara)
Newsgroups: rec.photo
Subject: Photo finishing companies in SF Bay Area
Date: 17 Nov 1992 01:40:31 GMT
Organization: U. C. Berkeley Open Computing Facility
Distribution: ca
NNTP-Posting-Host: monsoon.berkeley.edu

The photo finishing place (Calypso Color Labs) I used to send my 120
film to no longer does in house 5"x5" proofs.  They now send them out
to another lab that does unsatisfactory work.  Can anybody suggest
a lab that does good 120 proof prints in the south bay area, preferably
around Sunnyvale, Santa Clara, Palo Alto, or San Jose?

Any suggestions would be appreciated.
Please post or e-mail.

Randy Mihara
rmihara@ocf.berkeley.edu
Newsgroups: rec.photo
From: rbhank@wsl.dec.com (Ron Bhanukitsiri)
Subject: WANTED: Pentax lens
Keywords: lens
Reply-To: rbhank@wsl.dec.com (Ron Bhanukitsiri)
Organization: DEC Western Software Lab
Date: Wed, 18 Nov 92 00:31:19 GMT


			* WANTED *

I'm looking for good condition Pentax lenses (35mm camera):

	SMC Pentax-A 50mm f/1.7
	SMC Pentax-A 35mm f/2

Please send me e-mail to "rbhank@wsl.dec.com" or phone me at
415-688-1528.

Ron Bhanukitsiri
From: yyh@osustat.mps.ohio-state.edu (Yu-Yun Ho)
Newsgroups: rec.photo
Subject: Why Black Corners on The Pictures?
Date: 21 Nov 1992 01:33:59 GMT
Organization: Department of Statistics, The Ohio State University
Distribution: world
NNTP-Posting-Host: osustat.mps.ohio-state.edu

Dear netters:

I used Cokin vari-color filter + linear polarizer to give me the color
I wanted for the pictures. I don't understand why the four corners
of the pictures all turned out black. 
(last time when I used vari-color+linear polarizer the results were great!.)

The same situation happened when I used fog filter, except that there was 
only one black corner.

Can anybody tell me why this is happening? My camera is a Pentax PZ-10.
 
Thank you very much in advance.

Yuyun

********************************************************
* Yuyun Ho                                             *
* Department of Statistics, The Ohio State University  *
* yyh@osustat.mps.ohio-state.edu                       *
*                                                      *
******************************************************** 

Newsgroups: rec.photo
From: gmayhew@sven.lerc.nasa.gov (George Mayhew)
Subject: Portable Darkroom ideas?
Organization: NASA Lewis Research Center
Distribution: na
Date: Mon, 16 Nov 1992 20:19:10 GMT

I've moved into a rented condo, from a house where I had built a fabulous
darkroom.  Don't ask why.  It's one of life's sad stories.  Anyway, my
landlady won't let me even put a nail in the wall to hang a picture.    
Forget about drywall, romex, and plumbing.  I still have all of my
equipment, but no place to use it.

The place has a nice big finished basement, although it has enough places
for light to enter that darkening the whole thing would be difficult.  I'm
thinking about building a room in a room, sort of a free standing box where
I could do developing, printing, etc.  (By the way, I work with 4x5.  
Daylight developing tanks aren't ideal.)  It wouldn't have running water,
but I can deal with that.

I was thinking about using cheap paneling to build it, but then I thought
about making a big fabric covered frame--like a tent.  Does anybody have
plans or ideas for such a free-standing beast?  Can you recommend a light-
proof fabric that doesn't cost a fortune?

I'd appreciate any ideas.

george
From: hpb@hpb.cis.pitt.edu (Harry Bloomberg)
Newsgroups: rec.photo
Subject: Re: Contrast mask for Ciba's (was Re: Chrome prints other than Ciba's)
Date: 19 Nov 92 00:59:26 GMT
Organization: University of Pittsburgh

In article <BxxME7.4yu@world.std.com> dp@world.std.com (Jeff DelPapa) writes:
>
>Has anyone tried the special glass intended for contrast masking? It
>works like the automatic sunglasses - you lay the transparency on the
>stuff and hit it with a uv-rich light source (an uncoated flash tube
>was tyhe example I was given) - instant contrast mask - supposedly
>lasting for 15 min - or until the stuff is heated past a certain
>point...
>
   It's called Minit Mask (or something like that).

   I bought one and didn't much care for it.  The contrast reduction was
not very much, and I found small pits in the glass that showed up out
of focus in the print.  The addition of another piece of glass in the
enlargement path also reduced a bit of the "snap" in the final print.

   Now that I think about it, I should have returned it for a refund.
Anybody want to buy one cheap? :-)

   After basketball season, I think I'll finally break down and learn
how to make real silver masks.  Perhaps they'll eventually get it right,
but for now Minit Mask is a shortcut to nowhere.

Harry Bloomberg
hpb@vms.cis.pitt.edu
Newsgroups: rec.photo
From: pd@sics.se (Per Danielsson)
Subject: Backwards lens compatibility (was Re: Big/fast EOS lens advice sought)
Organization: Swedish Institute of Computer Science
Date: Tue, 17 Nov 1992 09:54:03 GMT

In article <1992Nov16.192217.10146@adobe.com> usenet@adobe.com (USENET NEWS) writes:

>[...] without abandoning
>the traditional bayonet mount that still accepts Nikon lenses made
>more than twenty years ago.

No, you can't mount a twenty year old Nikkor on a Nikon camera made
today. Chances are you'll damage the camera, and the meter just won't
work since modern Nikons don't have the mechanical coupling.

_Most_ 10-15 year old Nikkors can be mounted on todays Nikon bodies,
but with varying degree of functionality.

I think Pentax has done a better job of being backwards compatible.
All of their K-mount lenses work with the latest AF-bodies, with no
loss of functionality.

I don't think it's such a big deal though. I didn't choose any of the
above brands when I bought into an AF-system. I didn't buy an AF-camera
to use old MF-lenses.
--
Per Danielsson				pd@sics.se
Swedish Institute of Computer Science, PO Box 1263, S-164 28 KISTA, SWEDEN
Newsgroups: rec.photo
From: ianchan@leland.Stanford.EDU (Ian Hin Yun Chan)
Subject: Turning photos into jig-saw puzzles
Organization: DSG, Stanford University, CA 94305, USA
Date: Sun, 15 Nov 92 23:12:18 GMT

I've wanted for the longest time to have jig-saw puzzles with my very own
photos on them. Can this be done? I was thinking they'll make great gifts.
Does anybody have information about such services, and from what medium
(eg negatives or slides?) do they require?
Thanks!
- Ian
Newsgroups: rec.photo
From: jchen@wind.bellcore.com (Jason Chen)
Subject: Re: EF70-210 3 Types?
Reply-To: jchen@wind.bellcore.com (Jason Chen)
Organization: Bellcore, Morristown, NJ
Date: Fri, 20 Nov 92 05:15:34 GMT

In article <1992Nov20.032739.2649@walter.bellcore.com> jchen@wind.bellcore.com (Jason Chen) writes:
>In article <1992Nov20.021009.6816@cs.cornell.edu> jchen@cs.cornell.edu (Jeffrey Chen) writes:
>>I don't get it: I've seen advertised 3 different 70-210 lenses all
>>purportedly made by Canon, can anyone explain differences betweeen
>>them?
>>
>>70-210 f4.0 USM
>>70-210 f3.5-4.5 USM
>>70-210 f4.0 (not USM)
>>
>Canon only has one 70-210 zoom with EF mount: the f3.5-4.5USM. 

I should add "in production" to my previous statement. Canon did
have a EF 70-210/f4, but was discontinued long ago. I've never
heard of a 70-210/f4 USM. 

I don't know about the old 70-210, but the USM lens is a very sharp lens.

Jason
Newsgroups: rec.photo
From: jhuang@sci.ccny.cuny.edu (Jian Huang)
Subject: How USM works?
Reply-To: jhuang@sci.ccny.cuny.edu (Jian Huang)
Organization: City College of New York - Science Computing Facility
Date: Fri, 20 Nov 1992 19:02:50 GMT

Can anyone give me a brief desciption on how the USM works.
Is it a kind of step motor? What signals will I get from 
USM lenes(e.g. positions of zoom and iris)? I also like to
get information on how I can get some of the technical 
details on camera electronics(e.g. books, trade magazines).

Thanks in advance.

-- 
JIAN HUANG                   
jhuang@sci.ccny.cuny.edu    
jhuang@ccnysci.uucp       
jhuang@ccnysci.bitnet
From: nkane@terapin.com (Nathan Kane)
Newsgroups: rec.photo
Subject: Re: Air sickness question
Date: 16 Nov 92 19:05:11 PST
Organization: BBS

I've had much the same problem when doing ariel photos...
First off, Dramamine is a wonder drug as far as I'm concerned. Last week I went
out with a friend and we were doing some loops, aileron rolls, hamerheads, etc
etc. and I was shooting video and taking stills of the whole thing. I've
noticed that when >I< look at the horizon it doesn't help calm my stomach much,
but looking down at the seat does. Another thing I discovered one time when I
was up was that spending the whole trip looking through a wide angle lens helps
a lot also because it cuts down on the appearance of movement.
When your feeling queezy, turn on the cold air, rest your head on the side of
the plane, look down, and breath deeply. After a few moments you should be ok
again.
From: jimc@tau-ceti.isc-br.com (Jim Cathey)
Newsgroups: rec.photo
Subject: Re: Idiot Mistakes
Date: 17 Nov 92 01:49:35 GMT
Distribution: rec
Organization: ISC - Bunker Ramo, Spokane, WA

In article <1e8j6iINN7gu@crcnis1.unl.edu> kting@cse.unl.edu (Kea Ting) writes:
>a few small spot on the edge of the frame. The reason is the film have a
>layer that prevent the light to go thought it when it is not processed,
>after the processing the layer will be removed by the chemical.

I think only some films have this opaque backing layer.  Kodachrome and
movie films come to mind.

-- 
+----------------+
! II      CCCCCC !  Jim Cathey
! II  SSSSCC     !  ISC-Bunker Ramo
! II      CC     !  TAF-C8;  Spokane, WA  99220
! IISSSS  CC     !  UUCP: uunet!isc-br!jimc (jimc@isc-br.isc-br.com)
! II      CCCCCC !  (509) 927-5757
+----------------+
			One Design to rule them all; one Design to find them.
			One Design to bring them all and in the darkness bind
			them.  In the land of Mediocrity where the PC's lie.
Newsgroups: rec.photo
From: ralandc@tara.SanDiego.NCR.COM (Raland Camara)
Subject: mixed light, film, and filters
Reply-To: ralandc@tara.SanDiego.NCR.COM (Raland Camara)
Organization: NCR Corporation, Rancho Bernardo
Date: Fri, 20 Nov 1992 00:54:03 GMT

     I have some questions concerning the use of filters and film types 
in mixed light photography.  There often occassions when it is possible 
to have light from many different sources in a single setting.  For 
example, it is quite reasonable to have daylight coming in from a window, 
both tungsten and flouresent bulbs overhead, and flash being used as a fill.
All of these light sources are of different temperatures. Also, there
are films which are balanced for a particular type of light (temperature).
For example, there are both daylight film and tungsten film.  Lastly, I am
familiar with filters which can be used to provide correction when using 
a particular film with a light source of a different temperature.  An example
might be a setting which is illuminated with tungsten lights and using 
daylight film and a filter for correction.  My question is:   

  What do you do when you may have multiple temperature light sources 
  as described above?  Is there an easy way to caluculate what the best 
  film type might be? and the correct compensation filters if any?


========================================================================
|) /||  /||\||\  /~ /| /|/| /||) /|   |    Raland Camara
|\/ ||_/ || ||/  \_/ |/ | |/ ||\/ |   |    ralandc@tara.sandiego.NCR.COM 
Newsgroups: rec.photo