HDTenEightyP/NetNews huggingface dataset:
From: rslugg@med.unc.edu (Robert Slugg)
Newsgroups: rec.photo
Subject: Re: Techniques for taking swimsuit models?
Date: 21 Aug 92 18:07:47 GMT
Organization: UNC-CH School of Medicine

Shoot within 1/2 hr of sunrise and sunset and shoot as wide open as
possible with DOF limited to the subject only.

Study Chris Issak's "Wicked Games" video very closely

Bob
Newsgroups: rec.photo
From: yz@broca.acc.virginia.edu (Yuan Zhang)
Subject: Re: Nikon FG (? info wanted)
Organization: University of Virginia
Date: Thu, 20 Aug 1992 20:49:33 GMT

In article <238@metran.UUCP> jay@metran.UUCP (Jay Ts) writes:
> sgccpgs@citec.oz.au (Paul Salanitri) writes:
> : Does anyone know about this camera, I'm thinking of buying a 2nd hand
> : one (possibly 10 years old)
> : I must have a really accurate meter.
> 
> The meter in mine is accurate, but unfortunately, the display only reads
> to the nearest 1/2 stop, and it is confusing to use in manual mode.  Want
> to buy mine?  No?
> 
> Jay Ts
> The meter is a decent one in mine. I have a warning about the TTL flash  
though. It only works with certain Nikon flashes. Many third-party(cheaper)  
flashes like Sunpak won't be able to use the TTL flash feature.
 --yz
Newsgroups: rec.photo
From: kting@cse.unl.edu (Kea Ting)
Subject: Re: Something between pro lab and instant lab 
Organization: University of Nebraska - Lincoln
Date: Sun, 23 Aug 1992 06:03:26 GMT

hchong@netcom.com (Hoi Chong) writes:

>The pro lab is too expensive, whereas the instant (regular) lab turn my
>flash photo out with faces too white.  The latter it was said due to
>the auto-exposure equipment used for printing in the instant lab.

>Is there something in between that will turn out decent flash photo
>w/o costing an arm and a leg? 

    I have some photo taken at graduation with flflash (inoor) , the face turn
out over exposed. I will try to ask them to reprint . If they say it is my
false, I will send the same negative to pro store ( also machine printing),
I am sure I will get better print and ask for special care for my 
photograph that taken with flash.
     I guess you just have to ask them to reprint, and you have to prove that it
is their false. In the future, tell them to take special care when making print
for the photgraph with falsh( write the instruction on the envelope).
     Hope this help.




 
--
soon

University Of                  Disclaimer :
Nebraska-Lincoln               I always speak for myself.
From: kjm@cnmss.tredydev.unisys.com (Ken J. McFadden)
Newsgroups: rec.photo
Subject: Re: Multiple SB-24 setups, your experiences
Date: 21 Aug 92 21:10:56 GMT
Organization: Unisys Corporation, Tredyffrin

In article <1992Aug20.221613.2023@indetech.com> alix@indetech.com (Alexandria North) writes:
>
>I'd like to hear from people who have used multiple SB-24 speedlights
>with their Nikon cameras for "studio" lighting.
>
>I have a Nikon 8008s and a single SB-24. I want to do some portrait 
>and other work that requires multiple lights. I know I want to use 
>electronic flash, but I can't afford the White Lightning units (with 
>modeling lights) that I aspire to. I may be able to get two SB-24s, 
>though, and the cords necessary to slave them and such.

[stuff deleted]

>Alexandria

For anybody considering getting or eventually getting studio flash equipment,
I would like to suggest that you don't get any really powerful equipment,
200 Watt-second lights are probably more than adequate for any portrait work.

I have Speedotron blackline stuff -- 2400 and 1200 watt-second packs +
4 flashes (I got the 1200 watt-second pack for $175 at an auction for those
people who like to hear about bargains).

Anyway, I put 2 flashes into the 1200 for lighting the background and 2 into
the 2400 for the person(s) in the foreground.  And I set the flashes at
practically their lowest setting (it's probably 100 or less watt-seconds for
each flash head) and I'm getting exposures of around f8 or f11 at 1/250 of
a second for Kodachrome 25.  Any more power is only going to make things
worse.  I don't want to stop down anymore or else I am going to cut
down on sharpness.  I can't sync any higher than 1/250 with my F4.  I also
don't know of any slower color slide film that I can use.  If I wanted less
depth-of-field or a faster film, I'd have to start moving the flashes further
away or not pointing them directly at the subject or something.

--------------------------------------------------------------------------------
Ken McFadden        kjm@cnmss.tredydev.unisys.com
Unisys Corporation  kjm@cnmsa.tredydev.unisys.com
P.O. Box 203        work: (215) 648-3742
Paoli, PA 19301     home: (215) 675-0382
From: ab5y@uvacs.cs.Virginia.EDU (Ann Bailey)
Newsgroups: rec.photo
Subject: Mail-order Photo Albums?
Date: 12 Aug 92 16:33:28 GMT
Organization: University of Virginia Computer Science Department
Originator: ab5y@palm.cs.Virginia.EDU

Does anyone know of some mail-order sources for photo albums and
scrapbooks?  I have only been able to find scrapbooks at Hallmark and
they seem too expensive.  Thanks for any information.  BTW I'm not a
photographer - I just have a bunch of wedding photographs, etc to
organize.  If there is a photo magazine that would have this information
please let me know.

Thanks,
Ann
ab5y@virginia.edu
From: sog@craycos.com (Steve Gombosi)
Newsgroups: rec.photo
Subject: Re: Me and E6
Date: 12 Aug 92 18:15:55 GMT
Organization: Cray Computer Corporation

In article <1992Aug12.141657.3159@samba.oit.unc.edu> rslugg@med.unc.edu (Robert Slugg) writes:
>Just because it comes in a ggallon doesn't mean you have to mix up a
>gallon at a time.  I usually mix chemicals in pint or quart batches, or if
>mixing a gallon where they can't be easily separated, I'll fill four quart
>jugs instead.  For hypo clear, I mixed, from memory 18 grams of powder in
>a 750 ml tmax bottle each 4 rolls.  That way I could buy the powder in the
>large 5 gallon pack and use it as I needed it.  E-6 can be made in pints,

This usually isn't a good idea with powder chemistry, since most of the
powders are composed of several different substances which may not be
uniformly distributed throughout the package. 

This is why I tend to buy chemicals that come in liquid concentrates
rather than powders.


The E-6 kit is all liquid concentrate, so this isn't a problem.

>which just happens to be the size of my 2 roll patterson tank, and at 4-6
>rolls per pint the chemistry stays good (IMHO) for a year as concentrates,
>and a month diluted, so its possible to have E-6 on hand for almost a year
>out of a single gallon kit.  

It's probably a good idea to displace air from the concentrate bottles
to prevent oxidation of some of the concentrates (especially the developers).
Clean glass marbles are really good for this.

Steve
Newsgroups: rec.photo
From: lmazur@pucc.bitnet (Leszek Mazur)
Subject: Re: 500 MM lens for Canon EOS wanted
Followup-To: rec.photo
Originator: news@nimaster
Organization: Princeton University
Date: Thu, 13 Aug 1992 21:00:10 GMT

In article <92225.220540U53805@uicvm.uic.edu>, U53805@uicvm.uic.edu (Ron
Vyhmeister) wrote:
> 
> I'm looking for a 500 mm lens for Canon EOS camera.  If you know of any good
> deals, please let me know.
> 
> Thanks.
> 
> Ron Vyhmeister
> u53805@uicvm.cc.uic.edu

You might want to take a look at Sigma's 500 f/7.2 AF lens.  I've been
satisfied with the results I've got from mine.
________________________________________________________________________________
#include<.sig>
ERROR line 29$#21 .sig appears not to contain useful information.
Newsgroups: rec.photo
From: robert@sys.sweden.dg.com (Robert Claeson)
Subject: Re: polycarbonate camera bodies
Date: Tue, 18 Aug 1992 11:19:15 GMT
Organization: Data General AB, Akalla, Sweden

In article <1992Aug12.164443.29081@midway.uchicago.edu>, ar12@quads.uchicago.edu (Richard Nixon) writes:

> About composite materials:
> Someone mentioned the fact that many composites are stronger than metal
> per unit weight- note that the key phrase is per unit weight.

I think that I was the person. I just thought that I should mention that a
Canon EOS-1 is heavier than a Nikon F-4 even though the latter is reputed
to contain more metal. Go figure.

- Robert

> Furthermore, in the case of camera bodies, we're not
> talking about carbon-fiber, we're talking about plastic.

THAT heavily depends on what camera you're talking about. There
are both plastic cameras and carbon-fiber cameras.

-- 
Robert Claeson            Internet: robert@sys.sweden.dg.com
Data General AB                     robert@sys.dg.se
Box 28                    Tel: +46 (0)8-92 55 00
S-164 93 KISTA, Sweden    Fax: +46 (0)8-751 36 22
From: clissman@ccvax.ucd.ie
Newsgroups: rec.photo
Subject: Canon EOS Rebel at high altitude and Cold - Problems ??
Date: 21 Aug 92 10:49:03 GMT
Summary: Will it work in the Cold ?
Distribution: world
Organization: University College Dublin

Hi all,
I have a canon EOS 1000 (Rebel in the US), which I hope to take on a climbing
expedition to Nepal this October. We'll be climbing to 6500 metres (21000
feet or so). Can I expect the camera to function, or do the electronics 
'freeze up' ?? It is auto-everything, and, I think, totally dependant on its
batteries. Any info and tips would be greatly apreciated.
Thanks very much
Ciaran Clissmann, Dept Computer Science, Univ Coll Dublin, Ireland
"I'm going to fall off this rock !! - Quick, take a picture !! "
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Re: Anti-Fog??
Organization: Curtin University of Technology
Date: Fri, 21 Aug 1992 17:09:48 GMT

In article <9208201731.AA20279@ncsuvx.ncsu.edu>, PNCSPPC@CCVAX1.CC.NCSU.EDU writes:
> Do they still make "anti-fog"?  Does it work?  I have some old 400 ASA B&W
> film which I just never got around to developing.  Well, now I want to process
> it but I know there will be a good bit of fog.  What I'd like to know is how
> can I minimize the fog when developing this film?  I was planning to use Agfa
> Rodinal for the developer, but if something else would be better in this case
> I'd use it instead.  Any help would be appreciated.
> 

Yep, Benzotriazole should be freely avail from chemical suppliers, or Kodak
anti-fog #2, 6-nitrobenzimidazole nitrate. Can't get AF2 in OZ from Kodak,
can get it from chem suppliers. trouble is its 500 gm, which sould be enough
to last about 5 generations of photographers! Use at 0.5% solution.

~Paul
From: jay@metran.UUCP (Jay Ts)
Newsgroups: rec.photo
Subject: Re: Flourencent light question
Date: 13 Aug 92 18:08:07 GMT
Organization: Metran Technology, Tampa, Florida

robinson@odie.ee.wits.ac.za (Michael Robinson) writes:
: If I am shooting on daylight balanced film is there any filter available for 
: use under flourescent light?  What other alternatives are there to avoiding 
: green photos?

If you really want to know about this, I suggest you get a copy of Kodak's
Publication E-104, Color Photography Under Fluorescent and High-Intensity
Discharge Lamps.  Call Kodak at 1-800-242-2424.

With that out of the way, I will simplify the matter considerably by saying
that all the major filter manufacturers sell filters for this purpose.  There
are two major problems with this, however:

	1. Each type of film responds to fluorescent light differently.
	2. There are a number of different types of fluorescent bulbs.

So to do a good job of correction, you have to filter appropriately for
both the film and bulbs you have.

My method for handling the problem is whenever someone asks me to photograph
under fluorescent lights, I say, "The light sucks in here; let's go outdoors
instead!" :-)

Or use a flash?

If you don't mind using print (negative) film, you might try Fuji Reala,
which is specially formuated to match the color response of the human eye.
Supposedly, it does very well under fluorescents, especially when printed
by a good color lab, where more correction can be added in the printing
process.

Jay Ts
problem is, each type of film re
Newsgroups: rec.photo
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Subject: Re: More 4x5 questions
Organization: Case Western Reserve University, Cleveland, Ohio, (USA)
Date: Tue, 18 Aug 92 04:42:23 GMT


As far as I know Nikkor lenses for large format are very good.  You may
want to consider a 6.8 rather than an f8 as f8 is already getting
pretty dim even with a black cloth.

I use a Grandagon 90 6.8 and it is excellent (but not inexpensive).
The latest isue of View Camera magazine has a very interesting article
on resolution and sharpness and you should get a copy a and read it..
as should every large format shooter!

brian
Newsgroups: rec.photo
From: vibard@venus.resntl.bhp.com.au
Subject: Re: B&W slides (OK, so it's a FAQ)
Organization: BHP Research, Newcastle Laboratories
Date: Thu, 13 Aug 1992 10:30:34 GMT

In article <1992Aug12.005137.7250@donau.et.tudelft.nl>, reinoud@dutecaj.et.tudelft.nl (R. Lamberts) writes:
> Is there a good B&W slide film? I've heard some B&W films can be
> developed to give a positive image, but I doubt this gives a decent
> result. I'd be very interested in experiences you may have.
> 
> Thanks,
> 
> - Reinoud
> 
> 
Ilford XP-2 film can be used to produce positive black and white images. Rate
the film at 80iso and push process it 2 stops in an E6 process. The results are
sharp and have a good tonal range. The only minus to the whole thing is a
slight green cast that occurs, but it's not overbearing. I have gone on to
print these black and white positives onto Cibachrome material and they have
come up well.

All the best   David.
Newsgroups: rec.photo
From: kcarroll@milton.u.washington.edu
Subject: optical glass source found
Organization: University of Washington
Date: Fri, 21 Aug 1992 19:05:22 GMT

In article <1992Aug18.224922.21960@u.washington.edu>  
kcarroll@milton.u.washington.edu writes:
> I need a sheet (20x24 inches) of optical
> quality glass to flatten composites while

thanks for the many e-mail replies
Edmunds largest size opt. qual. glass is 11" square.
Reg glass does distort and creates a "color" problem 
when I use Ektachrome, but not 4x5 BW sheet film
Rolyn Med (818) 915-5707 will sell 20x24" B-270 glass 
1/8" thick for around $158.00

kristine carroll
From: neilw@informix.com (Neil Williams)
Newsgroups: rec.photo
Subject: Camera for car (was: Photo contest: $100 prize)
Date: 18 Aug 92 00:26:52 GMT
Organization: Informix Software, Inc.

In article <77714@ut-emx.uucp> lihan@ccwf.cc.utexas.edu (Bruce G. Bostwick) writes:
>In article <HEGARTY.92Aug12151636@caradhras.bernina.ethz.ch> hegarty@caradhras.bernina.ethz.ch (Christopher Hegarty) writes:
>>
>>
>>I want to leave a camera in my car so that if I am involved in a car
>>accident I can take some photos of the accident scene, which may be
>>helpful if any legal problems arise.
>>
>>One problem is that inside my car tends to get very hot in
>>summer; I'm concerned about film lifetime.  Can anyone tell me 
>>how often I might need to replace the film, or recommend film with a
>>relatively long lifetime under these conditions?
>
>I don't have many recommendations about film/temperature solutions,
>but I can suggest that you keep the camera on the floor of the car, or
>as close to the floor as possible.  Keep it in a camera bag if you
>don't like the idea of passengers kicking it around unawares (or in
>case of some passengers I've had, DELIBRATELY!) and getting dirt in
>the machanism.  The floor of the car will usually be much cooler
>(90-95 degrees) than the back seat or rear deck (130-150 degrees in
>some cases) and it's easier to hide your camera which is one of the
>best kinds of thief-bait there is.
>
>Another suggestion is to use Tri-X Pan if you can get it.  It's
>relatively cheap and doesn't seem to mind too much being cooked.  The
>picture quality is not incredible but will suffice for evidence-style
>pictures, and the 400 ASA will allow you to take pictures in very many
>circumstances without flash.

My question is - does it matter if the film gets cooked?  The pictures
are just for an accident scene to confirm the relative positions
of the cars and maybe signs, traffic lights, etc.  Probably the
camera will be a fixed-focus, fixed-shutter, disposable, with 400
speed film.

Can long storage at occasional high temperature (say 130F) prior to 
exposure affect the film to the point of not having usable pictures?
These pictures are not for mounting on the wall - just for showing to
the insurance company or the judge.  Some loss of resolution is no
big deal, I would think.

--Neil
-- 
Neil Williams: neilw@informix.com

Seen on my last trip on United: "If you are seated in an exit row 
and can not (sic) read this card... please notify a crew member."
From: Rupin.Dang@dartmouth.edu (Rupin Dang)
Newsgroups: rec.photo
Subject: FORSALE: Nikon FM-2N
Date: 14 Aug 92 04:05:25 GMT
Organization: Dartmouth College, Hanover, NH

I would like to sell my last Nikon body (sob, sob!). Its a one-year old chrome
FM-2n in 100% good cosmetic condition and about 90% good mechanical condition.
It works fine and  has delivered great results but it has to go now to be
replaced by a monster-sized Betacam SP camcorder. I'll sacrifice this piece at
$185 including shipping.
From: wkc@cup.portal.com (William Kirk Clendinning)
Newsgroups: rec.photo
Subject: Re: media permanence (was Re: photo-developing, specifically nu
Date: Wed, 19 Aug 92 22:17:28 PDT
Organization: The Portal System (TM)
Distribution: world

Asking which digital media has been around in comparison to B&W
photography is a mute point.  The problem, as discussed before is
having the ability to decode information once it has been stored.
At the time a photograph is taken, the photographer has a "best
case" time of permanence in mind when it is created just as does
the person creating a digital image.  Sighting B&W as a permanent is
great in hind sight, but was not supported in fact at the time an
image was originally fixed on paper.  Only time proved the point, 
just as time will prove which method is the best now.  They didn't
know then, just as we don't know now.  It wasn't long ago that 8mm
movie film was the best way of documenting a family event.  Where
has the technology gone to "decode" the information captured on that
media?  The best answer is to catalog an image in several media, no
matter what the original was if it is important. 
Newsgroups: rec.photo
From: peterwu@microsoft.com (Peter Wu)
Subject: How to mount shoe-mounted flash securely?
Date: 17 Aug 92 17:13:33 GMT
Organization: mc
Distribution: usa

The flash I use (Canon 430EZ) looks like it might break off at the shoe
easily when mounted on a flash bracket.

Are there some sort of clamp to clamp a shoe-mounted flash on to a flash
bracket securely?
From: tls@panix.com (Thor Lancelot Simon)
Newsgroups: rec.photo
Subject: Re: media permanence (was Re: photo-developing, specifically nudes)
Date: 19 Aug 92 19:17:26 GMT
Organization: PANIX Public Access Unix & Internet, NYC

In article <1992Aug19.155539.17331@clark.edu> gsnow@clark.edu (Gary Snow) writes:
>In article <1992Aug18.180346.10845@talon.ucs.orst.edu> monson@hobo.ECE.ORST.EDU (Ty Monson) writes:
>>
>>Of course, the fine B&W prints originally being discussed can sit
>>indefinitely, unattended, without need for investment in new equipment,
>>and still be ready for immediate viewing anytime in the future.
>
>Hold it, are you trying to tell me that a B&W PRINT can out live its digital
>counter-part?  I don't think so.

Well, then, you're most likely wrong.  Properly-washed B&W prints on fiber base
paper should last for several hundred years, especially if slightly selenium
toned as St. Ansel recommends.  It's _color_ prints that have durability
problems.  B&W will last 'till the paper decomposes, and as good FB paper is
pretty studry stuff, if stored properly that's a very long time indeed.

-- 
Thor Lancelot Simon	 tls@panix.COM
  "Oh, you have wounded me!  I have very few prejudices, actually.  The
biggest problem is that I am intolerant of fools.  That is why I have
such a low tolerance level for Libertarians."  -- Jim McMaster
Newsgroups: rec.photo
From: duane@cbnewsj.cb.att.com (duane.galensky)
Subject: Re: SB-24 Speedlight -- Nikon Video and Hove Book
Organization: AT&T
Distribution: na
Date: Wed, 12 Aug 1992 20:29:51 GMT

In article <1992Aug12.184022.3186@indetech.com> alix@indetech.com (Alexandria North) writes:
>
>Well, I don't have much problem figuring out how each feature works, 
>I was really looking for something that would help me get the most 
>out of this speedlight. I tend to use it in very pedestrian ways, 
>which is a shame considering the potential of the unit.
>
>

actually, flash seems an inherently pedestrian topic...
about the only fancy (gimmicky?) things i can see (not
being an authority on these things, mind you):

	- set a slow shutter speed and set rear curtain synch
	  to leave trails behind moving objects (yawn)

	- set a slow shutter speed and set it to flash multiple
	  times while the shutter's open (zzzzz)

	- adjust the flash/ambient ratio (!)

other than that, as long as you're operating within the
range, what else is there to know?  am i missing something?

as for ways of using these capabilities...that's part
of the fun, isn't it?

duane
Newsgroups: rec.photo
From: sttay@athena.mit.edu (Stephen T Tay)
Subject: Re: Flash & Lens for Nikon FM2
Organization: Massachusetts Institute of Technology
Date: Sun, 23 Aug 1992 00:29:23 GMT

In article <240@metran.UUCP>, jay@metran.UUCP (Jay Ts) writes:
|> memsthd@prism.gatech.EDU (MIKE WILEMAN) writes:
|> : honna@cs.concordia.ca (SEGEL honna) writes:
|> : >I suggest that you also consider the Viv285.
|> :
|> : This sounds like a good flash for my FM, but is there a flash which has all
|> : (or, at least, most) of these feature, particularly the fully variable
|> : manual power setting, which I can also occasionally use as a TTL flash
|> : with my 6006 body.
|> 
|> I asked about this on the net a few weeks ago, and it seems that the only
|> other camera-mounted flashes with a power reduction feature are made by
|> Sunpak.  Sunpak's power reduction has settings for 1, 1/2, 1/4, 1/8 and 1/16,
|> whereas the Vivitar does not have the 1/8 setting.  (I wonder why not?)
|> 
|> I think that certain higher-priced (and bulkier) Sunpak units have modules
|> to adapt to Nikon.  You might look into those.
|> 
|> Jay Ts

if i can recall, sunpack makes a flash called the 433D that has a guide no.
that's about equal to that of the nikon sb24. it also comes with the variable
power setting and has two versions, an AF and a non-AF version. the 433D was the
name by which the flash was called when i was still in Singapore last year. i
think it is marketed under the same name here in the usa.
of course, it doesn't have the same fancier features of the sb-24, like rear
curtain sync and stroboflash effect, but it's definitely very much cheaper.
hope this helps

stephen
Newsgroups: rec.photo
From: raginis@cs.albany.edu (Ragini Shamsunder)
Subject: Canon AE-1 prog. accessories
Originator: raginis@watson.albany.edu
Organization: The University at Albany, Comp. Sci. Dept.
Distribution: usa
Date: Mon, 17 Aug 1992 20:07:23 GMT

Hi,
   I have been using my AE-1 without many accessories and thought
that it is high time I bought some lenses and filters.  I love nature
photography and also portrait stuff.  I have a vivitar flash which
is good enough for now.  I have a soft focus filter and a uv filter.
I also have a macro-zoom (lousy - make).  I wa planning to buy a polarising
filter and some zoom lens.  Can anyone suggest a good zoom lens (affordable)?
Also, does anyone post suggestions on how to improve on portrait and nature
(outdoors - lakes etc) photography?  If someone can give me some useful hints
I would appreciate it.
-Ragini