HDTenEightyP/NetNews huggingface dataset:
From: browner@rm1.interlan.com (Michael Browner)
Newsgroups: rec.photo
Subject: Re: Xmas displays
Date: 16 Dec 92 21:49:02 GMT
Organization: Racal-Milgo, Sunrise, Florida

In article <92349.231651STAN@VM.TEMPLE.EDU>, STAN@VM.TEMPLE.EDU (Stan Horwitz) writes:
|> With Christmas  being only  a few  days from  now, many  of my  naighbors have
|> decorated their houses  with Christmas lights and other stuff.   Some of these
|> homes are quite nicely decorated and I  would like to capture them on film for
|> posterity.  My goal is to record colors and details of each home.
|> 
|> Clearly,  a tripod  will  be essential  in  this project,  but  are there  any
|> accessories needed for this type  of photography?  Most importantly, what kind
|> of color film  is best suited for night time  Christmas light photography?  In
|> addition to the lights themselves, I want to get some details of the buildings
|> to which  the lights are  attached.  I  own a Minolta  7xi camera with  just a
|> 35-70mm zoom lense.

With the 7xi you only need a tripod, you can let the camera meter, and then
make exposure copensations (sp?) of +1 and +2, etc..  

Remeber that the colors will tend to the orange or warm colors since Xmas 
bulbs tend to be incandesent.  I like the warm feeling, if you don't want 
that effect get a filter to balance it out more.

Another nice effect since you have all those little points of light is a star
filter and a diffraction filter.  The star filter will make little stars out
of the points of light, the diffraction filter will give the lights a rainbow
effect.

Have fun.

Michael B.
-- 
Michael Browner     		browner@sun1.interlan.com or
(305) 846-6848                  browner@rd1.interlan.com
Racal-Milgo, MS E-112, 
P.O.Box 407044, Ft Lauderdale, FL 33340  
Newsgroups: rec.photo
From: erc@unislc.uucp (Ed Carp)
Subject: Re: Saunders 4x5 enlargers
X-Newsreader: TIN [version 1.1 PL6]
Organization: Unisys Corporation SLC
Date: Sun, 13 Dec 1992 06:21:40 GMT

Terry Gray (gray@cac.washington.edu) wrote:

: 2. There is no cold-light option, though the "diffusion B&W" module is
:    probably fine.  However, there's a bit of piece-of-mind in being able 
:    to use 3rd party or mainstream heads (e.g. Beseler 45A, Aristo), which
:    doesn't seem possible with this enlarger.

Doesn't Aristo make a cold light head for the Saunders?
-- 
Ed Carp			erc@apple.com, erc@saturn.upl.com	801/538-0177

Who and what would you be if you went beyond your deepest fears?
From: monson@ece.orst.edu (Ty Monson)
Newsgroups: rec.photo
Subject: Vivitar 2x for Hasselblad
Date: 16 Dec 92 06:38:09 GMT
Article-I.D.: flop.1gmishINN2bh
Distribution: usa
Organization: Oregon State University, Corvallis
NNTP-Posting-Host: hobo.ece.orst.edu


I have noticed that B&H and a few other mail order places offer a 
Vivitar 2x teleconverter for Hasselblad cameras. It is relatively cheap.
Does anyone know anything about them? Like what range of lens focal lengths
is the converter suitable to use on? I haven't run across any Vivitar
advertisements in a long time (for Vivitar's address/phone number) or I
would have asked them directly.
Also, Vivitar made teleconverters with elements that could be removed so that
it could double as an extension tube. Is the model for Hasselblad set up
like that?
Newsgroups: rec.photo
From: ianchan@leland.Stanford.EDU (Ian Hin Yun Chan)
Subject: Help on Minolta 8000i
Organization: DSG, Stanford University, CA 94305, USA
Date: Wed, 16 Dec 92 01:29:58 GMT

I've just got my Minolta 8000i! _But_ the manual is missing, and I don't
think I've time to get it from the shop before I go on my holiday. So if
anyone could tell me what the left-most icon on the LCD display is for
(it appears to be related to metering), I'd greatly appreciate it.
Let me try to make it graphical:

 ___
/   \

\___/   is one possible display, and

 ___
/   \
  *
\___/   is another possible display. This is also what appears when I press
	the "Program" button.

Am I right in guessing that the first is center-weighted, and the other
intelligent exposure?
Thanks!
- Ian

Newsgroups: rec.photo
From: erc@unislc.uucp (Ed Carp)
Subject: Re: How to test paper developer
X-Newsreader: TIN [version 1.1 PL6]
Organization: Unisys Corporation SLC
Date: Fri, 11 Dec 1992 20:38:59 GMT

Ed Carp (erc@unislc.uucp) wrote:

: would be consistently blocked, and Zone X blacks would look more like Zone
: VII grays. :(

God, where's my head?  I guess it just because I just woke up.  I meant "Zone
0 blacks would look more like Zone III grays".

Sorry about that...<sigh>
-- 
Ed Carp			erc@apple.com, erc@saturn.upl.com	801/538-0177

Who and what would you be if you went beyond your deepest fears?
Newsgroups: rec.photo
From: erc@unislc.uucp (Ed Carp)
Subject: Re: How to test paper developer
X-Newsreader: TIN [version 1.1 PL6]
Organization: Unisys Corporation SLC
Date: Fri, 11 Dec 1992 20:34:12 GMT

DORAN TJ - BIOLOGY (tjdoran@watserv1.uwaterloo.ca) wrote:

: I (an amateur) tend to develop only a few prints at a time. I hate to dump
: developer after only a little use. Trouble is, the (Perrier) bottle I store
: my developer in has such a narrow neck that I have to use a funnel and it
: gets *seriously* aerated.
: 
: I know chemical bottles are cheap, but I have better things to spend my money
: on (tuition, rent etc.). Will this aeration greatly affect my developer?

Yes.  Are you starting with powdered developer, like Dektol, or a liquid
concentrate?  *Mix* only as much as you will need, print with it, then *please*
toss it.  If you try and store it and reuse it later, I promise you that you
will be disappointed with the results.  Also, keep track of the number of
prints you make with such a small amount of developer, and mix up a fresh
batch when the developer limit is reached, even if you can't tell a difference.
If you keep printing, you *will*. :(
  
Oh, as to your original question, yes, aeration will affect your developer.
I used to print in stretches for two or three days at a time.  I found that
after 24 hours of sitting, Dektol would be greatly weakened - the highlights
would be consistently blocked, and Zone X blacks would look more like Zone
VII grays. :(

If you want to try it, go get another tray the same size as your developer
tray, and stack the two, with the developer still in the tray.  This will
tend to prevent your developer from oxidizing, at least for a while.  Sure
makes it last longer than if it's exposed to the air.
-- 
Ed Carp			erc@apple.com, erc@saturn.upl.com	801/538-0177

Who and what would you be if you went beyond your deepest fears?
Newsgroups: rec.photo
From: ian@rats.demon.co.uk ("Ian A. Young")
Subject: Re: Zone VI 4x5 view comments ?
Reply-To: ian@rats.demon.co.uk
Distribution: world
X-Mailer: cppnews $Revision: 1.20 $
Organization: not
Date: Fri, 18 Dec 1992 23:13:54 +0000

In article <1gsva4INNjhe@hp-col.col.hp.com>
   sparks@col.hp.com (John Sparks) writes:

> [...] The Zone VI camera does have an interchangable bellows.
> With a bag bellows, you can probably use a 58mm or 65mm.

65mm is certainly possible.  58mm, I think, would require very careful
arrangement of the folds in the bag bellows.  It would be quite tight.

> However using
> lenses shorter than about 100mm at infinity requires moving the front
> standard closer to the film plane than is possible with the len standard
> vertical.  You have to move the front standard closer to the film using
> the base tilt then make the lens board vertical again using the axis
> tilt.

I believe this may have been improved over the years.  Although I don't
have a 90mm lens to try, the way I measure it I should be able to get
down to an 85mm lens without a tilt on the front standard.  My camera
is quite recent (last stock before they started gold-plating them...)

> John Sparks

   -- Ian
Newsgroups: rec.photo
From: prodger@leland.Stanford.EDU (phillip prodger)
Subject: Picture matting/Framing
Organization: DSG, Stanford University, CA 94305, USA
Date: Sat, 12 Dec 92 01:13:34 GMT

>
>Why is it necessary to re-mat the print every 10-15 years?  Is this
>true even with a "100% Cotton Rag" (I assume that this is still 
>cellulose) mat?  And finally, doesn't this screw collectors who have
>photographs by famous artistes who have only signed the mat, not
>the photo?

The reason for re-matting prints isn't so much that matts degrade with
time (although they do) as it is that matts are highly porous and tend
to trap airborne chemicals.  Matts "soak up" acids, chlorine, even
formaldehyde from wood frames and can transfer these onto a print.

You can see this in prints which haven't been re-matted in a long time.
Where the overmatt rests on the front of a print, a brownish stain
forms.  It makes an ugly rectangle around the edges called, appropriately
enough, matt stain.

As far as collectors are concerned, it isn't the end of the world one
way or the other.  If the matt is signed or attached to a print in any
way, it is considered part of the work and is generally preserved along
with it.  

If an artist signed the overmatt but not the undermatt, you can still 
change the undermatt from time to time.  The overmatt is retained, but
a liner layer is inserted between it and the print, and this is
changed instead.

The same is true if an artist signed the undermatt but not the overmatt.
You have to keep the undermatt with the print, but you can keep it from
touching the print with a changeable liner.  The overmatt can be changed
as normal.

If the print is drymounted, you can still change the overmatt, and 
can't insert a liner between the print and the matt, as the dry mount
glue the two together.  But drymount tissue is a pretty good liner in
its own right...chances are, anything leeching out of the matt won't get
as far as the print.  And if it does, it will get to the reverse anyway,
which isn't as sensitive as the front.

That's why most photographers consider dry-mounting 'archival', although
no-one really knows for sure, as we don't have any really old dry-mounted
prints to check with.  It does anchor the print to a matt which will
become progressively brittle and yellow, but the overmatt can cover that
up nicely.

Some photographers don't like the idea of their matts being changed all
the time;  they only want their print to be seen with a particular matt
material and/or don't care if it yellows.  It's all part of the artistic
effect...

Others would like to think of their prints as always being presented in
a pristine setting, so they leave them loose.
From: rsmith@pearl.tufts.edu
Newsgroups: rec.photo
Subject: Re: "Signature Color" film -- what's the story?
Date: 19 Dec 92 22:17:32 GMT
Organization: Tufts University - Medford, MA

(re: Signature Color film, aka "Eastman 5296/5248":)

> I've been told that the film requires special handling for processing,
> including a well-controlled chemistry phase, and removal of a very
> sticky backing from the film.  Most small labs aren't equipped to do
> it and the extra cost associated with that kind of processing won't
> appeal to the snap-shooters.  It might be worth trying a roll or two
> to see if you like the results.
> --
> 	Mike Berger
> 	Internet    berger@atropa.stat.uiuc.edu

Although the film processing is expensive for these films, Signature Color and
other labs (Seattle FilmWorks and Dale Labs) which use them or similar
products practically give the film away ($2.25-$3.00 per 36-exposure roll,
compared to about $5.00 for Kodacolor Gold in the Boston area), so the
total cost of using it is about the same.  (BTW, Signature Color is also
known as Skrudland, which processes C-41 film.  Using Signature's services
and film costs almost exactly the same as using Skrudland and locally-
purchased C-41 film.)

					--Rod Smith
					  RSMITH@PEARL.TUFTS.EDU
From: mikec@spider.co.uk (Mike Coren)
Newsgroups: rec.photo
Subject: Re: Is EOS 28-105 USM much better than 35-105 USM lens?
Date: 14 Dec 92 11:43:08 GMT
Organization: Spider Systems Limited, Edinburgh, UK.


My motto for the day:  Open mouth, insert foot.

In article <1992Dec11.082024.27150@jarvis.csri.toronto.edu> acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
>In <1992Dec11.112251.11753@spider.co.uk> mikec@spider.co.uk (Mike Coren) writes:
>
>>NO!!!  The USM lenses do NOT have IR correction marks on their distance scales.
>>The USM lenses are meant to be used with the "Whisper Drive" cameras (Elan/100,
>>Rebel II/1000N, A2E/5, etc), which can't be used with IR film due to the IR
>>emitter/sensor in the film transport system.
>
>I think you've extrapolated a little too much here.  USM was out *long*
>before the Elan ever came out, and has advantages other than quiet
>focusing.  (You know, high torque, manual focusing without flipping a
>switch, etc.) All cameras previous to the Elan *can* use IR film and
>USM together!
>
>>I have the 28-105, and it ain't so.  It DOES have several indicators for
>>distance on the distance scale, depending on what focal length the lens is
>>zoomed to (28, 50, 70, and 105 I think).  Apparently, it's not a parfocal
>>zoom.
>
>Please check the instruction sheet that comes with your lens.  I'm willing
>to bet that the marks you see *are* IR marks.  (At least on my 100-300 USM
>the are!)
>
>>Mike
>
>ACS
>-- 
> ___ ___ ___ ______________________________________________________________
>|   |   | __|      Democracy is not a way of getting better solutions.     |
>| - | --|__ |           It's just a way to spread the blame.               |
>|_|_|___|___|______________________________________________________________|
>Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|

Alvin, you are absolutely correct.  I noticed the four marks on the lens,
but didn't look at the instructions until now.  I never thought you needed
instructions for a lens (Step 1:  Slap it on your camera.  Step 2:  See
camera instructions).  Serves me right for shooting my mouth off!

Mike

-- 
Michael D. Coren, Electrical Engineer             mikec@spider.co.uk
Telecommunications Techniques Corporation, Germantown, Maryland, USA.
Temporarily at Spider Systems Limited, Edinburgh, Scotland, UK.
Newsgroups: rec.photo
From: pd@sics.se (Per Danielsson)
Subject: Re: Lithiums vs. alkalines (was Re: was going to get 8008s but EOS 10s recommended)
Organization: Swedish Institute of Computer Science
	<BzDpoo.Joq@constellation.ecn.uoknor.edu>
Date: Thu, 17 Dec 1992 09:59:19 GMT

In article <BzDpoo.Joq@constellation.ecn.uoknor.edu> twtan@essex.ecn.uoknor.edu (Tack Wee Tan) writes:

>I've had the 6006 before and I don't use the built-in flash at all because
>I have a SB-24 dedicated flash. But believe me, it still comes to 5-20
>rolls per battery. I bought an 8008s about a year ago, and believe me,
>you still save a LOT from AA batteries. I too shoot roughly 50 rolls per
>year and AAs come in extremely handy.

The 6006 and the 8008s are different cameras, so you're still
comparing apples with oranges.

>Over a long run, buying rechargable AAs instead of alkaline would
>make it even more cost effective.

Yes, that definitely is an advantage with AAs. Why can't somebody make
a 2CR5-shaped rechargable?
--
Per Danielsson				pd@sics.se
Swedish Institute of Computer Science, PO Box 1263, S-164 28 KISTA, SWEDEN
From: bruceb@mpd.tandem.com (Bruce Burden)
Newsgroups: rec.photo
Subject: Re: Tamron Novoflex 60-300 zoom lens
Keywords: Lens, Zoom, Tamron, Novoflex
Date: 15 Dec 92 20:43:28 GMT
Organization: Tandem Computers (MPD) Austin, TX

In article <fourie.26@odie.ee.wits.ac.za> fourie@odie.ee.wits.ac.za (Andre Fourie) writes:
>I have been offered a Tamron Novoflex 60-300 zoom lens. Range in f-stops 
>appr 3.8 - 5.4. On the lens it states that the optics is made by Tamron for 
>Novoflex (West German company). Price offered was approx $500.00. I need 
>information on the following:
>

	I was very impressed with my Tamron 60-300. I sold it when I
    converted to AF. The only thing I disliked about the lens is that
    it didn't have a tripod socket. This is a heavy lens at 300mm for
    the camera to support.

	The Novoflex design is bulky, from all appearances. That might
    be a consideration. However, the mount probably eliminates the
    tripod consideration.

	As far as Tamron lenses in general, they seem to receive very
    positive reviews.




								Bruce



-------------------------------------------------------------------------------
  Bruce Burden            bruceb@mpd.tandem.com         Tandem Computers Inc.
From: STAN@VM.TEMPLE.EDU (Stan Horwitz)
Newsgroups: rec.photo
Subject: Xmas displays
Date: 15 Dec 92 04:16:51 GMT
Organization: Temple University - Computer Services

With Christmas  being only  a few  days from  now, many  of my  naighbors have
decorated their houses  with Christmas lights and other stuff.   Some of these
homes are quite nicely decorated and I  would like to capture them on film for
posterity.  My goal is to record colors and details of each home.

Clearly,  a tripod  will  be essential  in  this project,  but  are there  any
accessories needed for this type  of photography?  Most importantly, what kind
of color film  is best suited for night time  Christmas light photography?  In
addition to the lights themselves, I want to get some details of the buildings
to which  the lights are  attached.  I  own a Minolta  7xi camera with  just a
35-70mm zoom lense.
Newsgroups: rec.photo
From: ben_wen@athena.mit.edu (Benson Wen)
Subject: Re: I Hate Grainy Pictures -- TMZ, Acufine...Microphen?
Organization: Massachusetts Institute of Technology
	<BEN_WEN.92Dec13153809@m66-080-15.mit.edu>
	<1992Dec14.115456.12286@cc.ic.ac.uk>
Date: Mon, 14 Dec 1992 16:36:33 GMT

In article <1992Dec14.115456.12286@cc.ic.ac.uk> umeca80@ps.ic.ac.uk (Bruce Taylor) writes:

   You could try using 2 bath development which reduces the size of visible
   grain clumps. In the UK we get Tetenal Emofin developer which is readily 
   available. If I remember correctly the times for T-Max 3200 in this are
   around 5+5 minutes with continuous agitation (i.e. keep inverting the 
   tank). The problem with T-Max P3200 is that the shadow detail goes. If
   using Emofin its better to rate it at 1600. A better choice is Fuji 
   Neopan 1600 which gives fine grain with Emofin and a better tonal range
   than P3200. If you can't get Tetenal products, there is a US product
   which is similar  although I can't remember the name offhand.

I'd bet that you're thinking of Diafine, probably the best known
commercially available two-bath developer.  It's made by the same
company as Acufine.

Interesting stuff...

-Ben
--

|| Benson Wen
|| ben_wen@athena.mit.edu
|| queeph@hing.lcs.mit.edu
From: zrepachol@cc.curtin.edu.au
Newsgroups: rec.photo
Subject: Re: Photo CD Resolution
Date: 20 Dec 92 22:51:45 GMT
Organization: Curtin University of Technology

In article <YfA_zDe00WBOI2_0cR@andrew.cmu.edu>, "Frank A. Reynolds" <fr0c+@andrew.cmu.edu> writes:
...
> With scanned images is there a simple way to tell what you have?  A
> monitor with higher resolution will tell you (show you) more about the
> image, right?  But what if you do not have one handy?  Is there some
> simple way to evaluate the resolution of images on Photo CDs?  
> 

Yes, a 2D FFT would tell you. Pity Kodak didn't include it in the software.
Newsgroups: rec.photo
From: andpph@ritvax.isc.rit.edu
Subject: leica items for sale
Reply-To: andpph@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Tue, 15 Dec 1992 03:59:45 GMT

                         Leica items for sale:
    
 1 Visoflex with straight down tube for M series Leicas     $ 75
    
 1 Leica Meter MR for M series Leicas (loose connection)    $ 30

 2 Leica Screw to Leica M-bayonet adapters                  $ 20 each
   one says 5 cm, the other says M2 21-35, M3 135               
    
 3 Leitz filters 53 mm thread, 1 Polarizer, 1 GGR, 1 O      $ 10 polarizer
                                                            $  5 others
 
 1 Leitz filter 39 mm thread UVa                            $  5

 3 Leitz 36 mm slip-on filters                              $  5 each
   one is a CF, one is a Gr., third is a PF (bit faded)    

   all items in pretty good condition if not excellent

   andy, andpph@ritvax.isc.rit.edu  fax 716-475-5804   phone 716-475-2592   

 also have a Minox slide projector, 100 watt bulb 35mm f2.9 Minox Wetzlar lens
 in case, $ 75 or best offer.
Newsgroups: rec.photo
Subject: Re: Petri info wanted
From: fred-mckenzie@ksc.nasa.gov (Fred McKenzie)
Date: 11 Dec 92 17:12:43 EST
Followup-To: rec.photo
Distribution: na
Organization: NASA/Kennedy Space Center, Florida

In article <1992Dec11.080216.25710@sfu.ca>, forman@fraser.sfu.ca (Pamela
Catherine Forman) wrote:
> I am looking at an interesting collection of photo equipment from the
> Vancouver Buy $ Sell and was wondering if anyone can tell me if it is
> worth the price that is being asked.
> For sale:
> Petri 35mm Camera
> 3 Lenses
> Bellows
> Slide Copier
> all for $150.
> Questions:
> 1) What type of camera is the Petri?  Is is Russian?  Is it a good
> camera or a piece of junk?  How does it compare to the Zenit?  What is
> is compatible with?
> 2) What are the chances that the lenses, bellows, and slide copier
> would work on a Zenit or Canon AE-1?
> 3) Does the price sound reasonable?

Catherine-

Petri was made in Japan.  They have apparently been out of business for 10
or 15 years.  I had a Petri 7S rangefinder camera back in the late 60's. 
It was optically OK, but mechanically poor.  As far as SLR's are concerned,
I suspect they were more sophisticated than Zenit, but no more reliable.

To the best of my knowledge, the Petri lens mount was unique, as were most
that didn't conform to the Pentax style.  However, there is a chance that a
slide copier might have used the "T-mount" system.  If so, you would only
need the T-mount adapter for the camera you wanted to use.  (You could also
use a T-mount adapter with a telescope that had the matching fitting.)

The price might be considered by some to be reasonable.  However, I would
prefer to invest my $150 in something with a better reputation, such as the
Minolta SRT-series.  One of these might be about the same age as the Petri
SLR.

fred-mckenzie@ksc.nasa.gov
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Flash questions
Date: 14 Dec 92 00:30:40 GMT

In <1992Dec13.165515.1@wharton.upenn.edu> shtono34@wharton.upenn.edu writes:

>I have a Metz 18 B1 flash (old, manual model). I would like to figure
>out the correct guide number for the flash. There is a scale that says
>the maximum distance at f2 is between 8 and 11 meters. Let us assume
>it is 9. Then is it correct to say that the gude number is 2*9=18 m?

This sounds right.  However, don't forget that GN is for a given ISO
and needs adjustment if you are shooting with a film with a different
ISO rating.

>I would appreciate if someone elucidates me on this. Also, this may
>look like a EOS FAQ, but what are the alternatives to the EZ 430 flash
>for Canon EOS cameras? I would prefer to stick to Metz (I think their
>flashes are excellent) if they made an EOS dedicated unit (shoe mounted).

There is a small table of 3rd party flashes for the EOS in the EOS FAQ.
None of them offers ATTL, nor fill flash ratio adjustment.

If you get any information on Metz flashes for EOS, please let me know!

>Third, overall it looks to me as if Nikon makes more advanced flash
>systems, SB-24, SB-25. What can EOS owners hope for from Canon or other
>manufacturers?

The SB-24 is somewhat better than the 430 EZ.  The SB-25 is quite a
bit more advanced than either of the other two.  I am also interested
to see if Canon does anything to improve the flash system for EOS.

>Thanks, Vassil

No problem.

ACS
-- 
 ___ ___ ___ ______________________________________________________________
|   |   | __|      Democracy is not a way of getting better solutions.     |
| - | --|__ |           It's just a way to spread the blame.               |
|_|_|___|___|______________________________________________________________|
Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|
Newsgroups: rec.photo