HDTenEightyP/NetNews huggingface dataset:
From: dp@world.std.com (Jeff DelPapa)
Subject: Re: Tilt and Shift.  How useful are they?
Organization: The World Public Access UNIX, Brookline, MA
Date: Thu, 10 Sep 1992 02:29:21 GMT


I am fond of shift, it lets me be a little lazy, and do my final
touchup of composition without distrurbing the camera. I don't have it
on my field camera (except by swinging both standards), and miss it. 

About the only time I don't use some tilt is shooting computer
screens. It is essential for tabletop, I use it most of the time with
landscape, and have used it in arch. shots. Tilt  is one of the
reasons that I shoot decreasing amounts of 35mm... (rise is the other,
and the reason I got into large format in the first place) Had I known
how useful tilt was, I would have started sooner.

Lenses. Most view lenses are long focus, and not telephoto. there are
exceptions, and the exceptions do have small image circles. If I
remember correctly, one of the osaka telephotos bareley covers 4x5
without allowing any movements. the long focal lenses, typically have
circles big enough for 8x10, and so most 4x5's cannot manage to move
off the circle. The advantage to tele's is the short bellows draw
requirements - otherwise, they are fairly inconvienent to use, with
the nodal point far from the pivot axis, using camera movements is a
fairly frustrating experience, involving lots of re-focussing.

<dp>
Newsgroups: rec.photo
From: dougm@c3177208.ssr.hp.com (Doug Maukonen)
Subject: Re: 4x5 T-Max: your experiences
Date: Wed, 9 Sep 1992 16:22:58 GMT
Organization: Hewlett-Packard, Orlando Fl.
X-Newsreader: Tin 1.1scd1 PL4

feldman@hal9k.cxo.dec.com (james feldman) writes:
: In article <1860052@hpcndaw.CND.HP.COM>, antonsen@hpcndaw.CND.HP.COM (Tim Antonsen) writes:
: 
:There is nothing magic about TMAX RS developer and TMAX sheet films.  Kodak
:just assumes that you'll be doing tank processing with sheets and will be using
: a replenishment system.  You can use regular TMAX developer, you'll just have
: to "cook" your own numbers.
Close, but no cigar!  When I got into 4x5, I tried the regular TMAX developer,
and got rather poor results.  I called the tech. rep. for TMAX at Kodak, and 
he turned me onto TMAX RS for that reason(uneven developement using tank/
hangers).  I haven't tried the other soups with TMAX, but feel RS is the way
to go(I shoot only 100 speed).
doug -consistency yeilds best results- maukonen
Newsgroups: rec.photo
From: doug@jhawk.b30.ingr.com (Doug Bradley)
Subject: Re: question about night photography
Reply-To: doug@jhawk.b30.ingr.com.
Organization: Intergraph Corp. Huntsville, AL
Date: Fri, 11 Sep 1992 13:17:37 GMT

[ words of encouragement and advice about photographing skyline at dusk deleted to
  save some bw ]

  The previous article had a lot of good advice. 

  Additionally, you might try a split exposure.  Make one exposure before dusk
and one after dusk on the same piece of film.  Tripod must be rock solid.

  Takes a bit of experimentation but you can get some spectacular effects. The
first, pre-dusk, exposure should probably be 1-2 stops under. You can
get rich color and solve some of the contrast problems the previous poster
mentioned with this technique.

  I did this with 4x5 Ektachrome and a view camera; making multiple exposure can be
more of a pain with 35mm :-(. 

  Good luck!

Doug
Newsgroups: rec.photo
From: tonyp@cs.umr.edu (Tony Phillips)
Subject: A question about DUP film
Date: Tue, 15 Sep 1992 04:49:49 GMT
Organization: University of Missouri - Rolla
Originator: tonyp@mcs213j.cs.umr.edu


This will probably seem like a silly question to you pros out there, but 
anyway,

what's the difference between normal slide film and duplicator slide film??

I'm looking through a magazine and see that 100' of slide film is roughly
$85.00 and dup film is $35.00.  Why is the dup so much less expensive?
Is it like ISO 5 or something?

Thanks for your patience.

A new hobbyist,


-- 
|  Tony Phillips-  University of Missouri CS Dept.  |  Programmer:  A noun   |
|                                                   |  meaning 'The Art of   |
|  Reply to:  tonyp@mcs213k.cs.umr.edu              |  debugging a blank     |
|  Prefered Address:  S102066@UMRVMA.UMR.EDU        |  sheet of paper'       |
Newsgroups: rec.photo
From: fjcppr@ritvax.isc.rit.edu
Subject: Re: Photo-CD - THE FACTS
Reply-To: fjcppr@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Sat, 5 Sep 1992 02:15:44 GMT

For a large segment of the publishing industry, Photo CD represents the 
possibility of radically reducing the cost of color scans. I think that the
commercial applications are where the action will be. I can't quite get
excited about watching my snapshots on my television.

Frank Cost
RIT
Newsgroups: rec.photo
From: usenet@adobe.com (USENET NEWS)
Subject: Re: Nikkor 70-210/4-5.6 AF
Originator: asanders@sparta
Organization: Adobe Systems Incorporated
Date: Tue, 8 Sep 1992 21:18:58 GMT

I own this lens and I've been very happy with it.
AF works just fine, the lens seems plenty sharp
and contrasty, and (of course) it provides Nikon's
beautiful color rendition. For $200, it's great!

				  -Alan
From: uli@i13d5.ira.uka.de (Uli Bodenhausen)
Newsgroups: rec.photo
Subject: Re: Two 120 film in One Reel
Date: 11 Sep 1992 08:57:22 GMT
Organization: University of Karlsruhe, FRG
Distribution: uka
NNTP-Posting-Host: i13d5.ira.uka.de
Keywords: Development

In article <72218@apple.Apple.COM>, bc@Apple.COM (bill coderre) writes:
|> In article <1992Sep8.232835.13373@sj.nec.com> hisashi@neclpd.NoSubdomain.NoDomain (Hisashi Naganuma) writes:
|> |I have been using Paterson 3 roll tank (5 roll tank is too heavy to handle)
|> |and trying to develop two 120 rolls per reel to save development efforts
|> |because:
|> 
|> Well, I shudder to suggest this, but have you considered doing
|> "back-to-back" development? That's where you roll two rolls onto the
|> same spool so that both emulsion surfaces face developer.
|> (Effectively, one roll is rolled on inside-out.)
|> 
|> Personally, I would never do this. Just too much chance for losing.
|> 
|> Are you sure you don't qualify for bulk discount at a local pro shop?
|> 
|> bill coderre

I'd prefer taping the two films together. I had the same problem
but didn't dare to risk my negatives. I chose a film that was
available in 220 format... perhaps I'll try taping them together
when I get more experienced...

	Uli
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: Maxxum 9xi - good mail order experience
Date: 14 Sep 92 21:57:49 GMT
Article-I.D.: clark.1992Sep14.215749.4258
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Sep14.052110.5634@news.media.mit.edu> wave@media.mit.edu (Michael B. Johnson) writes:
>
>In this case I finally did, so on the
>recommendation of the survey, I called Camera World of Oregon
>and ordered the Maxxum 9xi last Tuesday.  They gave me a stellar
>price ($699) and gave me several options for shipping.  I chose
>the two day FedEx for $20, and the package actually arrived the
>next day, Wednesday, late morning.

It cost you $699.  I would think that they're mail order prices were
cheaper then that when compared to their walk in store prices.....just
walking up to the counter at there downtown store, I got a quoted price
of $719.95.....and since Oregon doesn't have sales tax, and with your
shipping, that comes out to be the same price......I'm know knocking
CW of OR, in fact I love it....thats just like walking into a mail
order house and then walking out with what you wanted.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
From: M18709@mwvm.mitre.org
Newsgroups: rec.photo
Subject: Dewitt Jones Seminar Review
Date: 14 Sep 92 17:07:08 GMT
Organization: The MITRE Corporation, McLean VA 22102

Last week I asked for opinions on the Canon/Outdoor Photographer
seminars by Dewitt Jones.  A few people asked me to attend and post
a summary.  Well I attended, and here is my summary
 
Dewitt Jones is an excellent presenter.  He sprinkled his talk with
humor and amusing anecdotes.  Apparently, he was a drama major in
college and it shows.  He even did a number of dialects and accents to
set the stage for some stories.  The slides used were beautiful and
excellently coupled with Dewitt's narration.
 
Dewitt seems to really enjoy sharing his work.  He is devoting an
increasing amount of his career to articles, lectures, and seminars.
He claims to receive a great deal of satisfaction upon hearing the
audience go "oooh" at a photo.
 
Do not get me wrong, not all of the photos were "oohs" or "right
answers".  Some were included to illustrate points about lighting and
composition.  He often showed a number of different photos of the
same subject to illustrate how he would approach recording its image
and how there are a number of different "right answers".
 
He did not spend a great deal of time on equipment and technical
stuff.  He told us what he uses and why.  He says others try all of the
equipment and recommend the best.  He finds something he likes
and sticks with it.  Everyone always wants to know what the pros
use.
 
He concentrated his talk on lighting and composition, and how to
visualize an object and capture what "is turning you on".  Most of his
photos were of landscapes and people.  Included in his talk were
some general philosophy on life and how to live.
 
The seminar was differently worth $40.  I attend a seminar in
Washington, DC (actually just over the river in VA).  I noticed name
tags with address in Ohio, New Jersey, and Georgia.  Apparently
people came from quite a distance.  I sat next to one women who has
attended some of Dewitt's week long seminars in Hawaii and British
Columbia.
 
Most of the audience seemed to be serious amateurs.  There was not
a strong sell job for Canon.  Dewitt uses Canon and endorses their
products, but did not push them on us.  There were also a number of
door prizes (camera bags, filters, etc).  One prize (a correspondents
course) was worth over $800.
 
Get there early, there were over 300 people at this seminar, you
want to be close to the screen.  Despite the large crowd, Dewitt talks
like he is talking to three people not three hundred.
 
If you have any specific questions please contact me.
=====================================================================
"Better to remain silent and be thought a fool than to speak out, and
remove all doubt" --Abraham Lincoln (1862)
=======================================================================
Andrew R. Lacher      | Center for Advanced Aviation System Development
m18709@mwvm.mitre.org | The MITRE Corporation
(703) 883-7182        | McLean Virginia 22102
Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: Tamrac 706 vs 606
Date: Mon, 14 Sep 1992 20:09:14 GMT
Organization: Hewlett-Packard Laboratories

In article <16862B966.M18709@mwvm.mitre.org> M18709@mwvm.mitre.org writes:
>I have been thinking about buying a new camera bag.  I have
>narrowed my choices down to the Tamrac 706 and 606.  They are
>essential the same bag (both are approx 12x8x6, side pockets, tripod
>straps, lens bridge, zipper + clip closure, padded carry strap, handle,
>etc.) but with a few differences:
> 
>706:  Waist belt  (I like the waist belt alot, not just for carrying the
>bag on my waist, but for keeping it from slipping when carried on
>my shoulder)
> 
>606:  Larger rain-flap, large partitioned front pocket (bigger then the
>706, great for storing filters, etc), large removable film pouch.

I have the 606 and like it a lot.  It has 6 slots with Velcro(R) to
hold in removable dividers.  My one (minor) complaint is that the
pockets on the outside are held closed only by Velcro, and don't seem
as secure as I would wish.  I've never actually lost anything, but I
worry a little.

>I would be interested in hearing from folks who have these bags.  I
>am not worried about quality.  Tamrac has a good reputation.  I plan
>on holding an N6006, 70-210, 35-70, 24, 50, strobe, film, and
>associated accessories.  

You can easily put an SB-24 in one of the slots on the far end from
the camera.  So you will have just enough room for the major items,
assuimg you keep one lens on your camera.  My daughter (9.5 yrs)
knitted me a rear lens cap pouch  for my last birthday.  It is very
neat.  It has a small piece of velcro with which it attaches to one of
the inner walls of the 606.  I keep a spare rear lens cap in it.  When
I take the lens off the camera, I immediately put a cap on it.  Then
when I get the next lens ready, I put its cap in the pouch.

>Any experiences would be helpful.  Other
>suggestions would also be interesting.  Has anyone tried sewing belt
>loops on the back of a bag?  Can that work?  Does anyone sell
>dividers separately?  Tamrac's dividers strike me as being a bit
>short.  A moderately long lens (i.e., 70-210) standing up might slip
>over.

My 70-210 doesn't have the slightest inclination to tip over.  You can
mount the dividers off the floor if you want.

I find that I wish for more space in the little pockets in the front.
In mine I keep a blower brush, a small notebook, a polarizing filter,
an 80A filter, a 52-62mm stepup ring, a magnifier, some lens tissue
and a bottle of lens clearing fluid, and a homemade leader extractor
(double stick tape on a strip of plastic), and they are clear full.

>Andrew R. Lacher      | Center for Advanced Aviation System Development

  -- David Jacobson
Newsgroups: rec.photo
From: sparks@col.hp.com (John Sparks)
Subject: Re: High speed useful ? (was Re: Nikon N90 technobabble)
Date: Thu, 10 Sep 1992 21:41:10 GMT
Organization: HP Colorado Springs Division

In article <b4cM03bT7e3G00@amdahl.uts.amdahl.com> bjs@uts.amdahl.com (Barry Sherman) writes:
>I also notice that one of the thrusts of 35mm wunderkameras is toward
>more silent operation, another area in which they may someday catch up
>to the cameras of 100 years ago (or todays view cameras and Hasselblads, for 
>that matter).

Hasselblads, quiet!  Leicas are quiet, but Hasselblads with their big mirrors
make most 35mm SLR's seem quiet.  TLR's, view cameras and most rangefinders
are quiet, but anything with a moving mirror is going to have a hard time
being really quiet.  I think the trend toward silent operation is a great
feature, but still has a long way to go.

John Sparks
From: phr@soda.berkeley.edu (Paul Rubin)
Newsgroups: rec.photo
Subject: Re: Two 120 film in One Reel
Date: 11 Sep 92 14:43:49
Organization: CSUA/UCB
Distribution: uka
	<18pn1iINN6v5@iraul1.ira.uka.de>
NNTP-Posting-Host: soda.berkeley.edu
In-reply-to: uli@i13d5.ira.uka.de's message of 11 Sep 1992 08:57:22 GMT

Tri-x is available in 220 size, only in pro packs, but that is
probably what you want anyway.
Newsgroups: rec.photo
From: phg+@CS.CMU.EDU (Paul Gleichauf)
Subject: Re: Nikon Photo School: is it good?
Organization: Carnegie Mellon University
Date: Wed, 9 Sep 1992 14:21:53 GMT

A week ago I had an opportune discussion with the district representative from
Nikon during which I learned a lot about the new N90 camera (relayed in a
summary post), and in turn I was asked to try to disseminate information about
the Nikon School.  Since this is a commercial venture it might not have been
appropriate to just post an advertisement.  Nontheless I hope it will not
offend anyone if I post a summary of what I learned and summarizes the 
brochure that Luis referred to in his post with questions about the school.

The Nikon school is designed for a range of experience from raw amatuers interested in learning more about their new cameras to advanced amatuers who want to see how to use the most sophisticated features of the current generation 
professional level equipment. The orientation is not limited to Nikon equipment,
but the examples will be based on photographs and techniques that the instructors use in their professional work. The instructors are all working
pros with a close working affiliation to Nikon.  The current list includes Sam
Garcia and Bill Durence here in the East, and probably Steve Hener and Michael Corrado in the West. 

Topics list:
	Lens selection
	Exposure Metering
	Composition
	Films
	Filters
	Light
	Electronic Flash
	Close-Up Photography
	Special purpose equipment and techniques.

Large numbers of photographs are shown and discussed.  Cost $75, includes lunch and a Handbook. Call (516) 545-8666 (9:30 am - 4:00 pm Eastern Time) for
registration information, or local retailers have forms.  Sessions last for 
two weekend days.  September 12-13, this weekend, sessions begin in Pittsburgh and Phoenix, Scottsdale.  Chicago and Minneapolis the following and Sacremento and Orlando October 3-4.  Get the brochure for the less timely dates and locations.

This said, I have not taken the school.  I have sat in on other similar sessions by Nikon pros many years ago.  I thought that they might be useful to exactly the audience they were pitched to, and not to working professional audiences.
It really is one big Nikon advertising promotion, but a lot of the questions
that are asked on the net are for exactly the kind of information that they 
pass along.  If you look at the topics list anyone can tell that these subjects
could be the basis for a photography degree program, so don't expect to leave 
with all the knowledge to become a working Nikon professional.  They will 
candidly comment about comparable competitors' products.

							Paul
Newsgroups: rec.photo
From: mkraetzl@lillee.cs.curtin.edu.au (Miro Kraetzl)
Subject: COLOR FOTO - address
Organization: Curtin University of Technology
Date: Mon, 7 Sep 1992 06:01:21 GMT

Does anyone know the subscription address for the German
photographic magazine "Color Foto"?

Please reply to rec.photo or email to:
mkraetzl@lillee.cs.curtin.edu.au
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: Request for info:  FLASHES FOR ELAN
Keywords: elan, flash, zoom
Date: 8 Sep 92 19:07:00 GMT
Article-I.D.: clark.1992Sep8.190700.10679
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Sep8.144348.17454@nmr-z.mgh.harvard.edu> alexm@nmr-z.mgh.harvard.edu (Alex Milshteyn) writes:
>
>	Here comes the problem and a question.  I thought that the flash
>that comes built-in _will_ significantly reduce red-eyes.  Wrong guess.
>Red eyes are there quite often.

My first question would be, do you have Red Eye Reduction Flash turned on.
It can be turned off. Does a little lamp on the flash light up and shine in
your subjects eyes, just before the main flash goes off.

>Therefore, my assumption is: I need
>a bounce (tilt-head) external flash - but which one to choose?
>Choices range from abpout $100 for a Vivitar up to $320 (retail) for
>430EZ.  Although I do not mind shelling out $300.00 for a thingy if
>it is worth it, I still would like to know: is it?

I found the 430EZ to be well worth the price, it has just about everything
on it you would every want.  Its also pretty easy to get it for alot less
then $320 locally, without going mail order. I got mine for ~$250, at a
local shop.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
From: Peter.Barrett@newcastle.ac.uk (Peter Barrett)
Newsgroups: rec.photo
Subject: Re: Displaying slides on a TV ??
Date: 15 Sep 92 14:18:59 GMT
Organization: University of Newcastle upon Tyne, UK, NE1 7RU

In <1992Sep14.030102.1835@ultb.isc.rit.edu> andpph@ritvax.isc.rit.edu writes:

>In article <1992Sep10.160325.1@ducvax.auburn.edu>, swanger@ducvax.auburn.edu writes:
>>Is there a cheap, easy way to display slides on a television set (besides
>>using the TV as a screen for a slide projector).

.
.

>Then it is a simple matter of providing suitable lighting behind the slide, aim
>the video camera at it and display the video signal on the TV. ... but maybe it
>is more complicated than this. 

Well, it is and it isn't. The problem with doing it this way is that you
have to have the slide *very* close to the lens of the video camera, and
use the macro focus facility of the camera. However, since very close
typically means an inch or less, and since slides are seldom flat unless
glass-mounted, you are likely to find that depth of field is insufficient
to compensate for slide curvature, and you will be unable to get all of the
slide sharp on the screen.

That said, this is the method I use, and unless slide curvature is very bad
the results tend to be acceptable. (Incidentally, what I actually tend to
do is to record the slides onto video tape, add some music, and use the
tape as background music with added video interest. I tend to watch the
tape far more often than I would bother to set up slide projector, etc.)

There are, as you may imagine, a whole load of potential problems and
caveats:

*  The quality of the TV picture will be limited by the quality of the
   video camera and the capabilities of the TV system. In particular,
   slides with a lot of intricate detail are unlikely to work well. 
   Select close-ups for best results.

*  Some cameras are much better than others for this kind of work. Some
   distort colours quite badly; a camera on which you can set and *lock*
   the colour balance to your light source will give best results. 

*  Within limits, the brighter your light source the better, since most
   cameras become grainy and lose colour saturation at lower levels. I use
   either a halogen desk lamp pointed at a sheet of white paper, or a slide
   projector.

I have also tried projecting slides onto a screen, and filming them from
the screen. This method gives poorer results as it introduces the projector
and its optics, hot spots, etc into the equation, but with certain cameras
you may find that this method works better. I have not tried any of the
special slide-to-video conversion boxes, so I can't comment on the quality
you should expect from them.

Peter.
Peter A. Barrett                            Peter.Barrett@newcastle.ac.uk
Dependable Computing Systems Centre
The University, 20 Windsor Terrace          Tel. +44 91 222 6384
Newcastle upon Tyne NE1 7RU  U.K.           Fax. +44 91 222 7995
Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: On aperture shape
Date: Fri, 11 Sep 1992 20:24:44 GMT
Organization: Hewlett-Packard Laboratories


Last weekend I borrowed a friends 500mm Reflex-Nikkor and went bird
photographing at the local baylands.  I was rather disappointed.  The
doughnut shaped aperture really messes things up.  It is not that
there were sparkly highlights that came out doughnuts, but rather that
out of focus background had a kind of funny look.  My wife said, "that
background makes me sea-sick".  It is a little like seeing double, but
without an orientation to which way it is doubled.

In a similar vein, many years ago I used to use a lens that had
vignetting.  Some pictures, particularly deep forest pictures shot
wide open, would have a kind of swirling look, as though the picture
were swirling around the center.  I conjecture that this was because
out at the edge an out-of-focus point was rendered as a little
football (for non-US people this is is the long ball with pointed
ends, not what we would call a soccer ball) shaped patch of light with
the long direction normal to the radius.  

So, have any of you net people observed that non-circular rendering of
out-of-focus points has an undesirable (or maybe even desirble) effect
on pictures?

  -- David Jacobson
From: hship@sw.stratus.com (Howard Ship)
Newsgroups: rec.photo
Subject: Accs for Minolta Color II
Date: 15 Sep 92 14:43:23 GMT
Organization: Stratus Computer, Inc.

I just picked up an old Minolta Color II enlarger.  Although it is in
excellent shape, this appears to be a decade(s) out of date enlarger.
I have a 35mm negative mask, but I hope to do some larger format work
(6x7 etc.).  Does anyone have any leads on where to find such a piece.  I may
also need a larger diffusion chamber for larger formats.

-- 
"I can't believe I had the Anti!"
Howard_Ship@vos.stratus.com
Newsgroups: rec.photo
From: kerry@hfglobe.intel.com (Kerry Thalmann)
Subject: Test Please Ignore
Organization: Development Tools Operation, Intel Corp., Hillsboro, OR
Distribution: pdx
Date: Thu, 10 Sep 92 18:09:34 GMT

Please Ignore this test.

Kerry