HDTenEightyP/NetNews huggingface dataset:
From: lmmik@cbnewsb.cb.att.com (larry.m.mikkelson)
Subject: WANTED: Bell & Howell AF-66 Slide Projector or information
Organization: AT&T
Distribution: usa
Date: Fri, 22 Jan 1993 22:06:12 GMT


I recently unpacked my Bell & Howell AF-66 Slide Projector and found
that some parts were broken.  I wrote to the address on the manual, but
my letter was returned with "Unknown" stamped on it.  I have not seen
anything with the Bell & Howell name on it for years, so I assume they
are out of business.  Does anyone know if another company bought them
out or where parts might be obtained?  Or does anyone have a Bell &
Howell Slide Projector (working or not) they might want to sell?  
Thanks.

Larry Mikkelson
lmm@mhcnet.att.com
908 769-6517 evenings EST
From: bwm@hpopd.pwd.hp.com (Brian McBride)
Date: Fri, 22 Jan 1993 17:37:00 GMT
Subject: Re: > Cokin filters - any good?
Organization: Hewlett-Packard, CCSY Messaging Centre, UK.
Newsgroups: rec.photo

I have been having some difficulty with a cokin neutral graduate filter.  It
has worked fine for years, but then I started shooting slide film (Velvia and
Fuji 100).  With those films I get a very strong magenta color cast.  I am told
this has been reported in the press, though I have not seen anything myself.

bwm
From: hpb@hpb.cis.pitt.edu (Harry Bloomberg)
Newsgroups: rec.photo
Subject: Apartment Darkrooms
Date: 26 Jan 93 14:33:23 GMT
Organization: University of Pittsburgh

In article <vbf310o@zola.esd.sgi.com> donl@glass.esd.sgi.com (donl mathis) writes:
>
>|>    I have just installed a darkroom in my kitchen.
>
>Funny...  I have just installed a kitchen in my darkroom.  :)
>
   The problem now is that everything tastes like undiluted indicator
stop bath!  I can't wait to see what Cibachrome chemistry tastes like!

   Seriously though, it's great having a darkroom in my apartment.
Previously, I was using a community darkroom.  The biggest problem was
fighting over scarce equipment when multitudes of students were trying
to finish assignments for classes.  Also, because I could gain entry to
the darkroom only when it was staffed, this meant that I needed to plan my
time around darkroom availability.

   The key to the whole kitchen-darkroom project was an "eureka" moment.
I noticed that my kitchen was long and narrow with a doorless doorway as
the only entrance.  I realized that I could easily drape some
light-tight cloth over this entrance and have a really dark darkroom.  I
ordered some cloth from Calumet (a real first rate outfit), borrowed an
enlarger from a friend, and I'm now in business.

Harry Bloomberg
hpb@vms.cis.pitt.edu
From: mikec@spider.co.uk (Mike Coren)
Newsgroups: rec.photo
Subject: Re: EOS Teleconverter Question
Date: 27 Jan 93 18:38:03 GMT
Organization: Spider Systems Limited, Edinburgh, UK.

In article <1993Jan25.164915.23501@kth.se> d90-nsc@nada.kth.se (Niclas Schopenhauer) writes:
>
>I am interested in getting a teleconverter for my 100-300 USM lens.
>However, since the Canon "white" teleconverters only work with the
>white lenses, I would like to know what other manufacturers make
>teleconverters for the EOS lenses.
>
>Any info regarding manufacturer, price and optical quality would be
>welcome.
>
>

This isn't any of the info you asked for, just a warning:  Most AF systems
die when the lens' maximum aperture is f/5.6 or slower.  It's not that
they don't work well, they just refuse to work, period.  Perhaps it's because
there's too much depth-of-field to do a good nonlinear search?  Anyway,
your 100-300 USM is already at f/4 at the low end and f/5.6 at the high
end, so a teleconverter will probably push it over the limit.

>
>BTW, I recently got a superb night shot of a traffic airliner passing
>EXACTLY in front of the moon. Those opportunities don't come often!!
>
>So you can guess how disappointed I was when I got the photos from 
>the lab and discovered that the picture was very overexposed.
>I used 200 film, aperture 5,6 and 1/180 sec and a focal length of
>300mm. The sky was very clear that night.
>
>Does anyone have a clue as to what exposure values I should have
>used?
>

The moon is, after all, just another object lit up by the same sunlight we
get on the ground (a full moon is only 1/4 of 1% further away from the sun
than the earth, so the light loss isn't significant).  Use the "sunny-16" rule
to get a good picture of the moon.  That's an aperture of f/16, and a shutter
speed of close to 1/film speed.  I used this formula during the lunar eclipse
in December, and had good exposures almost up to totality.

>I really wish my Elan had a spotmeter. (sigh)

The "partial" metering will look at the central 6.5% of the viewfinder
only.  This is close to a spot meter.  The vewfinder should have a
circle in it where this is (my 100 does).  With the 100-300 at the high
end of the range, a full moon should fill it.

Mike

-- 
Michael D. Coren, Electrical Engineer             mikec@spider.co.uk
Telecommunications Techniques Corporation, Germantown, Maryland, USA.
Temporarily at Spider Systems Limited, Edinburgh, Scotland, UK.
From: luong@naxos.inria.fr (Quang-Tuan Luong)
Newsgroups: rec.photo
Subject: Linhoff travel view camera ?
Date: 24 Jan 93 18:17:17 GMT
Reply-To: luong@sophia.inria.fr
Organization: Inria Sofia Antipolis

Hi,

A friend has told me that there exist a Linhoff view camera with the following
characteristics:
- 4 x 5,
- folding and light, suitable for travel,
- coupled rangefinder,
- used price less than $800, but no longer manufactured.

Is someone aware of its existence ?
I am looking for the exact reference of this marvel. 

Thanks.

Tuan.
From: renault@CAM.ORG (Pierre Renault)
Newsgroups: rec.photo
Subject: Re: Yet another purple tmax question
Date: 27 Jan 93 13:47:39 GMT
Organization: Communications Accessibles Montreal, Quebec Canada

Advice: Buy your stop bath in large quantities.  Record the number of
films you pocress for each small bottle (say, 1 litre) and dump the 
stop bath before it is exhausted.  Kodak says that the capacity of
SB-1 is 75 8x10 per US gallon, which works out to 15 or 16. SB-1 is
exactly the same formula as Indicator Stop Bath save the indicator.

So, if you have a quart bottle, throw out the stop bath after a dozen
rolls of film and you'll be fine.

Keep in mind that by the time the indicator in Indicator Stop Bath
turns blue, the stop bath is already exhausted.
From: moreaux@litsun22.epfl.ch (Michel Moreaux)
Newsgroups: rec.photo
Subject: Re: large-format user : Tone System
Date: 21 Jan 93 15:14:06 GMT
Organization: Laboratoire d'informatique technique
In-reply-to: bu890@cleveland.Freenet.Edu's message of 19 Jan 93 13:06:45 GMT


| This sounds like a version of the zone system.

Yes but the calibration procedure does not involve a densitometer and you can
choose any tones in the grey scales resulting from the calibration procedure.
What is great with this system is that you really choose the tone you want on a
grey scale. You do not have to imagine the grey. The whole process is damned
accurate ! But you are right it is a kind of Zone System. I just mention this
system because I do not own a densitometer and do not want to buy one just for
calibrating process.

| In studio work, rather than adjusting development times, I simply adjust
| the light ratios to give me the contrast range I want to see on the final
| print... when you think about it, the zone system is essentially a method

I do the same thing. It is especially important when shooting colour slides.

| The TONE system sounds like the kind of strategy used in shooting
| transparencies where you have a given latitude to work
| with and you place your tones accordingly.

No, it is different. You take two measures of light and decide to assign grey
levels to these two measures. It is not a question of latitude. What is
especially great is todirectly work with the grey scales resulting from your
calibration procedure.
But you are partially right, it is a kind of Zone System but you work with
tones rather than Zones.

_Michel Moreaux
--
------------------------------------------------------------------------------
Michel Moreaux,                           | "Ceux qui ne savent rien en savent
Ecole Polytechnique Federale de Lausanne  |  toujours tout autant que ceux qui
Departement d'Informatique                |  n'en savent pas plus qu'eux"
Laboratoire d'Informatique Technique      |                  P. Dac.
EL-Ecublens                               |___________________________________
CH-1015 Lausanne                           
Phone # : (21) 693-46-72,   e-mail : moreaux@litsun.epfl.ch
------------------------------------------------------------------------------
From: mtoms@ems.cdc.com (Mark Toms)
Newsgroups: rec.photo
Subject: Re: Copying Old Photographs
Date: 22 Jan 93 14:38:23 GMT
Reply-To: mtoms@ems.cdc.com
Distribution: usa
Organization: Empros Systems International, a division of CDC

In article <1993Jan21.231616.39428@watson.ibm.com>, picheny@watson.ibm.com (MA.Picheny;340090) writes:
|> I have some old photographs (b+w) of my family I would like to copy. Some 
|> I only have access to for brief periods of time (like if I visit a relative).
|> I have a Canon Elan and a 430 EZ flash. What is the proper procedure?
|> 
|> Michael Picheny

Mike,

  I have done this on several occasions.  I have a Nikon F3 and a set
of Vivitar 52mm screw-on close-up lenses (+1,+2,+3), but a similar setup
should be available for your Canon.  I have copied both b+w and color
using color print film and daylight when available.  Otherwise, I use
my flash and hold it several (like 3) feet away from the subject (usually
positioned on the floor) at an angle of 45 degrees.  Mount the camera
on a tripod (or copy stand, or headless enlarger stand) and stop
down as much as you can.  Stopping down will help you avoid depth of
field problems, which are a bigger problem close-up (under 12 inches).


  Take care not to position the flash in such a way as to cast shadows
on the subject.  I have had some shots ruined with the sync cord and/or
camera strap dangling in the way.

Good Luck,
Mark

==========================================================================
J. Mark Toms                                email: mtoms@ems.cdc.com
Baltimore Gas & Electric, Company
C/O Empros Systems International            Phone: (612) 553-4423
2300 Berkshire Lane North                     FAX: (612) 553-4018
Plymouth, Minnesota  55441-3694 USA      Mailstop: PLY060
==========================================================================


Newsgroups: rec.photo
From: wchang@phage.cshl.org (William Chang in Marr Lab - CSHL)
Subject: Re: For Sale: Olympus Stuff
Keywords: Olympus
Organization: Cold Spring Harbor Lab, Long Is New York
Distribution: usa
Date: Thu, 28 Jan 1993 15:56:47 GMT

Re: Beattie Instenscreen
I'm curious how it can not affect the spotmeter in the OM4 and 2S...

-- William Chang (wchang@cshl.org)
Newsgroups: rec.photo
From: Sandro Ventura <sandrov@sunicar.cern.ch>
Subject: Re: Ilford XP1 - Home develop??
X-Xxmessage-Id: <A7866688AE010E28@macsandrov.cern.ch>
X-Xxdate: Sat, 23 Jan 93 02:05:44 GMT
Organization: CERN
X-Useragent: Nuntius v1.1.1d16
Date: Sat, 23 Jan 1993 02:03:12 GMT

In article <C17tJ2.F1B@javelin.sim.es.com> Ron Speirs,
rspeirs@javelin.sim.es.com writes:
> This is indirectly related to a technique described in Darkroom & Creative
> Camera Techniques, "Color Print Contrast Control - Boost Contrast and
> Color Saturation Easily", Jan/Feb 1990, page 34.

I'm not able to find "Darkroom & Creative Camera Techniques" here at Geneva
news stands (only Popula. Phot. is widely available). Many of you point to
that mag as a good source for darkroom hints and unusual technique
descriptions, and I'd be curious to give it a look.
Could you please send me or post its publisher coordinates?

Thanks
--
Sandro Ventura             |   ICARUS - Imaging Cosmic And Rare
sandrov@sunicar.cern.ch    |            Underground Signals
From: brucer@oz.plymouth.edu (Bruce Ritchie)
Newsgroups: rec.photo
Subject: Re: TMax and D76
Keywords: developer
Date: 28 Jan 93 15:11:21 GMT
Organization: Plymouth State College - Plymouth, NH.

In article <9149@news.duke.edu> laurap@neuro.duke.edu (Laura Poole) writes:
>Yes, it's me again with ANOTHER TMax question!
>
>TMax developer is rather expensive, and I was hoping to use D76 when I run out
>of what I have now...I've used D76 before, but not with TMax. Any comments? 
>I've heard that TMax grain is mushy when developed with TMax developer (I
>haven't noticed anything so far); does D76 make for tighter grain?
>
>email, please, to laurap@neuro.duke.edu
>
>thanks!
>laura

	I've used D-76, both 1:1 and straight, with T-Max 100 and 400
for years now. I find it gives excellent results, especially in
maintaining a tight grain structure. When I took a workshop on T-Max a
few years back the lecturer from Kodak stated that T-Max was
originally formulated with D-76 as THE developer. T-Max developer was
formulated after-the-fact when it was shown that they needed a liquid
based developer to get the best results when pushing the film.

		brucer

-- 

	  "I hate television. I hate it as much as peanuts.
		  But I can't stop eating peanuts."
				Orson Wells
Newsgroups: rec.photo
From: d88micla@odalix.ida.liu.se (Michael Larsson)
Subject: Re: Paper Pre-Soak?
Organization: CIS Dept, Univ of Linkoping, Sweden
Date: Sat, 23 Jan 1993 15:46:53 GMT

feltman@hpscit.sc.hp.com (Robert Feltman) writes:

>     Would pre-soaking B&W fiber paper in water just before development
>reduce the amount of chemicals absorbed? Is it worth it?

>Bob

When you develop B&W film you can use this technique, but in order to 
reduce air bubbles (instead of banging the tank in the table) and to get
a somewhat more even development. The emulsion, however, absorb just as much 
chemicals, only it takes about 20s more before the water is replaced.

You will probably get about the same result with paper, only the air
bubbles are really no problem here. The gain might be a more even
development. Does it relly make a difference here? I don't know. Try it!

                             Michael Larsson, Sweden
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Canon EOS A2 or A2E?
Date: 25 Jan 93 07:17:17 GMT

In <74311@cup.portal.com> HERMES1@cup.portal.com (Douglas Brian Opfer) writes:

>I'm considering purchasing one of the Canon A2's and am interested in any
>opinions regarding the eye controlled focus on the A2E.  Is this really a
>worthwhile feature or something that would rarely be used?  Also, is this
>the ONLY difference between these two cameras?  Any comments or opinions
>would be helpful, especially from those who have already made this choice.

The only difference between the A2 and A2E is the eye-controlled
focusing.

If you wear glasses, you may find that the eye-controlled focusing
doesn't work well for you.  (At least it doesn't for me, so I haven't
felt compelled to get an A2E.  Astigmatism and contact lenses just
don't go together that well.)  So, it's best to try it out yourself
before buying into this feature.

In the event that the eye-controlled focus works for you, there are
still a few things to consider:

1) The "usual" way of getting a shot is to focus first and then
compose.  The A2/E prefer that you do this in the opposite order.  That
is, compose and *then* focus.  Because the exposure/flash metering is
biased towards the active focusing point, focusing and recomposing may
throw the metering algorithm off a bit.

2) The "peripheral" AF points are detect only horizontal detail.  So
it is preferable to have subjects with horizontal detail.  One can
still compensate by tilting the camera.  (I do this for my EOS 630 when
I get no vertical detail since my AF sensor is horizontal.)

3) Eye-controlled focus may save you in those situations where there
simply isn't time to recompose.  (I know I could have used it last
week... Arg.)

If eye-controlled focus works for you, and you can get used to the
different order of events, I think it has a lot of potential.

Hopefully some EOS A2E/5 users can describe the adjustment period (if
any).

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,misc.forsale
From: alin@nyx.cs.du.edu (ailin lin)
Subject: For Sale: Minolta 35mm SLR w/28-70: $180
Organization: Nyx, Public Access Unix @ U. of Denver Math/CS dept.
Distribution: usa
Date: Sat, 23 Jan 93 22:53:44 GMT

Minolta X-370 N: Auto & 1-1/1000 shutter, Bulb; absolutely mint condition.

Prospect (=Sigma) 28-70mm f:3.5-4.5 Macro lens for Minolta; absolutely mint.

Braun Hobby 17BC electronic flash (gn=55); average condition, automatic, work.

Minolta strap.

Camera w/original manual.

Camera + lens = $180, flash free

Will give one week warranty.

Ailin
Newsgroups: rec.photo
From: nicholson@main.mndly.umn.edu (JOHN JAY NICHOLSON)
Subject: Plastic Canon
Organization: the Minnesota Daily (U of MN Student Newspaper)
Date: Thu, 21 Jan 1993 18:35:30 GMT


Why are most Canon cameras made of mostly plastic?  You pick up the Elan or 
the new A2E, and they feel so cheap?  I understand that the EOS 1 is a very 
well made camera, and is very durable, but all the others that I have seen 
are almost pure plastic.  If you don't believe me, open the back of the A2E 
and look.
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Afterglow from florescent lights?
Organization: Curtin University of Technology
Date: Sat, 23 Jan 1993 19:12:51 GMT

Nathan Kane (nkane@terapin.com) wrote:
: I remember hearing something about an afterglow or something from white lights
: after they are turned off fogging paper/film. Anybody know anything about this?
: Reason I'm asking is because in the darkroom I'm building I have a florescent
: light that I'll be useing for white light.

Well, last night I did a test on an Osram 9w 'PLC' electronic balast compact.
With eyes dark adapted, I could see the after glow for over 1 minute after
it was switched off.

I would not expect any effect on paper after the first 5 sec or so, BUT, I use
a lot of TMZ, often pushed to hell and back...

~Paul

Newsgroups: rec.photo
From: hsong@ardour.bellcore.com (G. Hugh Song)
Subject: Re: What does ED glass really buy you?
Reply-To: hsong@ardour.bellcore.com (G. Hugh Song)
Organization: ...
Date: Thu, 21 Jan 93 20:10:31 GMT

In article <1jmhnoINNqbr@cronkite.Central.Sun.COM>, dbernard@clesun.Central.Sun.COM (Dave Bernard) writes:
|> if you take a non-ED lens of the same focal length, and
|> stop it down several stops, would not the inherent depth of
|> focus at the film plane have much the same effect, esp. with
|> a subject focussed at infinity? [...deleted...]  What it comes down to,
|> for tripod-mounted landscape use, with small apertures, is there
|> any advantage to ED?
|> 
|> 	Dave

What about a copy work?   You need the ultimate resolution which
is not limited by inherent diffraction from the finite-sized iris
opening.

	Hugh
From: martinh@hpopd.pwd.hp.com (Martin Harris)
Date: Tue, 26 Jan 1993 17:36:18 GMT
Subject: Pushing Ek 400 X (EPL)
Organization: Hewlett-Packard, CCSY Messaging Centre, UK.
Newsgroups: rec.photo

  Does anyone know how Ektachrome 400 X (EPL) reacts to being pushed between
one and two stops (i.e. 800 & 1600 ASA). Any obvious effects to look out for,
etc.
  Also does anyone (in the UK) know where Ektapress Gold 1600 (PPC) is readily
available ?

  Thanks for any help.

  Regards

  Martin Harris

-------------------------------------------------------------------------------
CCSY Messaging Centre
Hewlett Packard Limited
Nine Mile Ride                   Phone    : +44-(0)344 763746
Wokingham                        Openmail : Martin Harris/Pinewood, lab, hpopd
Berkshire                        Unix     : martinh@hpopd.pwd.hp.com
RG11 3LL                         X400     : C=GB,ADMD=GOLD 400,PRMD=HP,ORG=HP
England                                     OU1=Pinewood,SN=Harris,GN=Martin
-------------------------------------------------------------------------------

Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Kodak Ektagraphic
Organization: Curtin University of Technology
Date: Fri, 22 Jan 1993 09:49:34 GMT

In article <C15xL0.4DC@javelin.sim.es.com>, rspeirs@javelin.sim.es.com (Ron Speirs) writes:
> In article <1993Jan20.140001.24442@nic.funet.fi> tommila@convex.csc.FI (Tero Tommila) writes:
...
> "Extremely high contrast, orthochromatic [means blue-sensitive, red safelight

Just a minor nit, ORTHO means blue-GREEN sensitive, hence red, rather than
amber safelight. Normal B/W safelights have quite a bit of green in them,
and will fog ortho films.

~Paul
From: shomer@cruzio.santa-cruz.ca.us
Newsgroups: rec.photo
Subject: Re: Black background recomendations wanted?
Date: Thu, 21 Jan 93 15:01:04 PST
Reply-To: shomer@cruzio.santa-cruz.ca.us

The original article didn't arrive here, so this may not be too 
useful, but...

I use a plain black cotton/poly bedsheet as a backdrop for portraits,
with my models 6 feet or so from the backdrop and my lights another 6
feet farther away. The backdrop remains black in my prints
even where the lights spill on to it. If you can't separate your
subject from the backdrop, however, the sheet would probably appear as
some shade of grey.
-- 
_________________________________
Steve Homer  shomer@cruzio.santa-cruz.ca.us
Newsgroups: rec.photo
From: bbarton@Ingres.COM (Brian Barton)
Subject: Gels For Strobes
News-Software: VAX/VMS VNEWS 1.4-b1  
Keywords: Blast 'Em
Organization: ASK Computer Systems, Ingres Product Division
Date: 21 Jan 93 22:29:20 GMT

This is sort of related to the other thread on gels for flashes and cameras.

I know how attach my current set of 3"x3" Wratten gels to my camera
(Using a filter holder), but how does one "attach" gels to her/his
strobe?

In particular, I'd be interested in knowing if some of the various 
manufacturers make "gel holders" for their "hot shoe" strobes.

In particular, does anyone know anything about what Sunpak offers for their
"hot shoe" flashes?  I keep on cutting up my Wrattens and taping them on
my strobes and this is getting expensive $$$!

Any wisdom?

Someone...Anyone?

Thanks.

Brian
bbarton@ingres.com
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Cokin "A" and "P"
Organization: Curtin University of Technology
Date: Sun, 24 Jan 1993 18:56:32 GMT

In article <1993Jan24.071254.1@cc.curtin.edu.au>, zrepachol@cc.curtin.edu.au writes:
> In article <1jplm2INNh6r@lynx.unm.edu>, titan@carina.unm.edu () writes:
>> any thoughts on how to put a 4x4 on a lens with
>> a 105mm filter thread? 
>
> A step-up ring and two lumps of blue tack. put the filter on the diagonal
> so the gaps are at the 2, 5, 8, 10 o'clock positions. If this is to be a
> regular event, make up a fitler holder from a step-up ring.
> 

AS requested, more details.
Yes, a step-up ring. What you are doing is geting the cheapest 105mm thread
with a nice flat around it. This flat is used to mount the filter, either
one off with blue-tack, tape, etc, or as a base to fit clips etc to too make
a 'real' filter holder.

A 4x4 ( 100x100 ) filter is 140mm across the diagonal, and by aligning the
diag with the max frame dimention you can minimise vigneting. Not perfect,
but if its only the odd use, how much do you want to pay? ( and do you want a
real good bridge :-) )

Actualy, getting 150mm square Wratterns should not be too hard your side of
the pacific. Hate to try it over here though... :-)

~Paul