HDTenEightyP/NetNews huggingface dataset:
From: andyc@hplsla.hp.com (Andy Cassino)
Newsgroups: rec.photo
Subject: Re: Basement Darkroom
Date: 28 Sep 92 22:59:37 GMT
Article-I.D.: hplsla.5360807
Organization: HP Lake Stevens, WA

rpaul@netcom.com (Raymond E. Paul) writes:

> I am considering setting up a basement darkroom, but I can forsee a problem.
> The pipe which delivers waste water to the main pipe in the street exits my 
> house about 1/2 way up my basement wall. In order to have running water in 
> my basement, I'm going to need to pump the waste uphill somehow or have a 
> darkroom that doubles as a toxic swimming pool.
> 
> Anyone out there solved this problem?
> -- 
> Raymond E. Paul		rpaul@netcom.com


I have the exact same problem. In researching this, there are two solutions.
The simplest is a small (10 gallon or so) holding tank and pump. The pump
switches on whenever enough water comes into the tank to trip a float switch.
There is a check valve between the main waste line and the pump to prevent
backflow. The whole thing is the size of an air compressor and costs about
$250 from an industrial supply or plumbing house.

The more elaborate solution will support a bathroom in the basement. A large
holding tank gets installed under the basement floor with a very powerful
"extractor pump". The principle of operation is the same, but solid waste can
be handled. This costs about $1500 to install, the cost of digging up the
floor and installing the tank being a large part of that. This is overkill
for a darkroom but it's nice know there's a way to have a bathroom
in your basement too!

    %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
    % Andy Cassino                                       %
    % Hewlett-Packard - Lake Stevens Instrument Division %
    %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Newsgroups: rec.photo
From: ka1gt@cbnewsm.cb.att.com (robert.m.atkins)
Newsgroups: rec.photo
Subject: Re: Experience with Canon EF 100-300mm f/4.5-5.6 USM
Date: 5 Oct 92 20:13:57 GMT
Distribution: na
Organization: AT&T

In article <92277.141142IO92112@MAINE.MAINE.EDU>, IO92112@MAINE.MAINE.EDU writes:
> 
> Another problem I have with this zoom is that its zoom ring is very loose.
> When the zoom are hold at the verticle position, the zoom ring will slide
> down. The EF 75-300mm/3.5 has the same problem.
> 

Unless my memory is fading (which it might be), I thought that the EF75-300
had a ROTATING zoom control, not a push-pull control (like the 100-300L).
Given this, it is hard to see how the zoom would slide in the vertical
position. The push-pull zooms (from most lens makers) are prone to this
"zoom creep" effect, but I've never seen it in lens which zooms via a 
rotating ring. Maybe the "gearing" on these zooms is now so low that creep
is possible. If you say it is there, then I believe you.

===============================================================
Bob Atkins  AT&T Bell Labs  email (direct)  att!clockwise!rma
===============================================================
From: robert@sys.sweden.dg.com (Robert Claeson)
Newsgroups: rec.photo
Subject: Re: Can I rinse a slide in water without risk of damage?
Date: 28 Sep 92 12:41:29 GMT
Distribution: rec
Organization: Data General AB, Akalla, Sweden

In article <MALU.92Sep25164837@imdpy1.im.se>, malu@imdpy1.im.se (Mats Luthman) writes:

> I did something as stupid as trying to blow away some dust from a
> slide when I didn't have a blow brush at hand, and got a tiny drop of
> saliva on the emulsion side of it. (I held two fingers in front of my
> mouth, but somehow this little drop found its way around them. I will
> never do this again.)
> 
> The question now is, can i rinse it in water, without any problems (it
> is a Velvia slide, if that should matter)?  I tried this with another
> slide, and it seemed to work without problems, but are there any
> nonobvious risks with this?

Not in the area where you live. When I process an E-6 film, I rinse it
for 1/2 hour (the recommendations says 6 minutes, but that sounds too
short to me) and then put it in a stabiliser for one minute. The stabiliser
is very toxic and is said to stabilise the dyes used in the film. It also
contains a wetting agent to minimise the risk of getting drying spots on
the film.

I don't think that you need to re-stabilise the film after your rinse,
although I'm not completely sure about this. Personally, I'm not in
the habit of spitting on my slides... ;-)

-- 
------------------------------ END OF MESSAGE ------------------------------
Robert Claeson                Internet: robert@sys.sweden.dg.com
Data General AB                         robert@sys.dg.se
Box 28                             CEO: robert@sys.sweden.dg.com:dg-smtp
S-164 93 KISTA                     Tel: +46 (0)8-92 55 00
Sweden                             Fax: +46 (0)8-751 36 22
From: kurtk@vice.ICO.TEK.COM (Kurt Krueger)
Newsgroups: rec.photo
Subject: Re: Bullets through balloons
Date: 5 Oct 92 19:40:22 GMT
Article-I.D.: vice.10487
Distribution: usa
Organization: Tektronix, Inc., Beaverton,  OR.


...A question was asked about duration of electronic flash.


I remember an article a few years back where they measured that.  It turns
out that if your thyristor cuts the flash off early, you can get a duration
of around 1 micro-second.  Thus the recommendation to use 1/4 power (or
the lowest you can).  A wide open aperature with normal automatic flash
control will probably be sufficient.  Using slow moving projectiles will
help too (pellet guns wouldn't create a very 'sexy' picture, but would be
a whole lot easier to set up).

I suppose I could actually set up an O-scope and measure it.  But I don't
believe those cheapy photo cells I have respond fast enough.

If you have a repetative event (like dripping water) you can freeze motion
with a stroboscope.  This lets you see ahead of time what you would capture
on film.  However, setting up a machine gun to shoot balloons doesn't seem
all that practical.
From: Jimmy.Tung@dartmouth.edu (Jimmy Tung)
Newsgroups: rec.photo
Subject: Re: Your opinion on Pentax PZ-10 needed
Date: 7 Oct 92 01:44:05 GMT
 <1992Oct6.232055.13015@PA.dec.com>
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

In article <1ash26INNq9o@zaphod.mps.ohio-state.edu>,
yyh@osustat.mps.ohio-state.edu (Yu-Yun Ho) writes:

|> I joined this news group about 3 weeks ago when I bought my first
SLR
|> camera. It's a Pentax PZ-10 with a fully automatic 28mm f3.5 - 80mm
f4.7 
|> zoom lens. 
|> I've seen a lot of disscussion on Nikon and Canon SLR's,
|> but never have I seen any body talked about Pentax on the net,
|> which made me loose confidence in my new camera thinking that
perhaps
|> I had made a wrong decision. 
|> ... [stuff deleted]

I wouldn't worry too much about all the bandwidth about non-Pentax
cameras.  Several cliches exist about blaming the tools and not the
workman.  Granted, really poor quality equipment will lead to wasted
efforts, but there's alot more to taking photos than getting the newest
stuff or the "best" brands.

You need to understand how your particular camera works and performs in
different situations in order get the best photos.  Someone totally
dependent on all of the fancy artificial intel algorithms of a N90 or a
EOS whatever, will almost never produce great photos (other than in
their own eyes, and I say almost with due respect to Murphy... ;-) ).
Newsgroups: rec.photo
From: phr@telebit.com (Paul Rubin)
Subject: Re: Freezing Film
Organization: Telebit Corporation; Sunnyvale, CA, USA
Date: 5 Oct 92 16:41:55


     At Nikon School they told us to keep film in its original box and
     put it into a ziplock bag before freezing.  Frozen film should be
     allowed to thaw 6 hours before opening its air-tight canister,
     and should not be re-frozen or re-refrigerated.


The part about not re-freezing is new and interesting to me.  Can
anyone supply an explanation?  I've regularly been taking several
rolls out of the freezer, taking them somewhere to shoot, then putting
any unshot rolls left over back into the freezer for next time.  This
has never caused me any problems that I've noticed.
Newsgroups: rec.photo
From: HO@kcgl1.eng.ohio-state.edu (Francis Ho)
Subject: Pentax and Vivitar flash
Organization: The Ohio State University
Date: Sun, 4 Oct 1992 17:24:25 GMT

PENTAX SLR (Screw Mount)
Asashi Opt. Co. Japan
- Al body (Serial #1528631)
- Super-Takamar 1:2/55mm lens (Serial #2439653)
- Sutter 1 - 1/500 sec.,B,T, f2-f16
- MINT COND. with original packaging
- No on-camera metering (available)
- $85. (priced for quick sale)

- Vivitar 2800 flash
- Automatic/Manual (fits any cameras with hotshoes)
- Best Offer.

ho@kcgl1.eng.ohio-state.edu
Newsgroups: rec.photo
From: bson@gnu.ai.mit.edu (Jan Brittenson)
Subject: Re: Next Nikon camera: An AF interchangeable lens rangefinder?
Organization: nil
	<1992Sep28.141652.29499@cbnewsj.cb.att.com>
	<1992Sep28.212947.7294@cerritos.edu>
Distribution: usa
Date: Tue, 29 Sep 1992 16:16:06 GMT

In article <1992Sep28.212947.7294@cerritos.edu> jacobs@cerritos.edu writes:

 > Next time READ the article in Popular Photography before you start
 > bitching about a new camera that you know nothing about!

Sigh, it's fall and all the new students have learned to type `rn'.

   I haven't seen anyone `bitching' about either the rumored Nikon RF
or the Nikon N90.  In fact, the only `bitching' I've seen is your
flamage of posters who express opinions you don't agree with. Many
readers here value that this newsgroup is free of flamage, please help
us keep it that way.

   I too have read about the N90 in magazines (even in the particular
September PP issue you're refering to), and would assume most posters
here have as well. There still are a lot of unanswered questions, not
to count the usual bogus market-infered explanations from Nikon. Most
recurring posters here are on a competence level at least a couple of
notches above that of PP's articles.

   I agree fully with the posters who question the soundness of a
rangefinder that would take the current crop of Nikon AF SLR lenses.
It seems much more useful to get a `sports finder' for the existing
SLRs than getting a RF for the lenses. I doubt very many photographers
will be swayed to abandon their Leicas to get a battery-operated
rangefinder that takes bulky retrofocus lenses. It doesn't really have
much of a market niche, although I'm sure someone somewhere would find
it useful. However, I'm also sure than if Nikon decides to pick up
their rangefinder production, then they will also produce a set of
true wide-angle lenses. That would put it all in a totally different
light, batteries or not. I might actually retire my 24/2.0 AIS and get
one of those beasts instead (assuming the RF AF lenses feel right when
used manually). Remember that we're dealing with a rumor here.

--
						-- Jan Brittenson
						   bson@gnu.ai.mit.edu
Newsgroups: rec.photo
From: sleo@rodan.acs.syr.edu (Suwandi Leo)
Subject: NIKON SB24 FOR SALE
Originator: sleo@rodan.acs.syr.edu
Organization: Syracuse University, Syracuse, NY
Distribution: usa
Date: Mon, 28 Sep 92 01:44:31 EDT

I am interested in getting a new SB 25.  To do so, I would like
to sell my SB 24.  Any reasonable offer will be entertained.
Please send any enquiry to the following address:

email : sleo@mailbox.syr.edu
home  : 60 Presidential Plaza #1409
	Syracuse, NY 13202
Phone : (315) 475-6973
From: John_A_Pham@cup.portal.com
Newsgroups: rec.photo
Subject: AGFA, Fuji, Kodak or ?
Date: Sat,  3 Oct 92 02:53:14 PDT
Organization: The Portal System (TM)
Distribution: world

What's the different in quality of AGFA, Fuji or Kodak film.
Assume it is all ISO 100 speed.  I do notice that Fuji film is
cheaper than Kodak. 
 
John
From: billn@hpcvaac.cv.hp.com (bill nelson)
Newsgroups: rec.photo
Subject: Re: LINEAR/CIRCULAR POLARISERS ON AF CAMERAS ??
Date: 3 Oct 92 21:40:03 GMT
Organization: Hewlett-Packard Company, Corvallis, Oregon USA

clissman@ccvax.ucd.ie writes:
: I have been told that AF cameras won't work with linear polarising filters and
: that (more expensive) circular polarisers are needed. I have an EOS 1000,
: called a Rebel in the US, and was told that if i fitted a linear polariser
: I would have to focus manually. But i got one for free, and the camera still
: seems to AF fine on the EF 38-80 zoom that came with it. Am I doing harm to the
: camera using a linear filter, or am i being ripped off by dealers telling me
: stories to get me to buy circular polarisers. 
: Incidentally, I got the filters to enhance contrast and color on Himalayan
: photos I intend to start taking next week, so a quick response, via email
: or posting, would be greatly appreciated.
: 
: By the way, could it be that the camera AF's OK but the pictures come out
: blurred ?

Nope. You are likely to get underexposed pictures if you use a linear
polarizer.  Focusing will still be fine, in most cases. 

Bill
Newsgroups: rec.photo
From: ehr@ecsvax.uncecs.edu (Ernest H. Robl)
Subject: technical info (was Popular Photography, then Nikon magazine)
Keywords: technical info Nikon
Organization: UNC Educational Computing Service
Date: Wed, 30 Sep 1992 20:43:02 GMT


Is it just me, or ....

I have been using Nikon equipment for more than 25 years, and though
I have been happy with the equipment itself -- or I would not have
continued using it -- I have never been happy with the quality of the
technical information available.

I don't particularly want a magazine that prints nice pictures made
with Nikon equipment.  I know that people can make nice photos with
Nikon (or most other professional quality) equipment.  What I would
like is a periodical update on new equipment and more comprehensive
descriptions of accessories.  I do not expect this for free; I would
be willing to pay a reasonable subscription service.

A loose-leaf system would be great.

Photo magazines review new camera models and sometimes major
accessories, such as flash units.  They alsmost never report on
most of the dozens of accessories available.

Yes, I know manufactuers -- Nikon and others -- produce glossy sales
brochures, but these often contain more hype than useful information.
The instruction sheets that come with the various items do have the
type of information I'm looking for -- but that means that you 
already have to have the item itself.

Even a good camera store isn't going to stock even a quarter of the
items in the Nikon product line.  So, you either have to have them
order it for you, or order the item from a mail-order house.

And, that means that -- unless you have seen someone else use this
particular item -- you are ordering what may be a fairly costly
item on only a very brief description.

In many cases, it's a case of just being able to find out that a
particular accessory exists.  Again, few magazines report on 
anything below the camera body or lens level.  Trade shows are a
useful way to get up with the manufacturer's representatives -- but
that presumes you've got the time and money to get to these
locations.

How do the rest of you feel about this situation?

-- Ernest

-- 

"My other computer is a Nikon N8008." -- Ernest H. Robl
Ernest H. Robl (ehr@ecsvax)  Durham, NC, USA   +1  919   286-3845
                                         FAX:  +1  919   286-1696
From: lakhindr@ESD.3Com.COM (Lakhinder Walia)
Newsgroups: rec.photo
Subject: F4s /8008s etc (Nikon)
Keywords: F4s /8008s
Date: 5 Oct 92 21:28:10 GMT
Distribution: rec

hi folks: 
This is regarding the eye-piece shutter provided for F4, and a small 
plastic masking cup for 8008s.
I dont understand why should they be there at all, because my premise is:
the metering has to be some where in the camera body - but not in the prism
housing : for how would otherwise the matrix balance and flash fill exposure
work..? the reason being that the measurements have to be done during  the 
actual exposure time, i.e when the prism housing is shut-off by the mirror.
And since the prism housing module is completely cut-off, why bother about
putting a shutter/blind on the eye-piece contained therein..?
thanks.
-lakhinder walia

Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: How to calculate flash exp with extension tubes
Date: Wed, 30 Sep 1992 03:36:12 GMT
Organization: Hewlett-Packard Laboratories

In article <1992Sep29.174911.17757@u.washington.edu> watters@mendel.genetics.washington.edu (Mike Watters) writes:
>Just a quick question (with hopefully some quick answers :)
>
>I'm going to be photographing some small artifacts and wanted to use
>both flash (to get them well lit) and extension tubes (to get up close and
>personal).
>
>I know how to figure things out normally (just set the lens to the f-stop
>appropriate for the distance between flash and subject), but I suspect
>the extension tube changes things a bit.

Here are a few formulas that will solve your problem.  

M = F/(S-F)

S is lens (actually front nodal point) to subject distance
M is magnification
F is focal length

effective_f_stop = geometric_f_stop * (1+M)^2

When computing flash exposures from flash-to-subject distance and
guide number, you want to use the effective f-stop.

You can find the front nodal point by letting light from a distant
object go thorough the lens backwards (ie go in the rear element and
come out the front element).  Find the point where the image is
formed, then measure 1 focal length toward the rear of the lens.
(This doesn't work on some lenses, as the image is formed behind the
front element.  This happens on my Sigma 24mm.)

  -- David Jacobson
From: wolpers@i11s10.ira.uka.de (Andreas Wolpers)
Newsgroups: rec.photo
Subject: Portrait lens for Nikon
Date: 5 Oct 1992 16:21:26 GMT
Organization: University of Karlsruhe, FRG
Distribution: world
NNTP-Posting-Host: i11s10.ira.uka.de

Hello,

I'd welcome *any* comment about portrait lenses for
Nikon cameras, AF or MF. Which to buy, which to
avoid, and all that stuff. Flood my mailbox or 
post your opinion in this group.

Thanks in advance,

Andreas
-- 
Andreas Wolpers
e-mail: wolpers@ira.uka.de
phone:  49-721-608-3977
fax:    49-721-697760
From: ram@maui.cs.ucla.edu (Prasad Ram)
Newsgroups: rec.photo
Subject: Slide projector / Tripod / Cable for 7000i -- Info. wanted...
Date: 28 Sep 92 15:18:58 GMT
Organization: UCLA, Computer Science Department

I am interested in buying the following:
	
	1. Slide projector
	2. Tripod
	3. A cable for 7000i

I am looking for the following information:
	
	To the best of my knowledge (very limited) I have not seen a
comparative study of different slide projectors. I would like to learn
about these before I make a decision of what to buy. Please, 
advise me on that.

	With regards to a tripod, again I haven't used one ever.
So any experience summary and related suggestions will be greatly 
appreciated.

	I have a 7000i with a few lenses. I am interested in 
finding out what cable do I have to buy. Further, I see no 
provision for the cable. Do I need to replace any component of 
my 7000i  body?? 

	Please mail me the information at ram@cs.ucla.edu
I will compile the information I receive under separate headings
and post them for the benefit of others.


prasad ram

ram@cs.ucla.edu
From: mfolenta@PICA.ARMY.MIL (Michael Folenta (FSA) <mfolenta>)
Newsgroups: rec.photo
Subject: Re: How to overcome tripod inertia?
Date: 29 Sep 92 20:11:29 GMT
Reply-To: mfolenta@pica.army.mil
Distribution: usa
Organization: US Army Armament, Research, & Development Center


In article <1992Sep28.095745.24383@microsoft.com>, peterwu@microsoft.com
(Peter Wu) writes:
> 
> On a bogen 3030 head, the adjustments have inertia:
> 
> When push/pulling one of the handle, it won't move until the force
> applied is larger than a threshold. Then it move alot and become
> over adjusted.
> 
> This effect is very annoying when using > 200mm lens because it's very
> hard to aim the camera precisely.
> 
> What's the solution? A different brand of tripod head?
> A tripod head with micro-adjustable angles?

     Well, it's not inertia that's giving you all those problems.
It's "stiction" or "stick-slip".  What you are experiencing
quite noticably is the difference between static friction and
dynamic friction.

     The solution is to reduce the 'annoying' difference between
static and dynamic friction.  You can use materials with better
friction characteristics (such as Teflon or similiar) or try
a lubricant (such as a silicone/Teflon lube).  In your case,
the only 'solution' is to try some lube.

     But there is a sort of work-around.  You know how it is a lot
easier to move the damn thing once you get past that initial 'stick
point'?  Well, try to keep that in mind and do your adjustments while
you're in the 'easy slide zone' and coast to the setting that you want.
I know, a bit of a pain in the *#&, but unless you redo the materials
in the head, you can only lube it and work around it.
-- 
       ***** These are my opinions.  Get your own. :-) *****
      Michael Folenta          | U.S. Army ARDEC
   Future Weapons Branch       | Picatinny Arsenal, NJ 07806-5061
  email mfolenta@pica.army.mil | (201) 724-3880  [AV 880-3880]
From: rkatos@hpunila.MSR.HP.COM (Ray Katos)
Newsgroups: rec.photo
Subject: Re: Bullets through balloons
Date: 5 Oct 92 21:42:01 GMT
Organization: Hewlett Packard Sales, Naperville IL

>/ hpunila:rec.photo / smustopo@nyx.cs.du.edu (sofjan mustopoh) / 10:47 pm  Oct  2, 1992 /
>In article <brein-021092093731@128.149.100.150> brein@gpvax.jpl.nasa.gov 
>Barry Rein) writes:
>>I have a Canon A-1, and a Speedlite 199A flash.
>>
>>As the question implies, I am interested in taking photos of high-speed
>>phenomena like liquids dripping, hammers smashing light-bulbs, etcetera.
>>
>>I understand the technique involves opening the shutter in a dark place,
>>then firing the flash at the exact moment your balloon bursts.
>>
>>I further understand that a good way of triggering the flash is with a
>>microphone circuit.
>>
>>My questions are:
>>
>>1. What is the duration of a standard camera flash, such as the one I ha
>e?
>>2. Is this fast enough for short-lived phenomena?
>>3. If not, what sort of strobe should I look for?
>>4. Does anyone have information on sound-triggered flash circuits,
>>particularly  
>>   schematics. Or commercially available units?
>>
>>Thank you very much.
>>
>>Please reply to rec.photo, or directly to the address below.
>>
>>******************************************
>>*       Barry Rein                       *
>>*       brein@dsfvax.jpl.nasa.gov        *
>>******************************************
>>*       No clever comment.               *
>>******************************************
>
>
>  
>   Usually you set the flash power setting to the lowest possible
>   like 1/8, 1/16 or even 1/32 if you can .
>   i don't have the exact duration time of the flash but if you try
>   you will find out at which flash power setting , is enought.
>   enought flash power and flash duration. 
>
>     I have two schematic and pcb layout for the trigering device
>   both can be set with delay . and can be triger by sound and
>   blocking of light beam. I'll try to find it first 
>   it is some where in my collection of schematic. 
>   i'll try to post if i can't i'll tell you how to get a copty 
>
>   P.s I use Minolta 8000i and 5200i . and set the flash to 1/16
>       and set the aperture acording to the distance between 
>       flash and the subject. shuter speed is B , in darkened room
>
>
>   Muskie
>   " Hang on i'll dig into my book case"
>   UK07802@mik.uky.edu
>   smustopo@nyx.cs.du.edu
>   71054,2723  compuserve
>
>----------
Many thyristor controlled electronic flashes go down to 1/50,000 second
duration.  You achive this buy having the subject extremely close to the 
reflected light sensor.

By the way, Wein makes a sound slave trigger, =~ $120.00US
Available through Porter, Cedar Falls IA
Newsgroups: rec.photo