HDTenEightyP/NetNews huggingface dataset:
From: bbarton@Ingres.COM (Brian Barton)
Subject: Re: Reliable Strobe System (Speedotron,DynaLite, etc) ?
Summary: 
News-Software: VAX/VMS VNEWS 1.4-b1  
Keywords: 
Organization: ASK Computer Systems, Ingres Product Division
Date: 18 Nov 92 16:17:20 GMT

I've had pretty good success with Sunpak "hot shoe" flashes and Quantum
Turbo batteries.

I have four Sunpak flashes (383 Super, Auto 30DX, and 2-433D's) as well
as two Quantum Turbo batteries and one Lumedyne battery. (052C?)  Anyway,
the recycle times at full-power bursts are incredibly quick and I've
had some really good results doing portraiture with them.  I've never had a
problem with "not enough power."  I usually can get about f 5.6 and a half
at about 8 feet from my subject with bounce light and 100 asa chromes.
(Including compensation for color-correction when shooting under tungsten,
flourescent, etc...)

I usually shoot small groups so that's why I can live with such a set-up.

It's really portable, too.  I carry my whole lighting set-up in a Domke
F1-X ("little bit bigger bag.")  It weighs a ton, though. :)

Brian 
bbarton@ingres.com
Newsgroups: rec.photo
From: michael9@cs.mun.ca (Michael Sullivan)
Subject: Re: Turning photos into jig-saw puzzles
Organization: CS Dept., Memorial University of Newfoundland
Date: Mon, 16 Nov 1992 16:35:51 GMT

ianchan@leland.Stanford.EDU (Ian Hin Yun Chan) writes:

>I've wanted for the longest time to have jig-saw puzzles with my very own
>photos on them. Can this be done? I was thinking they'll make great gifts.
>Does anybody have information about such services, and from what medium
>(eg negatives or slides?) do they require?
>Thanks!
>- Ian


  Scoto Foto in Canada also does this for a very reasonable price.  They also
print photo greeting cards, mugs, t-shirts, etc.
  Unfortuantly, I've lost their address.  They have branches in about seven
of the provinces.


-- 
|uunet!garfield!michael9|'"Proof denies faith and without faith I am nothing,"|
|michael9@odie.cs.mun.ca| says God.  "But you have given us proof," says      |
|POB 756,St.John's,Nfld.| man, "Therefore you do not exist. QED." "Oh, my,"   |
|A1S 1G8                | says God, and disappears in a puff of logic.'       |
From: kting@cse.unl.edu (Kea Ting)
Newsgroups: rec.photo
Subject: Re: Flash Meter Recomendation
Date: 20 Nov 1992 05:58:13 GMT
Organization: University of Nebraska--Lincoln	
Distribution: world
NNTP-Posting-Host: cse.unl.edu

markt@cup.hp.com (Mark Thompson) writes:

>I am setting up some portable studio equiptment and need recomendations on
>a budget priced flash meter.  

     If you wanted to pay around $250, you can try to get the minolta
autometer IV mail order. It is a good meter, I saw the meter and manual
in local store. It can do both flash and insident metering. Other consideration
are sekonic L-328F ( I have this), Gossen Luna-Star F (?, not sure the name).
     I think the good meter with digital reading is much easier to used and
well worth the price, other flash meter cost around ~$100, check the price
in the Popular photography.
    Hope this help.



--
soon

University Of                  Disclaimer :
Nebraska-Lincoln               I always speak for myself.
Newsgroups: rec.photo
From: jop@wang.com (John Payne)
Subject: Re: Boston Camera Club
Organization: Wang Labs, Lowell MA, USA
Distribution: ne
Date: Mon, 23 Nov 1992 16:58:31 GMT

sli@athena.mit.edu (Sheung L Li) writes:

>sli@athena.mit.edu

What was this supposed to be about?
If you are looking for information on the BCC then I may be able to help.
BCC meets every Monday starting at 7.00pm at a Church hall in Brookline
(Presbyterian I think) next to the Civic Centre close to Brookline Vilage
(e-mail me for more details, I will bring their literature in to the office)
Meetings are thematic, each sub-group meets once per month.  Sub groups are
Prints (color & B&W), Slides, Nature, Travel and Portrait.  I think Travel
meet on those months that have a 5th Friday.
Most of the meetings center around a competition, standard is generally quite
good and this is an excelent way to grow in your practice of photography.
They also publish a monthly newsletter and arrange several special events and
workshops during the year.   BTW in general Camera Clubs can be a very
satisfying experience.  It is an excelent way of comparing your results with
others and of developing or improving an eye for what looks "good" in a 
photograph.  On the down-side some clubs can tend to steer members towards
a stereotype "good" photograph, I don't think BCC in general do this.
-- 

 
John S. Payne            | Opinions and views expressed herein are my own
Wang Laboratories Inc.   | and are in no way to be construed as those of
jop@wang.com             | Wang Laboratories Inc.
Newsgroups: rec.photo
From: mookherj@fiu.edu (Jay Mookherje)
Subject: OPINION NEEDED !
Organization: Florida International University, Miami
Distribution: na
Date: Thu, 19 Nov 1992 18:58:17 GMT

I am interested in knowing opinion on the Chinon Genesis IV, Mirai Zoom 3
and the Olympus IS-I model of cameras.

Also, is it true that the IS-I has been discontinued by Olympus ?


Please respond to mookherj@fiu.edu

Thanks in advance,
Jay Mookherje
From: monson@ece.orst.edu (Ty Monson)
Newsgroups: rec.photo
Subject: Re:How to remove cloth tape
Date: 18 Nov 92 22:44:54 GMT
Article-I.D.: talon.1eeh16INN1ka
Distribution: usa
Organization: Oregon State University, Corvallis
NNTP-Posting-Host: hobo.ece.orst.edu


In article <1992Nov18.203219.8405@leland.Stanford.EDU> prodger@leland.Stanford.EDU (phillip prodger) writes:
>
>I used corner mounts when I mounted the print to avoid any residue
>on the back of the image - especially as Bravo signs the backs of
>his prints.  I gave very explicit instructions to my framer that he
              ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>should not use any additional adhesives and that I would live with
>any shifting/bowing of the image that resulted.
>
>Well, sure enough, I just opened the frame and found that the shop
>added two cloth adhesive hinge mounts to the print.  
 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>Question:  How can I completely safely, completely invisibly, 
>remove the cloth tape from the print?  Is this a conservation job?


 Seems as though you ought to take this up with the framer - your
 instructions obviously were not followed.

 Also, you will need to find out what kind of tape was used from 
 your framer. My (optimistic) guess is that the tape has a water soluble
 adhesive, so moistening will allow the tape to be peeled off after
 a few minutes' wait. If it is not a water soluble adhesive, then you
 are dealing with a framer who doesn't know his business (common enough).

 Your framer should feel obligated to do the restoration, if he knows how.
From: marcus@illusion.chi.il.us (Marcus Hall)
Newsgroups: rec.photo
Subject: Re: Question for photo techies
Date: 20 Nov 92 20:52:40 GMT
Reply-To: marcus@illusion.UUCP (Marcus Hall)
Distribution: rec.photo
Organization: Magic Numbers Software, Bloomingdale, IL

In article <1992Nov13.233001.17136@digi.lonestar.org> gpalo@digi.lonestar.org (Gerry Palo) writes:
>Suppose we could have a 35mm or other film with a magnetic strip 
>on which an auto-exposure camera could record the exposure 
>information - light value, aperture, shutter speed, and perhaps 
>even the presence of a filter (that would have to be electroni-
>cally coupled too), whether there was an electronic flash, etc.

Actually, what I think is just waiting for a standard is for the film
holder to be much smarter.  Instead of (or in addition to) having the
DX foil pattern, have a contact for the camera to talk to a flash-eprom
chip embedded in the holder.  This chip could be pre-loaded with information
about the film from the manufacturer in much better precision than currently
allowed by the DX encoding, perhaps the precise film speed, calibrated by
a sample from the same batch of film produced at the time.  Date of
manufacture of the film to compensate for changes ocurring over time.
Exposure latitude of the film so the camera can decide if it's OK to
sacrafice "perfect" exposure in order to meet some other goal.  Film
type and response to different color balances (to compensate for the
camera's exposure sensing element's response), etc.

Then, the camera can record the exact parameters used for the shot, the
time and date, and any other user entered information into the EPROM
when the shot is made (or any time later).  This could be printed on the
back of the print or on the slide mount after processing, instead of the
imprinting currently done within the field of the picture itself.

The EPROMS should only add a few cents to the price of the film, suitable
chips are being made by Dallas Semiconductor that are targeted at this
type of market already.

marcus hall
Newsgroups: rec.photo
From: sparks@col.hp.com (John Sparks)
Subject: Re: colour balance: enlarged vs. contact?
Date: Mon, 16 Nov 1992 23:05:10 GMT
Organization: HP Colorado Springs Division

In article <721809533snx@rats.demon.co.uk> ian@rats.demon.co.uk ("Ian A. Young") writes:
>I can't think of a plausible explanation for my observation.  The way I
>see it, the colour balance of the contact print should be exactly the
>same as that of enlargement:
>...
>Someone PLEASE put me out of my misery by thinking of a really good
>reason why this should be happening...

How about a wild guess.  With the enlargement, all of the filtered light 
hitting the paper is going through the negative.  With the contact print
the same light is being spread out over the whole print, but only a 
portion of the light is going through the negative.

Take two different camera filters, say one is blue and one is red of about
equal intensities, hold them both together right under the enlarger lens,
you a purple about halfway between the two filters.  Next, keep the blue
one at the lens and move the red one close to the baseboard.  The blue is
spread across the whole baseboard, but the red is concentrated in one spot,
so where the colors mix, you get a very red purple as opposed to the previous
color.

>   5. observe that the enlargement is definitely more yellow than
>      the contact print.

In your case, the negative is like one of the filters and the light source
is like the other.  Since the color negative is mostly orange, the contact
print is seeing much more orange light so I would guess that it would appear 
blue/cyan compared to the enlargement.  This seems to agree with what you
saw.

One experiment to try is to make a 4x5 enlargement (well make a 4x5 print
with the negative in the enlarger) and a 4x5 contact print, being careful
to only illuminate the negative.  If my guess is correct, they prints will
be the same color (or at least much closer than the 8x10 print/4x5 contact
print situation).

John Sparks
From: yuanj@ucbeh.san.uc.edu
Newsgroups: rec.photo
Subject: Re: EOS FAQ - Bigger and Better!
Date: 17 Nov 92 20:30:27 EST
Distribution: world
Organization: Univ. of Cincinnati

In article <1992Nov17.071145.9207@colorado.edu>, panos@burton.cs.colorado.edu (Panos Tsirigotis) writes:
> In article <1992Nov16.231830.3592@jarvis.csri.toronto.edu> acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
>>
>>6.7.  How can I shoot more than 36 exposures?
>>
>>It appears that there is no way so far.   The  camera  cannot  be  made  to
>>ignore the DX-ed film length.  Jim Cathey hypothesizes that with the faster
>>(5fps) film transport that first appeared on the 630/RT, that  Canon  might
>>worry  about  tearing the film off the spool.  (Anyone else have experience
>>with non-DX'ed cannisters?  What about if you hit EOF with a roll  of  less
>>than 36?  Any sprocket hole damage?)
> 
> As a single data point, I can state that a lot of times I have managed to 
> get a 25th frame out of a 24-exposure film without ever tearing the film.
> My camera is a 630.

I got 25 out of a 24-exp. film and 37 out of a 36-exp. film.  All it takes is
relatively on spot lead (meaning on the orange spot).
My camera is a Rebel.

Cheers!
Organization: Hunt Institute for Botanical Documentatn, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.photo
Date: Tue, 17 Nov 1992 15:22:06 -0500 
From: "Frank A. Reynolds" <fr0c+@andrew.cmu.edu>
Subject: Resolution of Lens ???

I am looking for general answer to this question, so no need to get real
technical.

As I understand it when a lens is tested for resolution it is placed,
say 10 feet, in front of test pattern and the resolution is judged by
the number of lines per mm that can be counted from a image of the test
pattern (either on film or some optical devise).

1.  If say a 50mm, 100mm, and 200mm lens is tested they are all tested at the
    same distance of 10 feet, right?

2.  If yes to No. 1; does that mean that the resolution test of a lens is
    relative to the distance it was made at.  In other words should the test
    results state that at "10 feet" this 50mm lens can yield X lines per mm,
    at "10 feet" this 100mm lens Y lines per mm, and at "10 feet" this 200mm
    lens Z lines per mm?

3.  If yes to No. 1; would it not be a more meaningful comparison of lens to
    test them so that the test pattern is evaluated at the same magnification
     regardless of the focal length of the lens (lets say 1:4), rather than
    testing all lens at the same distance?


Your Replies Will Be Appreciated,
Frank Reynolds
Newsgroups: rec.photo
From: sue-d@nwu.edu (SUE DAKIMOWICZ)
Subject: Rebel vs. Rebel II (2)
Followup-To: rec.photo
Organization: Northwestern Univ.
Date: Thu, 19 Nov 1992 17:37:03 GMT

I am going to purchase a Canon Rebel ( I am also an amatuer photographer) 
When I was calling around for the best price,  the salesperson told me
about the new Rebel II and gave me a price for a kit (body, lens, and
flash).  I asked what the difference was between the 2 and the original
model and they could not give me any real info on it,  what they said was
"well its a better camera".  

So what I want to know is what advantage do I have if I get the Rebel II
over the Rebel?

Thanks in advance!

Sue  

sue-d@nwu.edu
Northwestern University
Mechanical Engineering Department
Evanston, IL  60208
From: jas20@duts.ccc.amdahl.com (John A Sigmon)
Newsgroups: rec.photo
Subject: Question Pentax ME Super settings
Date: 23 Nov 92 16:04:36 GMT
Reply-To: jas20@DUTS.ccc.amdahl.com (John A Sigmon)
Distribution: rec.photo
Organization: Amdahl Corporation, Sunnyvale CA

Hi
I am playing around with an old (about 6 years old?) Pentax ME Super
body and have a few questions:
_
1) What is the 1/4X, 1/2X, 1X, 2X, 4X used for and how do you know
what to set it to?
2) There is another setting on the camera that is a fixed 125x shutter
I assume this is used in conjunction with the flash.
3) Any other good pointers or opinions on the camera?
_
Please send all replies to the above E-mail address.
_
Thanks, John Sigmon
-----------------------------------------------------------------------
Amdahl Corp
Sunnyvale CA
______________________________________________________________________
Newsgroups: rec.photo
From: prodger@leland.Stanford.EDU (phillip prodger)
Subject: Re: candid photo lens? is there such a thing?
Organization: DSG, Stanford University, CA 94305, USA
Date: Tue, 17 Nov 92 18:20:14 GMT


Paul Strand managed to achieve the 'candid' effect you describe by
mounting a prism on the end of a normal lens.  His famous photo of
a "blind" woman peeking at a passerby (and many of his NY street photos)
was made in this way.

I have found that another interesting way of doing this is with a
perspective correcting lens.  

Alternatively, you can try a different viewer such as a top-mounted
focusing screen.  As long as you aren't looking directly through the
lens at the subject, people don't tend to react - it looks as though 
you are inspecting your camera, not them. 

People are far more sensitive to the direction of your eye than the direction
of your lens.  I guess the public-at-large is conditioned to associate
photography with a straight TLR or P&S set up.
Newsgroups: rec.photo
From: imprint@watserv1.uwaterloo.ca (IMPRINT -- UW's Student Newspaper)
Subject: Re: Darkroom Ventilation
Organization: University of Waterloo
Date: Tue, 17 Nov 1992 00:30:36 GMT

In article <MAS.92Nov15124705@mipl8.jpl.nasa.gov>, mas@mipl8.jpl.nasa.gov (Marc Sarrel) writes:
> 
> I'm in the process, finally, of making my bathroom light tight.
> However, I fear that making it so will cut off all ventillation.
> Here's a rough floor plan:
> 

> 
> The bathroom window is one of those louvered types.  In order to seal
> the doors, I was planning to use a combination of weatherstripping,
> towels on the bottom and maybe some dark fabric hanging down if the
> weather stripping isn't sufficient.
> 
> However, this room would then have no ventillation.  There are no HVAC
> ducts in there at all (love those building codes).
> 
> There is a transom window above the toilet door, but it is not hinged
> in any way.  The high-tech method would be to replace it with a fan,
> but that seems expensive.
> 
> Any ideas?

Actually, I'm in the process of building my own darkroom as well.  It's
in the basement, which is a bit different than a washroom set-up.
	I just went to a hardware store and bought a standard bathroom
vent (70 CFM), which has a 3" exhaust pipe.  And since it's in the basement,
all I had to do was punch a hole in joyce just above the foundation, and
cut a hole in the siding. 
	The fan only cost about $30 and (I hope) is adequate ventilation.
Seems to me I read that darkrooms should have a complete air change every
15 or twenty minutes, and my darkroom is rather small (12x5x7).  It 
shouldn't be too much trouble or expense to install a fan in your can.

And while we're on the subject of building home darkrooms....
  anyone ever try making their own film drying closet, with a fan?
Ideas? recommendations?

- Dave


> --
> Marc Sarrel			"She's got a big boyfriend
> Jet Propulsion Laboratory	 A really big boyfriend
> mas@mipl8.jpl.nasa.gov		 He lifts weights, he builds cars
>                                  And he's got no sense of humor
>                                  She's got a big, really big
>                                  Really, really, really big boyfriend"
>                                                      -Blotto


--
From: oreagan@oasys.dt.navy.mil (William Oreagan)
Newsgroups: rec.photo
Subject: Elan vs 10s difference?
Date: 23 Nov 92 18:47:31 GMT
Reply-To: oreagan@oasys.dt.navy.mil (William Oreagan)
Distribution: usa
Organization: Carderock Division, NSWC, Bethesda, MD

I've read the FAQ for the EOS series (thanks everyone ) but couldn't
find the answer to this. What is the difference between the Elan and
the 10s ? Is it strictly , or mostly, that the 10s is more metal in
the body? Is the Elan quieter? What else? thanks.
Bill O
From: jk0j@ns1.cc.lehigh.edu (JOHN KISH)
Newsgroups: rec.photo
Subject: bulk loading 35mm questions
Date: 19 Nov 92 02:20:02 GMT
Organization: Lehigh University

I am considering bulk loading 35mm film for the first time and have a few
questions.  It seems to me there is no reason to buy a bulk loader.  Why not
just spool the film on the cassette in the dark?  It would take a little
practice to judge when there is enough film to make a 36 exp. roll, but not
impossible.

How does bulk loading work with auto loading cameras?  I'm using a Canon T-90.
 Will the leader have to be cut very closely to emulate the leader on factory lo
aded film?

 I know DX speed indexing will not work, but how will my T-90 know when to
 rewind?  Will it keep shooting till the film stops?  Is this hard on the
 camera?

 What kind of tape is recommended to tape the film to the spool?

 Any help or comments from experience is appreciated.

 Thanks
Newsgroups: rec.photo
Subject: Re: Major advances in camera technology
From: fred-mckenzie@ksc.nasa.gov (Fred McKenzie)
Date: 23 Nov 92 15:10:59 EST
Followup-To: rec.photo
Distribution: world
Organization: NASA/Kennedy Space Center, Florida

In article <98631@netnews.upenn.edu>, liang@saul.cis.upenn.edu (Chuck
Liang) wrote:

>   Why is it that most of the major technologies were developed in the
> 50's and 60's?  The problem is at least partly cultural.  Right now,
> it nolonger matters if something is really an innovation, so long as it
> APPEARS as an innovation.  Catchy slogans and fancy names are much
> easier to come by than real technological advancement.

Chuck-

I've seen soap and cereal, et cetera, hyped as "newer than new" for many
years, when only the package may have changed!  I suspect that there is a
lag between introduction of an innovation, and recognition of its value,
caused by the clutter of the many non-valuable pseudo-innovations.  It
takes time for the poor features to die, and the good ones to become
entrenched.

Only time will tell if the "Zoom Lens Reflex" is only an advertising
gimmick.  It seems to be an expansion of the "point-and-shoot" technology,
and may survive because of the masses of consumers that want it.

Unfortunately, the number of serious photographers who will pay a
reasonable price for their equipment, can't support the industry as well as
this mass of consumers.  I would hope that the major manufacturers would
use the profit of the consumer products to subsidize their serious
products.  I've been very disappointed that Olympus hasn't brought out a
new professional model in recent years.  I'm slowly realizing they probably
won't!

fred-mckenzie@ksc.nasa.gov
From: sp00@ns1.cc.lehigh.edu (SOO-JUN PARK)
Newsgroups: rec.photo
Subject: Re: Nikon 20mm f2.8 AF--is it worth the price?
Date: 22 Nov 92 00:31:09 GMT
Organization: Lehigh University

In article <1992Nov21.171519.29387@ecsvax.uncecs.edu>, mvolo@ecsvax.uncecs.edu (
Michael R. Volow) writes:
>
>Regarding 20mm vs. 24mm lenses for Nikon, for those not committed
>to AF, the Nikor 20mm f3.5 (with 52mm filter) is a superb lens and
>can be found used for about $300.
>
>--
>Michael Volow, Psychiatry, Durham VA Med Center, Durham NC 27712
>919 286 0411 Ext 6933               mvolo@uncecs.edu
>
Yes, I bought a heavily used and old :) Nikon (actually it is Nipon Kon?)
20mm f3.5 AI (with 72mm filter) a month ago. It is impressive (compare to
Canon 28mm EF for my EOS650) and the picture was sharp. I am happy to have one.


Soo-jun Park
sp00@LEHIGH.edu
From: bellaire@cs.tulane.edu (TV's Steve)
Subject: Old Polaroid film replacement wanted
Organization: Gizmonic Institute
Date: Sun, 22 Nov 1992 04:31:47 GMT
Nntp-Posting-Host-[nntpd-20272]: amor


If this is a FAQ, forgive me, but I do not regularly read this group.  

I am looking for some film for a Polaroid Speedliner Land Camera, Model 95a.  
The manual says that it takes Type 41 Polaroid Land picture rolls.  I would 
like to get some film to use with this camera, and figured this would be a 
good place to ask.

Thanks in advance for the help

-- 
Pour me a cab, I just can't drink no more.     |         St. Steve
				--Tom Waits    |   bellaire@cs.tulane.edu
					       |
It's a southern thing, you wouldn't understand.|    Shoes for Industry!