HDTenEightyP/NetNews huggingface dataset:
From: phg+@CS.CMU.EDU (Paul Gleichauf)
Subject: Re: Nikon F90 & SB-25
Organization: Carnegie Mellon University
Date: Thu, 27 Aug 1992 18:36:54 GMT

	Andreas's report on the new F90 and ancillary lenses and flash is accurate and cogent.  I have a few details that may regenerate some old threads in this newsgroup. The products were announced yesterday to the US market. Product brochures are still being printed, but can be requested in advance
via the usual 800-NIKONUS number.
	The D distance feature is incorporated in the integrated focus exposure system which also conveys this information to the flash.  Thus the entire TTL mechanism is much more snyergistic, but as far as performance goes is more of a tweak than a jump in technology. Others have asked in the past if distance information is used by focusing modules in AF cameras.  The matrix system of the N90 uses its multiple elements to construct a map of both the distances and exposure values, and then uses this to interpola




te a focus point for the lenses.
A D type zoom can convey its focal length to help in the decision.  The effect, when apparent at all, is fairly subtle.  There are wide and spot focus modes for selecting AF sensitivity. Trap focussing is internal to the camera (no back required).  Standard power comes from 4 AA cels but a multi-high-capacity battery pack (6 or 8 C or D cells, I cannot recall which) is available.  This seems to be a concession to the power needs of the new long motor-in-lens telephotos.  It also will solve some of the low 




temperature problems for internal batteries, since it can be carried inside a jacket and apparently cables to the camera. Expect a similar change to the F4 power supply.
	There are two data backs, one or both are capable of data dumps of exposure information after each roll into a Sharp Wizard memo-minder.  This in turn can transfer data to a PC.  There is no memtion whether this feature will also be compatable with the Apple Newton which will probably be coproduced with Sharp and even more appropriate (because it is pen-based) for photgraphic use.
	The new D lenses are concentrated in the zoom line where the information can best be exploited, and in the new long telephotos.
	The SB-25 is fully compatable with the SB-24 for multiflash operation.  It includes a built in bounce card accessory along with the 20 mm angle diffuser screen.  Guide number of SB-25 = guide number of SB-24. This flash looks like it will really replace the SB-24.
	There is no hint of these enhancements appearing on the update to the F4, but if Nikon follows its usual pattern they can be anticipated somewhere between 6 and 18 months down the road.  The N90 looks very much like an 8008s.
	Prices and availability dates have not been announced.  Right now dealers are being shown sales brochures, but not samples, in anticipation of orders.

							Paul
Newsgroups: rec.photo
From: dougb@comm.mot.com (Doug Bank)
Subject: Re: Photo-CD - THE FACTS
Reply-To: dougb@ecs.comm.mot.com
Organization: Motorola Land Mobile Products Sector
Date: Wed, 2 Sep 1992 14:29:27 GMT

In article <257@metran.UUCP>, jay@metran.UUCP (Jay Ts) writes:

|> This is what gets me; not just Time and Newsweek, but many other professional
|> consumers of photography (including advertisers, book publishers, ...) are
|> now turning to photo stock agencies for their images.  And the stock agencies
|> are enthusiastic about Photo CD as a medium of distribution (although right
|> now, it's just for comp use).  I am very much looking forward to marketing
|> my photographs through a stock agency.  What if my agency decides to switch
|> exclusively to Photo CD?  

I don't believe that this is happening.  Stock agencies are interested in 
PhotoCD because it will make it easier to distribute their catalogs.  Most 
images (if not all) are still sold via the actual negative, slide, or dupe.
PhotoCD is just easier than printing a book every couple of months.

There are bigger problems with PhotoCD than image resolution.  Royalties
for one...............

-- 
Doug Bank                       Private Systems Division
dougb@ecs.comm.mot.com          Motorola Communications Sector
dougb@nwu.edu                   Schaumburg, Illinois
dougb@casbah.acns.nwu.edu       708-576-8207                    
Newsgroups: rec.photo
From: Robert Drongowski <Robert.Drongowski@cc.umich.edu>
Subject: Re: Inrared Photog + Spider Webs
Date: Mon, 31 Aug 92 12:53:07 EDT
Organization: Pediatric Surgery, U of Michigan
X-Useragent: Nuntius v1.1b2

Robert.Drongowski@cc.umich.edu (Robert Drongowski)
	Can anyone offer suggestions or their experience regarding
picture-taking of spider webs with Infrared film.  I have taken many web
pictures with both B&W and Color film with reasonable success.  However,
a small article in Science a few years back indicated that taking
pictures of webs with infrared film produces a unique glow within
portions of the web structure which mimics flower structures etc.  The
example they printed in the article was fairly neat, with one strand of
web highlighted from oputside to the very center of the web (which
presumably acts to attract insects etc).
	I subsequently shot a number of webs with no noticeable effect with the
film I used; ie. It looked like regular black and white film without any
effect of Infrared.  However, a few flowers that I shot did produce an
unusual effect which indicated to me that the film was "good".  I know
must one take extreme measures in handling the film (refrigerated,
absolutely no light while loading/unloading film, etc).
	Does anyone know if it's only certain spider-webs which produce this
result?  Are there any other tricks using infrared film which could
enhance my chances for success?
Could the developers have used a different method to enhance the effect?
Thanks for any suggestions, they are well appreciated.
BOB DRONGOWSKI,  Ann Arbor, Michigan
From: mpc@biosys.apldbio.COM (Morgan Conrad)
Newsgroups: rec.photo
Subject: Re: 1 day photo trips from San Jose, CA
Date: 3 Sep 92 00:56:20 GMT
Reply-To: mpc@apldbio.com (Morgan Conrad)
Distribution: na
Organization: Applied Biosystems Inc, Foster City, CA

My favorite, lesser known 1 day trip around San Jose is to head
up Mt. Hamilton, then continue east and north to Livermore.
You travel through a lot of empty ranch country.  In the springtime
it is really beautiful, though February (when robert.m.atkins plans
to visit) is a bit too early for the fantastic wildflower displays.
In September, it will be real dry and not as photogenic (to my taste).

I would also suggest Pinnacles, about 1 hour south.  Neat rock
formations and Vultures.  Again, hot and dry in September,
lush and green in February.

Basically, there's tons of stuff - the coast, the mountains,
and the foothills - my two suggestions are in the latter.


Morgan Conrad              Cthulu for President!
Applied Biosystems
mpc@apldbio.com            Why settle for
415-570-6667               the lesser evil?
From: dtalmage@guvax.georgetown.edu
Newsgroups: rec.photo
Subject: Re: Prints from XP2?
Date: 28 Aug 92 15:18:01 -0400
Distribution: world
Organization: Georgetown University

In article <Btp5At.F45@acsu.buffalo.edu>, tklai@acsu.buffalo.edu (Tobysze K. Lai) writes:
> 
> 	On article "Prints from XP2?", ferd@Bridge.COM (Ferd Ferfel) wrote:
> 
>> Does this Ilford film produce regular b/w negatives with C-41
>> processing that need to be printed on b/w paper, or can mass retail
>> photofinishers  print them on the color paper in their machines?
> 
> are not EXACTLY B/W, but it's (I think) good enough.  A friend of mine had
> his pictures (also from XP2 negative) done in other 1-hour photo store and
> the pictures came out terrible.  The color came out not black and white but
> brown and white!  So, it really depends on how each photo store do their 
> pictures.

I took some XP1 or XP2 negatives to a mini lab with one of those Kodak 
Create-a-Print machines.  The best I could do there was a sepia-toned 
print, but that was OK.

-------------------------------------------------------------------------------
David Talmage (dtalmage@guvax.georgetown.edu)
"Once more.  This is deixis.  This is your brain on deixis.  Any questions?"
From: ajayshah@almaak.usc.edu (Ajay Shah)
Newsgroups: rec.photo
Subject: Suggest a pair of binoculars?
Date: 26 Aug 1992 10:55:58 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: almaak.usc.edu

I'm looking for a pair of binoculars for occasional
wildlife watching.

What would you recommend?

Thanks,

        -ans.
-- 
Ajay Shah, (213)749-8133, ajayshah@usc.edu
Newsgroups: rec.photo
From: usenet@adobe.com (USENET NEWS)
Subject: Re: Zone system with 35mm?
Originator: asanders@sparta
Organization: Adobe Systems Incorporated
Date: Mon, 31 Aug 1992 16:38:35 GMT

| ...fill your viewfinder with the palm of your hand and take 
| a meter reading off of it... Open up your camera one-stop...
| and take the picture.
|
| ...The bottom line is that the method I've outlined works 
| perfectly and _does_ re-create the Zone System.

				  -Brian

The method described is equivalent to placing skin tones (the palm 
of the hand) on Zone VI. But where do the important shadow areas
fall? Where do highlights fall? What is the contrast range? Metering
your hand doesn't tell you any of these things, and only guarantees
that midtones receive proper exposure. It's like describing how to
drive a car by saying, "Open the car door, get in, close the door,
put the key in the ignition and start the car." 

What comes next?

Metering your hand is a perfectly legitimate way to determine
"normal" exposure for a normal subject. But to call it the Zone
System is absurd!
		   -Alan

Newsgroups: rec.photo
From: yz@broca.acc.virginia.edu 
Subject: FOR SALE! Nikon FG and stuff
Organization: University of Virginia
Date: Mon, 31 Aug 1992 15:42:59 GMT

I have various items for sale.
	Nikon FG	$150 OBO
	Nikon E	50mm f1.8  $30
	Power Winder for FG,EM $20
	Sunpack 221 dedicated flash for Nikon  $20
The camera is in mint shape. Not a single scratch, instrustional manuel  
included. Both the winder and the flash is in mint condition too. The lens is  
in excellent condition. I'll sell everything for $190.
call me at 1-(804)-293-4290 from 6:30pm-10:30 pm EST or e-mail me at 
 yz3k@galen.med.virginia.edu
p.s: I'll also condsider trade. Escepecially EOS stuff.
From: crmeyer@voodoo.physics.ucsb.edu
Newsgroups: rec.photo
Subject: Anyone ever heard of a Busch Pressman camera?
Date: 29 Aug 92 19:44:55 GMT
Organization: UCSB Physics Department

At a local garage sale I purchased a Bush Pressman camera. It seems to be
a rangefinder focus press camera in 2 1/4 x  3 1/4 format with limited
lift and tilt adjustment. The construction appears to be very good and
the exterior is leather covered it has a Wollensak Rapar 101mm lens with
a Rapax shutter (1/400 top speed). On the back of the Vue-Focus rangefinder
is a small black box with 2 protruding electrical contacts and a dial
type on-off switch. Any idea what it is? Above the lens/shutter is a 
cylinder with 2 more of the contacts and a mechanism that attaches to the
shutter release (solenoid release? crude flash sync?). There is also 
a dovetail on the side of the camera opposite the leather handle (for
a flash I suppose...). Any idea when these cameras were produced?

							Thanks!

                      +-----------------------------------+                    
                      |         Charles R. Meyer          |                    
                      |                                   |                    
                      | Internet: crmeyer@voodoo.ucsb.edu |                    
                      | Bitnet:   crmeyer@voodoo          |                    
                      | HEPnet:   voodoo::crmeyer         |                    
                      +-----------------------------------+                    

Newsgroups: rec.photo
From: accwai@math.uwaterloo.ca (Andy Wai)
Subject: Re: selenium wash
Organization: Math Faculty Computing Facility, University of Waterloo
Distribution: na
Date: Wed, 26 Aug 1992 21:02:52 GMT

In article <1992Aug26.161916.8034@midway.uchicago.edu> ar12@midway.uchicago.edu writes:
>A note: Selenium does not yeild the REDDISH-BROWN tones the original
>post refers to- it yeilds neutral tending towards cool blacks- overtoning
>at too high a concentration yeilds a very unappealing purple hue.

That depends on the paper actually, Agfa portriga and Seagull Center
for example can take on very significant red cast if toned heavily in
selenium.

Speaking of heavy toning, I saw a blue/brown split tone prints in a
magazine recently.  Unlike the regular green/brown split, the blue in
the highlight is very strong.  I also heard that Olivier Parker used
to do this kind of thing before getting into color.  Anybody know how
it's done?  It must take more than one toning bath right?  Thanks.

Andy Wai
Newsgroups: rec.photo
From: rnewell@sol.UVic.CA (R.COLIN NEWELL)
Subject: disposal panoramic
Summary: impressive wide
Keywords: wide-view
Organization: University of Victoria
Distribution: na
Date: 27 Aug 92 16:39:45 GMT

Threw away a few dollars to try out the popular disposible
panoramic camera by KODAK.

It is no Linhof Technorama but the lens is very sharp for the
price.

Any other opinions on this or any other ultra-wide systems?
(wide-angle lenses not included) I was curious about the
Widelux and other such arrangements.

My other camera is a Rolleiflex 3.5F Planar.
From: bjs@uts.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: Fuji Slide Film or Pushing Kodachrome
Date: 27 Aug 92 19:41:13 GMT
Followup-To: rec.photo
Distribution: usa
Organization: Amdahl Corporation, Sunnyvale CA

Brian Barton writes:

>Also, I'm very fond of both Fujichrome 50 Professional and Fujichrome 100 
>Professional.

While the original poster (Ken McFadden) was looking for a higher speed film,
I'd like to second what Brian says about Fuji 50 Professional (50D or RFP).

I've found Velvia entirely too contrasty for bright sunlight.  I read 
a little while ago that RFP is one of the lowest contrast slide films around.
I've found it to be much nicer to use in direct sunlight.  Far fewer "black
holes" where shadows were in the original scene.  And often colors, even in
soft light, are less harsh and glary than with Velvia.  I recently took
two exposures of some flowers in pre-dawn soft light.  One on Velvia and
the other on 50D.  The flowers on the Velvia picture have noticibly more
vivid colors.  In fact, they almost look harsh.  I'll probably print from
the 50d original because I expect that Cibachrome's contrast will accentuate
the colors in the Velvia original to the point of definitely becoming harsh.  
The other difference between the two transparencies is that the green 
background foliage looks much more yellow and warm in the Velvia and, 
comparatively, blue and cool in the 50D.

In general, I'm using 50D for higher contrast situations (but not in direct
sunlight) and Velvia in lower contrast situations.  (I'm using 4x5 so it's
easy to switch between films.)  For direct sunlight I'm starting to use
color negative material since the transparency films that I think work
well in sunlight (Kodachrome) aren't available in large format.

My only fault with 50D is that it does seem to be considerably grainier than 
Velvia.  In fact I've been surprised to be able to visibly detect grain in an 
11x14 enlargement from a 4x5 original.  Granted, you have to get up close and
look for it and there was a certain amount of cropping done on the 
enlargement so the magnification is somewhat greater than that for a straight
11x14, but it *is* there and is *not* there on 11x14's from 4x5 Velvia 
originals.

But the reduced contrast of RFP is *really* nice.

Barry

-- 


|----------------------------------------------------------------------------|
| Barry Sherman, Amdahl Corp.       | "Any fool can face a crisis - it's     | 
| bjs@ruts.ccc.amdahl.com           |  this day-to-day living that wears you |
|                                   |  out." - Anton Chekhov                 |
|----------------------------------------------------------------------------|
| Amdahl, being a corporation, is a legal fiction.  Therefore it is incapable|
| of holding, let alone expressing, opinions.  Unfortunately, this has been  |
| said of me as well.                                                        |
|----------------------------------------------------------------------------|
From: kjm@cnmss.tredydev.unisys.com (Ken J. McFadden)
Newsgroups: rec.photo
Subject: Re: Guide to photographers?
Date: 25 Aug 92 19:52:21 GMT
Organization: Unisys Corporation, Tredyffrin

In article <g!an82a@dixie.com> jgd@dixie.com (John De Armond) writes:
>Is there any kind of directory or guide listing professional and/or 
>free-lance photographers in various parts of the country?  I need something
>like this because I sometimes need something associated with a magazine
>article photographed in some distant city and I'd like to be able to 
>refer to some book to find likely photographers.
>
>Any ideas?

Professional Photographers of America (PPofA - may have changed to PPA) puts
out a "Who's Who of Professional Photographers" book every year.  PPofA is
mainly studio, portrait, wedding, industrial type photographers.  Maybe
ASMP (something like that) which is for magazine photographers does something
similar.

--------------------------------------------------------------------------------
Ken McFadden        kjm@cnmss.tredydev.unisys.com
Unisys Corporation  kjm@cnmsa.tredydev.unisys.com
P.O. Box 203        work: (215) 648-3742
Paoli, PA 19301     home: (215) 675-0382
From: phr@soda.berkeley.edu (Paul Rubin)
Newsgroups: rec.photo
Subject: Re: Need film recommendation for baby's birth
Date: 29 Aug 92 01:47:51
Organization: CSUA/UCB
NNTP-Posting-Host: soda.berkeley.edu
In-reply-to: goldberg@oasys.dt.navy.mil's message of 28 Aug 92 17:29:35 GMT

A friend showed me photos of her now-2-year-old daughter being born,
taken by another friend.  Apparently once the head is out it takes
only a second or so for the rest of the baby to emerge (assumes
noncomplicated headfirst delivery).  She said it happened too fast for
the photographer to catch it.  Moral is you probably want an AF SLR
with a fast motor drive (renting an F4S is not that expensive...)
Don't know what you'd do about pulsing the flash this fast.
Nikon made something called a Repeating Flash decades ago that
cost kilobucks but I don't know of any non-industrial unit like it
now. Besides, it would probably bother the baby.
From: yz@galen.med.virginia.edu
Newsgroups: rec.photo
Subject: Nikon AF lens
Date: 3 Sep 92 21:27:02 GMT
Organization: University of Virginia

In a recent post about the new Nikon N90, it mentioned something about AF and  
AF-I lens. This is the first time I heard of this. Can anybody explain?
yz
Newsgroups: rec.photo
From: yz@broca.acc.virginia.edu 
Subject: Re: Looking for low cost flash for Elan
Organization: University of Virginia
Date: Mon, 31 Aug 1992 13:06:42 GMT

In article <1992Aug28.162659.236@clark.edu> gsnow@clark.edu (Gary Snow) writes:
> In article <BtnD1t.Dt7@news.larc.nasa.gov> txn@sirius.larc.nasa.gov (Troung  
Nguyen) writes:
> >I am looking for a flash for my Elan.  Any recommendation 
> >on any flash that would be fully compatible with the Elan 
> >is appreciated. I don't want to spend over $150 for a flash, 
> >but I would if it's worth it.  The Canon 300EZ's guide number 
> >is not a whole lot better than the built-in, and the 430EZ 
> >costs a little too much.
> 
> For a GREAT flash it doesn't cost all that much.....:-)
> 
> >A local dealer recommended a Sunpak 433AF (labeled "for Canon
> >650-43C" on the box) or a Vivitar 636AF(the only 2 he had for
> >Canon).  Both have automatic TTL (I disagreed with the 
> >salesperson when he said A-TTL flash is the same as automatic 
> >TTL flash, what do you think?)
> 
> Cannons A-TTL stands for "A"dvanced TTL.......the differences between
> A-TTL and TTL are unknown to me though.....anybody know?
> 
> Gary
You could try to find a old Canon 420 EZ. It is basically the 430 EZ with the  
strobe frequency at 5fps instead of 10fps. It is also a little more power  
hungry. You can get it for around $130 at some mail order places. The A-TTL  
uses a little tiny near infread flash before the main flash to test for  
exposure, subject reflectance and stuff like that. I'm not sure if the results  
are that much better than usually TTL flash. But it is rumored that Nikon is  
coming out with a similar feature in the SB-25, so it must have it's benifits.
yz
From: kjm@cnmss.tredydev.unisys.com (Ken J. McFadden)
Newsgroups: rec.photo
Subject: Re: Designing fast non-50mm lenses
Date: 25 Aug 92 16:44:22 GMT
Organization: Unisys Corporation, Tredyffrin

In article <1992Aug24.184815.735@research.nj.nec.com> markl@research.nj.nec.com (Mark Lee) writes:
>
> ... it is easy to
>get a small, light, relatively cheap 50mm, f/1.8 or better, with
>excellent image quality.  While there exist some moderately wide-
>angle (24mm to 35mm) and short telephotos (85mm to 135mm) with 
>f/1.4 to f/2, you generally pay through the nose for these, and
>they are noticeably larger and heavier than the 50mm's. 
>
>It seems to me (naively) that getting a larger maximum aperture
>should become easier as the focal length decreases, if only
>because the physical dimensions needed for fast telephotos are
>daunting (a 200mm f/1.4 would require a front element diameter of
>at least 110mm). ...

I know practically nothing about lens design, but a lack of knowledge on any
particular subject has not stopped me from posting articles in the past, so ...

I believe the problem is due to the mirror in SLR's.  In non-SLR's you can
place the rear element of the lens as close to the shutter curtain as you like,
but in SLR's, the designers can't place the rear element as close because the
mirror is in the way.  This leads to wide angle lenses that use a sort of
reversed telephoto technology.  Which makes the lens bigger, and of course
more expensive as you make it faster.  I am probably wrong, but I believe
the technology is called something like "retrofocus".

I believe "non-retrofocus" wide angle lenses (like the ones for Leica's
rangefinder cameras) are simpler to design and will always be sharper
than their equivalent focal lengths for SLR cameras.

Just imagine, if there was no mirror to get in the way, the Nikon 6mm f/2.8
would need a front element only 0.75mm in diameter and would sit just 6mm from
the film plane (and even closer to the shutter curtain).  Of course, since the
angle of view is around 180 degrees (or more?) that most of every picture
taken with the lens would include the interior of the camera, a small
portion of the center of the frame would show what's in front of the lens
mount.

--------------------------------------------------------------------------------
Ken McFadden        kjm@cnmss.tredydev.unisys.com
Unisys Corporation  kjm@cnmsa.tredydev.unisys.com
P.O. Box 203        work: (215) 648-3742
Paoli, PA 19301     home: (215) 675-0382
Newsgroups: rec.photo