HDTenEightyP/NetNews huggingface dataset:
From: dinesh@pyrps5.eng.pyramid.com (Dinesh Jalisatgi)
Newsgroups: rec.photo
Subject: Color Fade using Sigma Lense and Sky filter.
Date: 30 Sep 92 18:21:00 GMT
Organization: Pyramid Technology Corporation, Mountain View



Hello,

 I just got developed a Ektar 100 using Minolta 3xi and Sigma 70-210(UC) with

 sky1-A filter and some photographs were shot with Minolta 28-80 with Haze1 and

 circular Polarizer. I notice that the photographs that were shot with Sigma

 have a faded color ( All the photographs were shot in Daylight). The color

 fade is noticeable. The photgraphs shot with Minolta Zoom are okay. 

 The film was developed at the store using Kodak Color Watch System. 

 Is this happening because of Filter. Should I use a Circular Polarizer with 

 the Sky1-A filter.

 Can Anybody help me on this.

 Thanks.


               -d----------         Dinesh S. Jalisatgi. 
              --ddd--------         Pyramid Technology Corporation
            ----dddddd-----         
          ------ddddddd----         off : (408)-428-7378.
        --------ddddddddd--         email: dinesh@pyramid.com
From: finn@isi.edu (Greg Finn)
Newsgroups: rec.photo
Subject: Re: Next Nikon camera: An AF interchangeable lens rangefinder?
Date: 2 Oct 92 00:07:14 GMT
Reply-To: finn@dalek.isi.edu (Greg Finn)
Distribution: usa

In article <1992Sep30.211234.7301@cerritos.edu> jacobs@cerritos.edu writes:
>> 	Assuming that my Leica books are accurate, recent yearly
>> production figures on M-6 models are several thousand units per year
>> ... I don't understand your point.  What demand?

>The demand would be coming from the pro market. Remember, that a lot of the
>trade in Leica's is in used equipment. Many major magazines (Nat. Geo., etc.)
>provide their photographers with a Leica gear. The same applies to wire
>services. Also, the rangefinder equipment is more popular in Europe than here
>in the U.S. I would love to have a Nikon body that would take my current lens
>and be in the same ballpark as Leica as far as noise goes. I'm a
>photojournalist and would love it. Nikon has produced cameras for the strictly
>pro market in the past, so it is possible that they can do it again.

	Much of the pro market it seems can already afford Leica's.
The body is now only slightly more expensive than an F4s.  A [28mm,
50mm, 90mm] M-6 system is no more expensive than roughly equivalent
Hasselblad or RZ-67 systems.  I checked, and indeed over several years
M-6 production has averaged about 7,500 units/year.  I just don't see
why a great pent-up demand for them exists.

	I like Leicas.  It's amazing that they are still keeping faith
with their rangefinder customers with such small volume.  I understand
your attraction to a cheaper rangefinder.  If I were you I would look
at an EX+ used M4-2, which goes for about $800, and get used mint'ish
35mm Summicron-M and 90mm Tele-Elmarit M lenses.  Add a spot meter and
you are out the door for $2500.
--
Gregory Finn	(310) 822-1511
Information Sciences Institute, Marina Del Rey, CA 90292
From: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: T-Max developing (again)...
Date: 30 Sep 92 19:26:24 GMT
Reply-To: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Followup-To: rec.photo
Organization: Amdahl Corporation, Sunnyvale CA

In article <92273.091655JSN3@psuvm.psu.edu> JSN3@psuvm.psu.edu writes:

>
>The bottom line is my tones seem somewhat blocked.  I should probably do some
>Tri-X and T-Max side by side comparisons but I haven't gotten around to it yet.
>(Life keeps interfering...)
>
>I noticed someone on the net said they used a water bath.  Does anyone have any
> other suggestions?  BTW, I suppose it would help you to know I've been using
>T-Max developer (expensive stuff) and the suggested time.  Has anyone tried
>the photographer's formulary version of T-Max developer?  I haven't ordered
>from them yet but I just got my copy of the Book of Pyro (another project) and
>I will be soon.  Thanks in advance!

I had constant trouble, not with "blocked" highlights in the sense of loss
of detail, but rather with overly dense highlights if I got my mid-tone
contrast right.  I got the Book of Pyro and, so far, the problem seems
to be ended.  Or maybe I should say that I got the Book of Pyro *and* started
using PMK Pyro. ;-)

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.                                                        |
|----------------------------------------------------------------------------|
Newsgroups: rec.photo
From: sheldon@makesys.com (Sheldon)
Subject: Seeking good Pentax lenses
Organization: Make Systems, Inc.
Date: Fri, 2 Oct 1992 16:33:35 GMT

I've been using a Pentax LX camera for some time, and I like the camera body
very much. I'm interested in upgrading my lenses at this point (I've been using
mostly some Tokina lenses) and I was surprised at how few lenses Pentax is
making at this point. The bulk of these seem to be autofocus zoom lenses,
which I'm not that interested in.
So I'm interested in readers opinions on several points:

1) I'd like to get some high-quality fixed length lenses. Other than Tamron
   and Tokina, is anyone making good Pentax compatible optics? 

2) If I enter the swap-meet / used lens market, is there a good guide to the
   quality of old Pentax equipment?

I don't particularly want to switch to Nikon at this point, but if that gave
me access to a qualitatively better and more diverse line of optics in the
long run, I would consider it.

Any constructive suggestions etc. are appreciated.


-sheldon white-

sheldon@makesys.com
Newsgroups: rec.photo
From: smustopo@nyx.cs.du.edu (sofjan mustopoh)
Subject: Photographing  burst ballon.
Organization: Nyx, Public Access Unix @ U. of Denver Math/CS dept.
Date: Mon, 5 Oct 92 05:37:40 GMT


   Ok few days ago i promised some body on net to
 post the schematic of Sound and light flash trigger
 well . i have found it but rather than rewriting
 and posting  the whole thing on net .(i have a hell semester)

      I have found another sources. The  November edition
 of Radio Electronic has a project called Super strobe trigger
 this one has more future than the one i have. And require more
 soldering but i think it is very well worth it.

       The strobe trigger  can be trigger by Mic,and I.R led
 it also has sensitivity and delay adjustment. It is available
 complete with PC board,Case and all the components ,.for
 $39.75 and 3.50 s/h .
       TheRadio Electronic Magazine can be found just about any 
where. T
 If you still want the simpler schematic email me
  
 Disclaimer : I have nothing to do with any product i mention 
              above. ! 

  Sofjan mustopo
  smustopo@nyx.cs.du.edu
  UK07802@mik.uky.edu

From: tonya@hpldsla.sid.hp.com (Tony Arnerich)
Date: Mon, 28 Sep 1992 20:01:03 GMT
Subject: Re: Lens Focusing (was Re: lens tests..)
Organization: HP Scientific Instruments Division - Palo Alto, CA
Newsgroups: rec.photo

ka1gt@cbnewsm.cb.att.com (robert.m.atkins) writes:

# In article <1992Sep24.232108.14002@odin.corp.sgi.com>, donl@glass.esd.sgi.com (donl mathis) writes:
# > 
# > |> In article <1992Sep22.201647.8945@truevision.com>,
# > frank@truevision.com (Frank Loffel) writes:
# > 
# > |> > - How can you ensure perfect focus?
# > 
# > If you can arrange to put a point source right at the same position as
# > your subject, you can use a knife edge at the film plane to ensure
# > perfect focus.  Open the back of the camera, put a knife edge across
# > the opening precisely at the plane the film will be in, and then move
# > your head around until the edge cuts through the image of the point
# > source.  The image of the point source is formed by rays coming through
# > the whole aperture, all converging on a single point at the plane of
# > focus, and then crossing over and diverging again behind the plane.  In
# > other words, there are two cones, whose tips are joined at the plane of
# > focus.  If your knife edge is on either side of focus, it will be
# > cutting halfway into the cone, but you'll still be able to see the
# > other half.  If you're precisely at focus, there is no diameter to cut,
# > so the point should just wink in and out as it moves behind the knife
# > edge.
# ...
# HOWEVER, these techniques are of little use when lens testing with a 35mm
# camera, since you have no access to the image plane. 

I have yet to see a 35mm camera (besides auto-load P&S) where there is
no access to the image plane. I have used the knife-edge technique on
the film rails on many occasions in the last 20 years. As donl says,
open the camera back.

- Tony A.
From: tklai@acsu.buffalo.edu (Tobysze K. Lai)
Newsgroups: rec.photo
Subject: Re: Experience with Canon EF 100-300mm f/4.5-5.6 USM
Date: 2 Oct 92 20:05:10 GMT
Article-I.D.: acsu.BvIFsn.KuJ
Organization: UB

In Article: 45742 of rec.photo, jchen@wind.bellcore.com (Jason Chen) wrote:

>I have had the lens for over six months now. I found that I used the
>70 mm side of focal lenth more than the 210 mm side. The added stop
>(compared with 100-300) is very helpful in using a higher shutter
>speed to reduce shakes. 

So, what's the f/ stop reading when the focal length of the 70-210 USM
reaches 100mm?  Still 3.5?  


Toby Lai
tklai@acsu.buffalo.edu
From: ajayshah@cis.rand.org
Newsgroups: rec.photo
Subject: Any reviews of the Sigma 70-210 APO UC yet?
Date: 1 Oct 92 04:36:21 GMT
Reply-To: ajayshah@cis.rand.org
Organization: RAND, Santa Monica CA


Have you seen any magazine review the 70-210 APO UC lens?
I'm planning on buying it if it gets a clean bill of health.

        -ans.
Newsgroups: rec.photo
From: jkc@pyuxf.uucp (25312-choe)
Subject: x-ray harmful to your negatives
Organization: Bellcore, Livingston, NJ
Distribution: usa
Date: Wed, 30 Sep 92 19:11:53 GMT

Everytime my camera and the negatives are scanned at the airport
security terminals I wonder if the x-ray would dammage the
negatives.  Often, I read on manuals that the negatives should not
be scanned by security devices and I have not had any problems yet
having them developed.  Can the x-ray in the scanner really damage
your negatives?

James 
Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: LINEAR/CIRCULAR POLARISERS ON AF CAMERAS ??
Date: Mon, 5 Oct 1992 04:06:44 GMT
Organization: Hewlett-Packard Laboratories
Keywords: FILTERS, AF CAMERAS

After posting a followup to the above thread I got the follow e-mail:
> From: Gerald E Sylvester <sylve_ge@jhunix.hcf.jhu.edu>
> To: jacobson@cello.hpl.hp.com
> Subject: Re: LINEAR/CIRCULAR POLARISERS ON AF CAMERAS ??
> In article <1992Oct4.015129.25674@cello.hpl.hp.com> you write:
> >In article <1992Oct2.091237.49729@ccvax.ucd.ie> 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. 
> >
> >This is true.  The problem is that the linear polarizer causes the
> >meter to misread and under just the right conditions can cause the AF
> >to not function.  No harm is done to the camera.
> 
> First of all, I don't have an AF camara but I was just wondering how
> can a TTL metering system be fooled.  If the meter is looking through
> the filter, wouldn't the meter see what the film sees?  It doesn't
> make sense to me especially since it is a 'common' filter.  Also, 
> is this the only filter that a mis-metering happen with?

> PS - if you know the answer you might be better off just explainging
> it over USENET.

The problem is that in most AF cameras the AF mechanism is behind and
below the main mirror.  To let some light reach the AF mechaanism, the
main mirror is only paritially silvered.  Reflections off the surface
of plain or partially silvered glass can polarize the light.  In the
configuration used in an SLR, horizontally polarized light (electric
vector horizontal) is preferentially reflected while vertically
polarized light is preferentially transmitted.

So, looking at any polarized thing can confuse the meter.  If the
light is horizontally polarized the meter reads too high, if
vertically polarized it reads too low.  You can see this by just
taking your AF camera out and pointing it at blue sky about 90 degress
from the sun.  Then rotate it about the lens's axis and watch the
meter change.

And of course, light that has passed through a linear polarizer
confuses it even worse than skylight.

The circular polarizer solves these problems by adding a quarter wave
plate after a linear polarizer.  Non-technially, a quarter wave plate
depolarizes the light.  Well, not quite.  More technically, it
consists of a material in which the speed of light is different
depending on polarization.  The axis for fast propagation is set 45
degrees to the linear polarizer.  So logically half the linear
polarizers light can be thought of as being coerced to the fast
polarization and half to the slow polarization.  This material is just
thick enough that the slow one gets delayed by a quarter wave realtive
to the fast one.  The result is circularly polarized light, which is
unaffected by rotation of the whole gizmo, and which, like unpolarized
light, seems to a half silvered mirror to have equal horizontally and
vertically polarized components.

  -- David Jacobson
From: tse@ra.nrl.navy.mil (Anthony Tse)
Newsgroups: rec.photo
Subject: Re: Former Nikon Owner Followup
Keywords: Nikon
Date: 6 Oct 92 21:00:00 GMT
Distribution: na
Organization: Naval Research Labratory, Washington, DC

In article <92Oct06.154007.22265@acs.ucalgary.ca= panlilio@acs.ucalgary.ca (Victor P. Panlilio) writes:
=In article <1992Oct6.144250.23145@galileo.cc.rochester.edu> eugene@briar.lle.rochester.edu (Eugene Kowaluk) writes:
=Havig said that, I should note that in comparison tests it seems
=that the new Nikon N90 autofocuses the new AF-I Nikkor 300mm 2.8
=faster than the EOS-1 focuses its USM 300 2.8. (The pro shop
=owner I talked with, who carries both full lines, claims this).

	What's a N90??

-Anthony
From: cf043@cleveland.Freenet.Edu (Lance K. Chun)
Newsgroups: rec.photo
Subject: Canon EF 80-200L or USM 200/2.8L?
Date: 28 Sep 1992 08:11:53 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: cf043@cleveland.Freenet.Edu (Lance K. Chun)
NNTP-Posting-Host: hela.ins.cwru.edu



I'm planning to get either the Canon EF 80mm-200mm 2.8L or the new USM
200mm 2.8L. For those of you out there that have either, please give me
your opinions and tell me what made you get the one you have; or if you
have both, which one do you like/use more?

Two big reasons I want to get the 200mm 2.8 is because a) the other is a zoom
and b) without USM I have to flip a switch before I can manually overide the
autofocus. I manually fine focus on almost all shots with my 85mm 1.2 and I
really want that feature, but since my next class will use the studios
heavily, I am reluctant to get a 200mm fixed; I probably won't have enough
room to use the 200mm in the studio for many setups.
 
Help!

Opinions and advices welcomed! E-mail very welcomed!

Lance
-- 
Lance K. Chun                        E-mail #1  lkchun@heartland.bradley.edu
Photography Major                           #2  cf043@cleveland.freenet.edu
Fashion/Illustration/Advertising            #3  ag459@yfn.ysu.edu
Brooks Institute of Photography                 Santa Barbara, CA, USA     
Newsgroups: rec.photo
From: axman@acadia.Kodak.COM (Mike Axman)
Subject: Re: Ektar vs. Gold
Organization: Eastman Kodak Co., Rochester, NY
Date: Mon, 28 Sep 92 15:54:51 GMT

In article <1992Sep26.161533.11683@ecsvax.uncecs.edu>, mvolo@ecsvax.uncecs.edu (Michael R. Volow) writes:
>
>Both Ektar 25 and Kodak Gold Plus 100 are great films. However, the
>higher speed version of Ektar (1000) does no do well with mixed or
>tungsten light sources (it's hard to correct for tungsten in printing
>with this film because of color crossover).
>-- 

I would expect this to be a problem with any high-speed film, since 
the greater sensitivity would allow for a lot of unwanted exposure 
in the fast blue layer by the tunsten source.  
Have you noticed that "other" brands of high speed film respond noticeably
 different?

>Michael Volow, Psychiatry, Durham VA Med Center, Durham NC 27712
>919 286 0411 Ext 6933               mvolo@uncecs.edu


-- 
Mike Axman  
CD-Imaging Advanced Development
Eastman Kodak Company
axman@kodak.com


DISCLAIMER:
Kodak gives me this Net access for free, but they aren't 
responsible for my postings.
From: keeney@vixvax.mgi.com
Newsgroups: rec.photo
Subject: Re: EOS - weatherproof?
Date: 5 Oct 92 23:02:27 CDT
Distribution: rec.photo
Organization: Management Graphics, Inc.

In article <26526@castle.ed.ac.uk>, hrvoje@castle.ed.ac.uk (H Hecimovic) writes:
> 
> 
> Hi, does anybody has any EXPERIENCE using EOS (I have Rebel) in bad
> weather - fog, drizzle, shower?

I have used my EOS-1 (and assorted EF lenses) in all sorts of 
camera-hostile situations:

	On the beach with high winds blowing salt spray everywhere, 

	Outdoors on a "crisp" MN winter day (-15 deg F).

	In heavy, sticky, falling snow on a "warmer" MN winter day.

	On my back on a bike for 2 days of riding.

	Bolted to the frame of a motorcycle 6" above pavement level.

	In the mouth of a 2 yr-old.

The EOS-1 and lenses still work great.  

My 430-EZ flash has not fared so well.  After it got pretty wet in some sticky
wet snow, it has not worked quite right.  It occasionaly has some problems
like intermittent charging, flaky, crazy stuff on the display, etc. 

One comment on battery life.  Leaving the camera on with a medium to heavy
lens on and carried at the hip or on the back with the shoulder strap is a
great way to drain the battery in a hurry.  Every time the control dial
moves or the manual focus ring is turned a little by rubbing against one's body,
the battery takes a hit.  A day of this leads to an average life of about
2-3 rolls per battery.

-- 
Richard A. Keeney
VP, Development                Internet:  keeney@mgi.com
Management Graphics, Inc.         Phone:  +1-612-851-6126         
1401 East 79th Street, #6           Fax:  +1-612-854-6913
Bloomington, MN, 55425
U.S.A.
Newsgroups: rec.photo
From: ken@psych.toronto.edu (Ken Seergobin)
Subject: EOS 10s or Maxxum 7xi?
Organization: Department of Psychology, University of Toronto
Date: Sun, 04 Oct 92 14:54:37 GMT

Hi,

The time has come for me to purchase a camera.  Being
a bit optimistic the $$bucks$$ should be in hand
before the end of the year.  My need then is to receive
some real life sales pitch for either the
EOS 10s or the Maxxum 7xi.
At present I have a bias for canon - having used
an A1 for many years.  

I suspect that these cameras have been discussed 
on the net so please respond by e-mail.

Thanks,
Ken

Newsgroups: rec.photo
From: prahl@rtsg.mot.com (Teresa Prahl)
Subject: Panalure Select RC question
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: all
Date: Thu, 1 Oct 1992 14:20:25 GMT

I have recently purchase a package of Panalure Select RC paper
to experiment with, but would like some information before starting.
The label indicates that this is for B&W prints from color negatives.
Is there anything I should be watching out for when printing? Do
I attempt to use the contrast filters or are they unnecessary?

Any other information would be appreciated.

Teri

Newsgroups: rec.photo
From: brucer@oz.plymouth.edu (Bruce Ritchie)
Subject: Re: DEVELOPING ONLY
Keywords: DEVELOPING ONLY
Reply-To: brucer@oz.plymouth.edu (Bruce Ritchie)
Organization: Plymouth State College - Plymouth, N.H.
Date: Wed, 30 Sep 92 12:37:40 GMT

>Is this always true? I ask because of a recent experience with a roll 
>I had done by a drugstore. Now, normally I wouldn't use a drugstore for 
>processing, but I found that one in my area uses a lab that has color 
>balancing as good as or better than a higher-priced lab that was out 
>of my way. So, I thought, what the hell. But, when I asked them to 
>print 5x7" prints from a roll (original printing) they really lost their 
>minds, scratched negatives, and cut some of the strips too close to ....

	My guess (and it's Just a guess) is that for some reason they
had to cut the negs befor making the 5x7's, probably because they do
so in a different machine than the roll printers they use for `normal'
size prints. 

>It would seem that I should find another lab, but for my personal shoots, 
>I've found that it's six of one and half dozen of another. A lab may 
>do great printing for most my work, then screw up and scratch a critical 
>negative, lose negatives, or start printing crappy. Or they don't offer 
>the services I need. I wait until they've pissed me off more than once 
>(what a sucker) and then I move on. Sigh.

	There's an old saying; "Fool me once, shame on you; fool me
twice, shame on me." 

	While, as they say, shit happens, it is possibile to find a
lab that does the best possibile work MOST of time! Become a `regular'
customer, and you'll get better service.

		brucer
-- 

	  "I hate television. I hate it as much as peanuts.
		  But I can't stop eating peanuts."
				Orson Wells
Newsgroups: rec.photo
From: wb@cbnewsj.cb.att.com (werner.baumgartner)
Subject: Minolta 110 SLR Zoom
Organization: AT&T
Distribution: na
Date: Tue, 6 Oct 1992 22:31:09 GMT

I recently picked up this camera for a good price and find it very
interesting. However, I know very little about it. I was told it may
be a valuable collectors item. I've loaded it up and am taking some
pictures now. It seems to work just fine. Any information about this
particular model would be appreciated.

					Thanks, Werner B.
Newsgroups: rec.photo
From: ed@crash.cts.com (Ed Aiken)
Subject: 2 color printing ?
Organization: CTS Network Services (crash, ctsnet), El Cajon, CA
Distribution: na
Date: 26 Sep 92 10:17:40 PDT


     A couple of questions about printing color negatives.

     First, at a recent photo judging, a number of color abstracts were
submitted.  The judge repeatedly said that unlike photos of recognizable
subjects, there is no reason to seek accurate color filtration in
printing in abstracts....the governing principle is what pleases the
photographer....In general I agree with that philosophy, but it has been
my experience that when the filtration is "wrong", the print takes on
an overall color caste, which has the side effect of lowering the contrast
which in turn would lower the "punch" of even abstract subjects....In other
words, there is at least some reason for seeking accurate filtration for
even photo abstrations....Others observations?

     Second question:  I am about to shift from EP-2 to RA-4 processing.
Anyone have any rules of thumb for filtration and speed differences
between the processes, or does it depend on the RA-4 manufacturer?....
I am moving from Kodak EP-2 to either Agfa or Mitsubishi RA-4...

Thanks,

Ed
From: davidson@ccrs.emr.ca (David Davidson)
Newsgroups: rec.photo
Subject: When in B&W film too old?
Date: 3 Oct 92 03:11:40 GMT
Organization: Canada Centre for Remote Sensing, Ottawa

I have been given 2 dozen rolls (mixed)  of KOdak PanAtomic-x , Plus-X Pan
and Technical Pan-X. All has been kept in a freezer, but some since 1985!
I have used Tech Pan before and I love it, but is stuff this old safe to
use. I will be in Prague in 10 days and I dont want to risk bad film, but...

So, can anyone offer some advice? 

Please accept my thanks in advance.
Regards
David
davidson@ccrs.emr.ca