HDTenEightyP/NetNews huggingface dataset:
From: tim@nijinsky.ipac.caltech.edu (Tim Conrow)
Newsgroups: rec.photo
Subject: Re: Canon 10s Vs Nikon N90, Which one?
Date: 4 Jan 93 12:38:51
Organization: California Institute of Technology
	<BzyIHq.KoC@jrd.dec.com> <1992Dec28.164753.21867@research.nj.nec.com>
	<C00D8z.Mw3@jrd.dec.com>
	<1992Dec29.052659.5274@jarvis.csri.toronto.edu>
NNTP-Posting-Host: nijinsky.ipac.caltech.edu
In-reply-to: acs@csri.toronto.edu's message of 29 Dec 92 10:27:00 GMT

In <C00D8z.Mw3@jrd.dec.com> diamond@jit533.jit.dec.com (Norman Diamond) writes:

>In article <1992Dec28.164753.21867@research.nj.nec.com> lds@ccrl.nj.nec.com (Duan-Shin Lee) writes:

>>I think the screen with MF aid that you talk about is the microprism screen. 
>>Can you point out some evidence that this screen messes up the metering
>>system?

>On an F-801, none that I know of.  On an F-801s, the manual says that the
>microprism screen for F-801 can be used in F-801s but that spot metering is
>no longer usable.  I don't know how badly it messes up spot metering.  I wish
>I could get microprism around the center spot rather than in it, and also
>have the grid outside of that.  Where oh where are the third parties....

The micro-prism focussing aid certainly DOES mess up spot metering on the
8008s. I know this by experimentation with my own equipment. there is also
a warning to this affect in the manual. I am not aware of any problems
with other metering modes.

-- Tim
From: mic@hpfcso.FC.HP.COM (Marc Clarke)
Date: Mon, 11 Jan 1993 02:30:56 GMT
Subject: Re: Bargains in Moscow?
Organization: Hewlett-Packard, Ft. Collins, CO
Newsgroups: rec.photo

The Kiev line of cameras are a vastly inferior knockoff of the famed
Hasselblad cameras and Zeiss lenses.  They are amusing paper weights,
not cameras.  The were directly copied from the Hasselblads, but do
not exhibit anything even resembling the manufacturing tolerances or
quality of the Swedish mechanisms or German lenses.  Further, good
luck getting one repaired when it breaks, which it will do on about
the second roll of film.

The Zenit line of 35mm and view cameras and optics are also inferior
to just about anything except a pinhole camera.  Good luck getting one
repaired when it breaks, which it will do on about the second roll of
film.

A Kiev or a Zenit is a conversation piece -- not a camera.  They are
historical to the U.S.S.R.'s communist party's socialized attempts to
convince the workers in their local worker's pardise that they had
life every bit as good as that of those decadent Westerners.  

Any competent photographer in the Soviet Union knew better.  In the
days of communism, the Soviet professional and news paper
photographers used to shoot anything West German or Japanese that they
could get their hands on.  The bribes I used to be offered in the USSR
in the mid-70s for Japanese 35mm cameras were pretty wild (drugs, sex,
money, supposedly original artworks, icons, etc.).

These days, watch CNN to see what kind of camera gear the Russians
bring to international press briefings.  Not Kievs or Zenits, I assure
you.

For the same dollar amount you will get a much better camera buying
used gear from one of the advertisers in Shutterbug.

Organization: Hunt Institute for Botanical Documentatn, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.photo
Date: Fri,  8 Jan 1993 16:53:42 -0500 
From: "Frank A. Reynolds" <fr0c+@andrew.cmu.edu>
Subject: Copies of Photo CD

The cost to copy a "Photo CD Master" is based on the number of
images on the CD.  Which at one photo store in Pittsburgh is;

24     images		$28.00
25-49  images		$49.00
50-74  images		$74.00
75-100	images		$99.00

Does anyone know if the cost of a copy of the "Photo CD Portfolio"
will also be based on the number of images on it?



Frank Reynolds

From: mic@hpfcso.FC.HP.COM (Marc Clarke)
Date: Thu, 7 Jan 1993 18:21:24 GMT
Subject: Re: Shoulder mounts for bird photography (long)
Organization: Hewlett-Packard, Ft. Collins, CO
Newsgroups: rec.photo

A neat tip from someone who shoots both cameras with long lenses on
riflestocks and shoots the real thing at 1,000 yards.  Find a piece of
open cell foam and put it over your cheek piece on your stock.  It
will significantly damp vibrations in the system from your heartbead.
I know it sounds silly and looks strange, but it works.  

Another suggestion from the high power rifle shooting fraternity to
the photographic types using a rifle stock is to look into the use of
a shoulder sling such as rifle shooters use.  This is effectively a
large loop which fits around your left upper arm and attaches to the
front bottom of the camera's gunstock.  This sling keeps the gunstock
under constant tension, pulling it back into your right shoulder
without your having to use muscle power to pull it back into your
shoulder.  Such a sling really helps reduce wobbles.  

A last suggestion would be to practice followthrough.  Rifle shooters
routinely practice squeezing off a practice shot (no bullet, just
pulling the trigger) and then looking through their sights to make
sure the did not disturb their sight picture by engaging the trigger.
The same technique can be used with a camera lense -- carefully frame
your subject, snap a shot (no film needed), and then look to make sure
the framing of the subject is still exactly the same.  If you are like
most humans (including me), you will have a strong tendancy to move
the camera in one particular direction (for me it is down and to the
right).  Practice until you can "shoot" without disturbing the framing
at all.

Newsgroups: rec.photo
From: jake@bony1.bony.com (Jake Livni)
Subject: Re: depth of field question
Organization: The Department of Redundancy Department
Date: Fri, 8 Jan 93 15:02:57 GMT

In article <1993Jan7.233426.27567@cbnewsm.cb.att.com> ka1gt@cbnewsm.cb.att.com (robert.m.atkins) writes:
>In article <1993Jan6.182650.5972@colorado.edu>, panos@burton.cs.colorado.edu (Panos Tsirigotis) writes:

>> As we all know, most lenses have a depth-of-field scale so that one can
>> estimate the parts of the image that will appear sharp in the picture.
>> However, whether a picture is sharp enough or not also depends on how
>> much it is enlarged.  So, I was wondering how does one know the size of
>> enlargement that the DOF is set for ?

>Depth of field is really related to the limits of acceptable sharpness.
>This is highly subjective. 

>The "depth of field" markings which (used to) appear on lenses are based
>on fairly low standards of "sharpness". 

>that still looks critically sharp. For a critically sharp 8x10, you would
>need 80 lp/mm, which is about the limit of most film/lens combinations
>in perfect focus - i.e. there is no depth of acceptable focus.

To follow-up on Bob's fine response, late last night when the disco
next door kept me awake (this is NYC), I looked this up in Galen
Rowell's "Mountain Light" - I had just read him commenting on this
somewhere.  Rowell states (and he's not all that precise about some
technical statements) that the depth-of-field markings are appropriate
for 8 x 10's, but that he normally uses the markings for the next
smaller aperture.  He found that setting the HyperFocal Distance
(setting Infinity at the DOF marker) didn't produce satisfactory
results for him.  As you become more critical of your own work, you
may find the DOF offerings that are proposed on your lens barrel to be
inadequate. 

-- 
Jake Livni  jake@bony1.bony.com              10 years from now, George Bush will
American-Occupied New York                   have replaced Jimmy Carter as the
My opinions only - employer has no opinions. standard of a failed President.
Newsgroups: rec.photo
From: aj@lew.rosemount.com (Andy Joe)
Subject: Paint on Nikon N6006 peeling
Organization: Rosemount, Inc.
Date: Tue, 5 Jan 1993 13:11:09 GMT


The paint on my brother's N6006 is peeling off (actually, the paint is
sort of flaking off) the back cover of the camera body. 
Has anybody else with a N6006 had this happen to them?  Is this normal
or a bad paint job?

aj.
Newsgroups: rec.photo
From: stb@dasher.cc.bellcore.com (becker,sheldon t)
Subject: Re: Help shooting prom pics
Organization: Bellcore, Livingston, NJ
Distribution: na
Date: Wed, 6 Jan 93 15:08:03 GMT
Summary: Items to Consider (long!)

From: Shelly Becker (stb@cc.bellcore.com)

While I have not taken any prom pictures myself, I have briefly looked into
this.

1) You have to get your money up front.  If you think you have sufficient
volume, you can get preprinted envelopes.  Some of the labs may be able to
supply these directly.  Some of the couples will change their minds after
the pictures, breakup, etc so get the $$$$ first. 

2) Various "weddding labs" and "special events" labs will process and make
prints very cheaply.  However, this requires that you follow a prespecified
film format.  Usually 2 1/4 and only vertical.  In addition, they specify
and will also supply the cropping ahead of time.  They process all negs on the
roll.  Price is cheap.  Not worth your time.  I have dealt with National
Color Labs (908-241-1010) on other areas.  Call them and they will send you
a catalog.  Other labs can be found in standard "pro" photo magazines ---
or email me and I can get their numbers for you. 

3) Identifying the couples is a further problem.  Some do this by wasting
one frame per roll and using an id number.  Then you make a customer list and
count from there.  Call National, etc. and ask what they suggest.  One
Lab even recommended that you id every other frame, but that is a bit 
excessive.

4)  Backdrops can be as simple as plain seamless paper but the better the
set -- the more photos you will sell.  Suggest that you build a special
set with the name of the event, etc. 

4) Delivering the photos is the next problem.  In most cases, a dance prom at
a local highschool, arrangements can be made to have someone give out the
photos (i.e. the school office, etc.)  You are really asking for a lot of
work if you have to mail each of them.  If you do have to do this, then you
must include postage and your time into the costs.  That brings up the
idea of polariod.

5) This is by far the simplest solution.  However, polariods are not cheap.
In addition, you have to include the process time per print after each is
taken.  When you get a line -- then the polariod process gets
to be a bottleneck but does save on all of the other problems.  Also you can
do the reprints right there if necessary.  A second problem is "how much"
polariod film to purchase.  If you do not have enough -- you are in trouble.
If you have too much - will the supplier take it back?  If you do this all the
time, this is not a problem but for a one shot event!

6) Folders can be purchased relatively cheaply from either an album house or
many color print processors.  I think this is a must even with the polariods.
Polariod folders, which are a special size are also available.  Once again --
you have the problem of "how many to order."   An envelope is optional but 
nice.

7) After all of the above, I decided not to get into this area -- epecially
on a one shot basis - but then I did not make any money by this decision
either.
From: robert@sys.sweden.dg.com (Robert Claeson)
Newsgroups: rec.photo
Subject: Re: <None>
Date: 11 Jan 93 12:57:23 GMT
Organization: Data General AB, Akalla, Sweden

In article <PD.93Jan2012035@horus.sics.se>, pd@sics.se (Per Danielsson) writes:
> In article <1993Jan1.224631.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au writes:
> 
> >In article <PD.92Dec30212624@horus.sics.se>, pd@sics.se (Per Danielsson) writes:
>    ...
> >> It is based on a test by the magazine "Aktuell Fotografi". The Tamron
> >> 90/2.5 macro and the Zeiss PLanar T* 85/1.4 got the highest ratings in
> >> a test of 34 short telephoto lenses from 85mm to 135mm. All the major
> >> brands were represented.
> >> 
> 
> >Per, what distance did they test the lenses at? If it was infinity, the results
> >at macro distances are useless.
> 
> Yes, I realize that (and several of you guys have pointed it out to
> me), even if I think that "useless" is a little too strong word for
> it.

As I see it, there's no reason to believe that a macro lens should perform
worse at short distances than at longer ones. Thus, if a macro lens performs
good at infinity, it should perform at least equally well at the shorter
distances for which it is designed.

As a side note, I first interpreted "useless" above to mean that the
photographic results from a macro lens that performed well at infinity
would be so bad at macro distances that they would be useless. Then I
realised that the intended meaning was for the MTF results...

-- 
--------------------- This mass of gibberish came from ---------------------
         ____
        |    |               Robert Claeson
        |    |               Data General AB
 _______|____|_              Box 28
|    |    _    |_____        S-164 93 KISTA
|_/\ |   / \   |     |       Sweden
| \/ |   \_/   |   . |
|    |    |    |_____|       robert@sys.sweden.dg.com
|____|_________|-
Newsgroups: rec.photo
From: hsong@ardour.bellcore.com (G. Hugh Song)
Subject: Bogen 3051 tripod: quick leg release?
Organization: ....
X-Newsreader: Tin 1.1 PL5
Date: Tue, 12 Jan 93 02:08:58 GMT

In literature from Bogen, ".... all three legs can be released 
simultaneously.  All it takes is a firm pressure on one of the two 
separate sets of triggers.  These triggers will let you move from as low 
as 15 3/4" to 63 1/4", almost as fast as you can lift your camera."
I guess the Manfrotto literature contains the same information about
the equivalent Manfrotto tripod.

Since there is no Bogen dealer nearby, I have to make a trip to NYC to
see how it really works.  Does anybody in the net own this tripod?
Could you explain how the triggers linked to the leg joints?  The thing
I'd like to know is whether having the above-described feature affects
the overall ruggedness of the joints.   I doubt that 12.65 lbs tripod is
aever designed with any strength-related problem.  But I'd like to hear
how useful in practice this feature is from real owners.

Thanks.

	Hug
From: samuel@cs.ubc.ca (Stephen Samuel)
Newsgroups: rec.photo
Subject: Re: Photo-Swap Theme portfolio Ballot
Date: 12 Jan 1993 00:11:30 -0800
Organization: Computer Science, University of B.C., Vancouver, B.C., Canada
NNTP-Posting-Host: chaplin.cs.ubc.ca

sog@craycos.com (Steve Gombosi) writes:

>In article <1993Jan12.035745.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au writes:
>>In article <1iqom6INN77d@flip.cs.ubc.ca>, photo@cs.ubc.ca (Photo-swap central) writes:
>>...
>I'm sure we'd be delighted to see the August (in all senses of the word) 
>winter shots from our antipodean colleagues. I rather doubt if they'll be
>able to participate fully in the swap, though (since it does require a 
>physical transfer of prints, or at least it has in the past). Perhaps
>there should be separate swaps for each continent?

Well, if the Electronic Distribution stuff works, then we'll be able
to at least see the stuff from various places (if not at the prime 
resolution).  It's not quite decided, yet, how this is going to 
work, but we do have the resources to digitize local stuff and make
it available for FTP.  We'll really need local people in the various
areas to digitize stuff for the electronic portfolio, or we'll only
get submissions from people with their own scanners.
-- 
-- 
Stephen Samuel 		(604)822-9248		samuel@cs.ubc.ca
The first prerequisite to winning is playing the game.
Xref: sparky rec.photo:22948 ba.general:5474
From: bongers@gto400.asd.sgi.com (Hans L. Bongers)
Newsgroups: rec.photo,ba.general,sgi.general
Subject: Re: Where to process color film - avoid Calypso Color Labs
Date: 4 Jan 93 22:38:09 GMT
Distribution: ba
Organization: Silicon Graphics, Inc., Mountain View, CA, USA

In article <1992Dec31.225857.26101@informix.com>, proberts@informix.com (Paul Roberts) writes:
|> A friend of mine had a very bad experience with Calypso Color Labs
|> in San Jose, and I'd recommend you avoid them.
|> 
|> Paul

Paul ---

I've used Calypso a LOT.  They are pricey but I've never had any problems.
Maybe you could be more detailed as to the problems "your friend" had.

--- hans
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Zoom Ring Loose on 70-210 USM
Date: 10 Jan 93 16:29:58 GMT

In <1993Jan10.135317.21839@cs.cornell.edu> jchen@cs.cornell.edu (Jeffrey Chen) writes:

>Is this a flaw in my lens or is the zoom ring on the Canon 70-210 USM
>lens very loose? It is loose to the point where if I directly point
>the lens towards the ground, gravity will automatically extend the
>lens with the zoom ring turning with it.

My 100-300 USM has a very loose zoom ring as well.
I wouldn't worry too much.

>Jeff Chen
>jchen@cs.cornell.edu
> 
ACS
-- 
 ___ ___ ___ ______________________________________________________________
|   |   | __|"The Nikon lens owners are more gratingly smug, while the     |
| - | --|__ | Canon lens owners are more verbally abusive." - Tony Arnerich|
|_|_|___|___|______________________________________________________________|
Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|

Newsgroups: rec.photo
From: mcfarlan@aurigaxerox.com (Doug McFarland 73624 - UI Systems)
Subject: Sinar Questions
Reply-To: mcfarland.henr801c@xerox.com
Organization: Xerox Corporation
Date: Tue, 12 Jan 1993 11:36:49 GMT

I'm looking at a 4x5 Sinar (either the a1 or f1), as a field camera
and have a few questions.

1. Their catalog does not show a revolving back. Is it possible
to shoot vertical without tilting the whole camera sideways ? If 
so how so ?

2. Is the Sinar back a grafloc back ? Their literature does not say.
I would like to use an inexpensive 6x9 rollfilm (not their $1300 one
or the $2200 variformat).

3. Any a1/f1 folks want to comment on what they like/dislike about
these cameras.


	Thanks

		Doug McFarland


********************************************
        McFarland.henr801c@Xerox.com    
********************************************
Newsgroups: rec.photo
From: ALLAM@kcgl1.eng.ohio-state.edu (Seyed Allameh)
Subject: Yashica service center in NY, address?
Organization: The Ohio State University
Date: Tue, 5 Jan 1993 04:13:31 GMT

I have a Yashica FX-7 that has developed a problem recently.
Whenever I advance the film to shoot a new frame, it shoots a picture! The
camera was evaluated by a couple of repair shops here in Columbus and they
decided that the camera should be sent to Yashica in NY. I appreciate
if a kind sould tell me the address of this place.

Regards,
Seyed
Xref: sparky rec.photo:23399 ba.general:5542
From: terryd@fogno.corp.sgi.com (Terry Diemer)
Newsgroups: rec.photo,ba.general,sgi.general
Subject: Re: Where to process my color negative film
Date: 11 Jan 93 16:06:29 GMT
Reply-To: terryd@sgi.com
Distribution: ba
Organization: Silicon Graphics, Inc.


I tried getting some enlargements at Target and they lost some
very precious negatives.  The developers were very nonchalant about it too.
So beware...

-t
 
In article <1i23rlINNgta@fido.asd.sgi.com>, pdc@lunch.wpd.sgi.com (Paul Close)
writes:
|> From: pdc@lunch.wpd.sgi.com (Paul Close)
|> Subject: Re: Where to process my color negative film
|> Date: Fri, 1 Jan 93 10:51:33 PDT
|> Organization: Silicon Graphics, Inc., Mountain View, CA
|> NNTP-Posting-Host: lunch.wpd.sgi.com
|> Originator: pdc@lunch.wpd.sgi.com
|> 
|> John Eisenman (jice@echo.asd.sgi.com) writes:
|> >I would like recommendations for fairly inexpensive but
|> >reasonable places to have my file developed.  I am not a
|> >"real" photographer, so I don't need to interact much with
|> >the lab, but I would like a place that will give me good 
|> >results and actually checks the results before giving the
|> >prints to me.
|> 
|> Well, it sounds dumb, but I always get my film developed at Target.  It
|> takes 2-3 days, but I've never had a problem.  They're reasonably priced,
|> too (read cheap :-).  You don't get charged for prints that don't turn out,
|> as you'd expect.  This leads me to believe that somebody, somewhere,
|> actually checks them out.  The quality of the prints is consistently high
|> (well, as high as the qulity of the negatives going in :-), and they use
|> Kodak paper (If you care).
|> 
|> They (well, the labs they send them to, of course) have a wide range of
|> services, too, like enlargements and double prints, or glossy or matte
|> finish.  They even develop "panoramic" film....
|> -- 
|> Paul Close	     pdc@sgi.com	   ...!{ames, decwrl, uunet}!sgi!pdc
|> 
|> 			No fate but what we make

-- 


             /-Ms. Terry Diemer  | terryd@sgi.com-\
      is it snowing yet? i love to listen to the snow fall.
Newsgroups: rec.photo
From: ebraeden@magnus.acs.ohio-state.edu (Eric W Braeden)
Subject: T70 buy/sell/bad joke?
Organization: The Ohio State University
Date: Thu, 7 Jan 1993 21:23:13 GMT


Does anyone remember the Canon T70. I had one 2 years ago that decided
it wanted to fry it's guts out because the shutter release mechanism
wouldn't release causing a dead short that would drain the batteries in
less than a minute. The batteries got so hot you couldn't touch them
without getting burned. I wrote Canon at the time and their response
was basically: "Tough Shit!" The damned thing was going to cost more
to fix than it was worth so in a fit of rage I tossed it into a local 
river. (Apologies to the eco-nazies.)  :-)

I still have the 50 mm FD1.4 lens and the T70 commandback for it.
Somebody make me an offer. The lens is in perfect shape and the 
commandback is unused. The highest reasonable offer gets it.

If there are no reasonable offers, I suppose I can find an old
T70s body pretty cheap. One local place told me that a lot of those
T70s fried themselves in the same way. So maybe they're no bargan at
any price....Can someone confirm this?

Eric

-- 
Eric W. Braeden                    | "Der Verstand war zwar praechtig
Ohio State University              | doch das Nuetzte am Ende nicht viel"
ebraeden@magnus.acs.ohio-state.edu | Peter Schilling   120 Grad    1983
Newsgroups: rec.photo
From: youngd@panix.com (David Young)
Subject: Re: Mirror_lock Up with EOS 1
Organization: PANIX Public Access Unix, NYC
Date: Thu, 7 Jan 1993 13:00:44 GMT

In <93006.183235IO80861@MAINE.MAINE.EDU> IO80861@MAINE.MAINE.EDU (Damon Kiesow) writes:

>In article <1993Jan6.203331@lprhp3.epfl.ch>, dex@lprhp3.epfl.ch (Christian
>Decurnex) says:
>>
>>Hello,
>>
>>How the EOS 1 can lock-up mirror ?
>>
>>Christian Decurnex

>    Sorry, it can't. Just curious, what application did you need
>    mirror lock-up for?

>    Damon Kiesow / IO80861@Maine / 71131,1635 / 207-581-3059

You can set the mirror to lock up in self timer mode. use the 
short 2 sec count down. mirror will be lock up first and fire
shutter after 2 sec.

I think EOS10, ELAN and A2E can all do this kind of mirror lock
up.

david young
Newsgroups: rec.photo
From: poole@bnr.ca (Thomas Poole)
Subject: Re: Nikon F3 quirk?
Organization: Bell-Northern Research, Ottawa, Canada
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 5 Jan 1993 16:18:09 GMT

Just after loading a new roll of film the shutter
speed will be set to 1/80 until the frame counter
reaches 1. Don't ask me why.
Newsgroups: rec.photo
From: lswab@x400gate.bnr.ca (Lyndon Swab)
Subject: Judging age of Rolleiflex 2.8F?
Organization: Bell-Northern Research Ltd.,
Distribution: rec
Date: 11 Jan 93 14:11:37 GMT


I bought a (very) used Rolleiflex 2.8F this weekend (and I'm very
happy about it, thank you).  Is there any way to determine the age of
this beast?  I know that the current model is the 2.8GX - does anyone
know the differences which have been added/dropped over the years.

As a related question, do parts for this thing still exist?  The
Compur shutter was just overhauled, so I expect that those parts
exist.  However, the light meter is dead, and the focussing screen is
badly scratched.  Can they still be fixed/replaced?  Are focussing
screens compatible with the 2.8GX?

Thanks,
--
Lyndon Swab     lswab@bnr.ca, (613) 763-7165, ESN 393-7165