HDTenEightyP/NetNews huggingface dataset:
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: PLEASE...HELP ON BUYING MY FIRST SLR CAMERA
Date: Thu, 10 Sep 1992 15:38:54 GMT
Organization: Hewlett-Packard Laboratories

In article <1992Sep10.063548.17287@iitmax.iit.edu> keivjam@elof.iit.edu (James Keivom) writes:
>thanks
>
>jim
>


Before any of us could answer this we need to know the answers to
several questions.

1.  What is the general price range you are interested in, or if you
don't have any idea what this stuff costs, what is the absolute upper
limit?  

2.  How technical are you?  Do you really enjoy understanding f-stops,
shutter speeds, focsing, depth of field, etc., or do want the camera
to get the picture for you with the minimum of fuss?

3.  How quality-conscious are you?  Do you primarily want "family
memory" shots, or good enough to enter contests or do you want
to try for publication?

4.  What are your special requirements?  Here are some
	Ultra close up
	Sports
	Dim light
	Wildlife
	Small children
	Must be usable by non-technical spouse/SO
	Rugged
	

Since your address ends in .edu I'm going to guess that you are a
student and econonmy is a serious concern.  If you are primarily going
to be doing vacations snaps, etc., and like technical things and don't
feel you need auto-focus, you might consider a Pentax K-1000.  If you
like being riskier and are willing to learn about the photo
marketplace before you get into it (difficult), you could try the used
market.  There are a lot of old Canon AE-1's and the like out there.
If you really want a new camera with AF and price is very important,
you could go for the Canon Rebel, but in my opinion, the price
difference up to a really good model, like the Elan, makes this
questionable.  

  -- David Jacobson
From: madler@vssad.enet.dec.com (Michael C. Adler)
Newsgroups: rec.photo
Subject: Slide archival
Date: 7 Sep 92 02:31:15 GMT
Reply-To: madler@vssad.enet.dec.com (Michael C. Adler)
Organization: Digital Equipment Corporation


I know we have recently had a fascinating discussion on the archival
qualities of paper tape and the migration of the reflective layer
in CDs due to centripetal force.  There is even a small chance that
I started it by asking about selenium toner.

I'm actually interested in image permance of slides without transferring
them to punched cards.  There are plenty of references to the longevity
of Kodachrome but I haven't been able to find anything published
on the following two subjects:

1.  Do various mounts affect permanence?  Namely, is there a difference
    between paper, plastic and glass mounts.

2.  What is the expected lifetime of the various Fuji film offerings?
    How about Ektachrome?

Any comments or references would be appreciated.

-Michael
Newsgroups: rec.photo
From: axman@acadia.Kodak.COM (Mike Axman)
Subject: Re: New Canon mentioned on CBS This Morning
Organization: Eastman Kodak Co., Rochester, NY
Date: Thu, 10 Sep 92 17:02:24 GMT

In article <1992Sep10.152915.28058@wri.com>, markm@wri.com writes:
>In article <1992Sep9.192416.1@acad3.alaska.edu> fsjfz@acad3.alaska.edu writes:
>> In article <BuC5Mp.A16@cup.hp.com>, pdg@cup.hp.com (Paul Gootherts) writes:
>> 
>> > They said it's able to focus on "what the photographer is looking at".
>> > They didn't say what that means.  They also said it is expected to sell
>> 
>
>I saw the story too.  They said that the camera uses two small laser-beams to  
>determine what the photographer is looking at.  I guess these lasers would  
>shoot out through the viewfinder and reflect off your eyeball, giving the  
>camera some sort of clue as to what corner of the viewfinder your staring at.
>
>I don't know if it'll work or not.
>

YES!!!!!!!!!!!!!!!!!!!!!!!!!!!!!  It's about time!!!!!!!!!!!!
I saw this technology demonstrated at a trade show a couple years ago 
and wondered about this application (maybe I should have patented the idea :-))

I think this is the ultimate in the "point-n-shoot" philosophy. 
My idea was to have a pair of glasses or something, so the individual could 
take a picture of whatever they were looking at without having to raise a 
camera and compose.  This would be ideal for catching those unannounced 
action shots that I keep missing :-(

mike 


>--Mark

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



DISCLAIMER:
Kodak gives me this Net access for free, but they aren't responsible for my postings.
From: tonya@hpldsla.sid.hp.com (Tony Arnerich)
Date: Wed, 9 Sep 1992 18:49:18 GMT
Subject: Re: NoviceQuestion: Danger of really old film
Organization: HP Scientific Instruments Division - Palo Alto, CA
Newsgroups: rec.photo

bn112@cleveland.Freenet.Edu (Chris Katopis) writes:

> My friend has some old film that he never developed.  I mean
> really old, twenty years.  Even if the photographs were
> developable, is there a threat of combustion, explosion, etc
> from the storage of old film?

There is certainly a fire danger from *really* old film. However,
20 year old film is brand new in comparison to when "safety film"
was introduced. Old, "un-safety" film was made by coating the
gelatin onto nitrocellulose (a close relative of nitroglycerine!)
the world's first (semi-)synthetic polymer. Acetate and other
synthetics with relatively low combustibility have been in use
for several decades now. Don't worry about it unless the film
was made in the 1930's or earlier.

In fact, old un-safety film would most likely crumble in your
hands when you try to load it onto developing reels. The stuff
ages poorly, and this failure mechanism is destroying our movie
film heritage as you read this note.

tonya@hpldsla.sid.hp.com
Newsgroups: rec.photo
From: boh@fraser.sfu.ca (Changhao Boh)
Subject: Re: Slave Flash Photography?
Organization: Simon Fraser University, Burnaby, B.C., Canada
Date: Wed, 9 Sep 1992 09:31:08 GMT

rune@cimsand.UUCP (Rune Riisnaes) writes:

>acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
>: I'm interested in getting an optically-trigged slave flash in the hopes
>: of eliminating the nasty behind-the-subject shadow associated with direct
>: flash (in those situations where bounce flash won't work).  Would I just
>: place the optically-trigged slave behind the subject, facing the wall?
>: 
>: I was thinking of getting one of those "Morris Mini Wide" slaves, but I
>: hear that it doesn't have variable output.  How would I balance the light
>: against my main flash?
>: 
>: Any other recommendations for slave flashes?  Any experiences to relate?
>: Speed of setup?  Final results?  Thanks.

>If I have control over the subjects position, I usually use one or two 
>slave flashes and/or fill reflectors in addition to the main flash to 
>control the light (and shadows).
>My slaves (unfortunatly) don't have variable output, so I balance the 
>light by adjusting the distance, or by bouncing the light off cardboard
>reflectors I've painted in different shades of gray.
>(It takes some experiments to figure out the light loss, but it's
>a real cheap way to light control :-)
>And I use a small Apollo umbrella for my main flash.

>If I don't have control over subject position, like when doing candids,
>I rely on a flash diffuser (Lumiquest SoftBox or a Micro Apollo),
>and have the flash mounted on a bracket high above the camera.  It works
>reasonable well.

>-- 
>Rune Riisnaes    E-mail: rune@cimage.no, rune@cimage.com, rune@cimsand.uucp
>                 Cimage A.S,  Skytterdalen 6,  N-1300 Sandvika,  Norway.
C
Hi, I am just wondering about the "Flash mounted high" stuff...

I have read in Shuttle bugs some advertisments for some unsual flash mounting
brackets, I wonder if you use those to moust your flash high.

Also, when you mount your flash high, don't you get shadows below the eyes and
noses ?

Actually, I just returned to photography after a 5 years break, and I am really
impressed with the current state of things in the photography world.  The
photo magazines have really improved.  Anyway, I just had a disater shoot,
couvering a good friend's wedding... Guess what, I forgot flash difusers and
my Metz 45 cast contrasty shadows bigger than the statue of liberty !  I am 
really embarress about the results, luckily, my weded friend is very forgiving..

Well, so if you have any tips reguarding flash photography, please advise.

Thanks.

Good Health.

Changhao.
>                 Phone: (47-2) 54 90 40   Fax: (47-2) 54 58 40
Newsgroups: rec.photo
From: jk@mitre.org (John Knobel)
Subject: Re: view cameras in foul weather
Organization: MITRE
Date: Fri, 11 Sep 1992 16:47:10 GMT

In article <BuF1vG.3Fn@dcs.glasgow.ac.uk>, jack@dcs.glasgow.ac.uk (Jack Campin) writes:
> 
> Does anyone have any clever tricks for using view cameras (or anything
> water-sensitive that requires time and a tripod, for that matter) in rain
> and wind?  Particularly if you're alone, without an assistant to hold an
> umbrella?

I have tried two *tricks* which seem to work...
for 35mm out in the weather I reverse mounted the tripod post (Bogen) so the
camera was below the apex. Obviously you need to extend the legs a bit more
for the desired height. I bungeed/tied a poncho over the whole set-up and got 
underneath. I have not tried it with my 4x5. You would have to have faith that
the center-post will not slip and let your rig descend *quickly* to the ground.

In similar fashion I used tripod/poncho as my windbreak while using a separate
mono-pod below it. I think you could use a 4x5 on a smaller tripod below in
like fashion. Obviously carrying two tripods is a pain, but so is carrying any
other windbreak device, and I have two tripods.

The first approach works good in rain, not so good in wind, as the windbreak 
and tripod are one and the same and picks up vibration. Second approach
is more gear to cart around, but isolates setup from wind too.

Best'o'luck,  John
----------------------------------------------------------------------------------------------------------
All opinions expressed are entirely my own and are in no way associated with the MITRE Corporation.
----------------------------------------------------------------------------------------------------------

 
Newsgroups: rec.photo
From: dfoster@maths.tcd.ie (Duncan Foster)
Subject: Wanted Nikon F90 review
Organization: Dept. of Maths, Trinity College, Dublin, Ireland.
Date: Wed, 9 Sep 1992 18:44:38 GMT

Missed the F90 review posted here. (Well I had to take holidays at some
stage!) Would someone mind mailing it to me? 

Thanks, 
	Duncan
Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: Getting the flash off of my camera
Date: Thu, 10 Sep 1992 03:51:58 GMT
Organization: Hewlett-Packard Laboratories

In article <EPPERLY.92Sep9141230@osnome.che.wisc.edu> epperly@osnome.che.wisc.edu (Tom Epperly) writes:
>I have a Nikon 5005 and a Nikon SB23 flash, and I am trying to figure
>out an inexpensive way to get my flash off of my camera.  I would like
        ^^^^^^^^^^^
>to minimize red-eye and to do vertical shots without the shadow to the
>side.  I would also like to have the flexibility to put my flash on a
>tripod far away.  I have been thinking about getting some kind of
>Stroboframe and a SC-17 flash extension cord.  I would like to know if
>anyone has any recommendations.

A while back I went through the same decision process.  There are
basically two choices if you want full functionality:  The SC-17, at
over $50 retail or the DuoSync cord for about $25.  There is
absolutely no comparison.  The DuoSync looks like someone's valiant
effort, but it just doesn't match up.  The cord looks like telephone
handset cord.  It enters blocks of machined aluminum with no strain
relief.  The SC-17, on the other hand is "built like a tank".  The
cord is *heavy* coiled rubber.  There are big strain reliefs at each
end.  I figured that if I bought the DuoSync, it would fail within 2
or 3 years, and then no matter what path I took I'd be behind.
Besides it would probably fail at the worst possible moment.  If I
bought the Nikon I would pay $50+ dollars once in my life.

  -- David Jacobson

Disclaimer:  These are strickly my own opinions and not those of my
employer.  
Newsgroups: rec.photo
From: forman@fraser.sfu.ca (Pamela Catherine Forman)
Subject:  Thagee Dresden EXA
Organization: Simon Fraser University, Burnaby, B.C., Canada
Date: Mon, 14 Sep 1992 01:01:03 GMT

This weeks challange:  Thagee Dresden EXA camera.  Made in USSR
occupied Germany (194?).  Lens is unremovable E. Ludwig, Meritar
1:2.9, f=50mm.
It has a really STRANGE viewfinder pop-up-box (for lack of a better
description!).  It is a 35mm and is presently residing in yet another
junk/antique shop.  At $100 I doubt that it will join my Zenit and 
Canon but I said that I would see if I could find anyone who knew 
anything about it.
Thanks.
From: rwt@ohm.york.ac.uk (Richard Taylor)
Newsgroups: rec.photo
Subject: Re: Zenit - E
Date: 6 Sep 92 11:51:51 GMT
Organization: Electronics Department, University of York, UK

The Zenit E is a remarkably tough camera - doubles as a hammer
between rolls. I used one for the best part of 6 years as an
impoverished schoolboy (as did many of my compatriots) and provided
that care was taken (someone mentioned the "preset" aperture
setting) good results could be obtained using the standard 50mm f2
lens. At that time I shot almost exclusively in black and white.
Although I had one of my dads old Weston lightmeters, I did most
things with the built in meter + a little thought. I made regular 10
x 8 and occasional 16 x 12 and 20 x 16 enlargements from a range of
films, generally with good results. The poorer photographs were
normally the fault of the guy behind the shutter (me) rather than
the camera.

Richard

-- 
    ,_~o    Richard Taylor             email : rwt@uk.ac.york.ohm
  _-\_<,    CSEG, University of York   tel   : (44) 904 432351
(*)/'(*)    Y015DD, England            fax   : (44) 904 432335
Newsgroups: rec.photo
From: chang@ecf.toronto.edu (CHANG Rong Fawn Teresa)
Subject: Re: Professional Labs in Montreal
Organization: University of Toronto, Engineering Computing Facility
Date: Sun, 6 Sep 1992 22:56:02 GMT

In article <05SEP92.13714494.0051@vmxa.polymtl.ca> DH02 <DH02@polytec1.polymtl.ca> writes:
>Would any kind reader from the city of Montreal (the one in Quebec)
>be able to recommend me to a professional photo-lab where I could
>get manually printed enlargements (8x10's etc.), preferably down-town
>(centre-ville) or around.  I'm kind of new to this (great ?) city!
>Merci beaucoup!  I would really appreciate any suggestions.
>Have fun in the sun ( a welcome change from the cloudy and rainy week
>that we've been having!).

I've been always wondering where to find such labs in Montreal.  Just for
the safe reasons, I always had my photo-finishing done in Toronto after each
visit to Montreal and Quebec.  I believe there is a lab at Montreal Chinatown
which is OK (from someone's prints).  Sunshine?  It has some. But it's often
cloudy and rainy too.  Have fun.  It's a nice place to shoot pictures.
Newsgroups: rec.photo
From: ptse@bcars65b.bnr.ca (Paul Tse)
Subject: photo labs in Paris, France?
Summary: Query for recommendations for photo labs in Paris.
Keywords: labs france
Organization: Bell-Northern Research, Ottawa, Canada
Date: Tue, 8 Sep 1992 17:32:30 GMT

I'm about to embark on my first vacation to Paris, France.  I was
wondering if anyone could recommend a photo lab in Paris that can
do B&W and color processing with a reasonably quick turn-around.
 
I plan on shooting some infrared there and don't want to risk 
having the film fog if I wait to process it here.
 
Any other tips about photography in France would be appreciated.
Thanks for your help.
 
  Paul Tse
From: mapres@gdr.bath.ac.uk (R E Slade)
Newsgroups: rec.photo
Subject: Slide duping
Date: 14 Sep 92 10:48:06 GMT
Organization: School of Mathematics, University of Bath, UK

Many thanks to all who replied to my question last week about copying slides
onto colour print film.  I have had a large number of responses which have
been very informative.  It seems that this question has been discussed before
on this newsgroup, so instead of posting a summary as I said I would, I will
send the threads I received to anyone who requests them by e-mail.

	Thanks again,

		Robert.
Newsgroups: rec.photo
From: markt@cup.hp.com (Mark Thompson)
Subject: Re: Needed: Info on 35mm B&W Enlargers
Date: Tue, 15 Sep 1992 23:38:57 GMT
Organization: Hewlett-Packard
X-Newsreader: Tin 1.1scd1 PL4

I agree with steve.  I used a cheep enlarger for longer than i would like 
to mention. It didn't take much to 
make the thing shake.  This weekend i picked up a Besler 23cXL and the 
difference is emince.  The 23CII XL was used and i paid $185.  If you could
find a deal like that i would cay that thoes light weight enlargers are not
worth bothering with.


Mark
From: moreaux@litsun22.epfl.ch (Michel Moreaux)
Newsgroups: rec.photo
Subject: any experience with Scotch 640T ?
Date: 14 Sep 92 14:01:09 GMT
Reply-To: moreaux@litsun.epfl.ch
Distribution: rec
Organization: Laboratoire d'informatique technique


Have you got any experiment with Scotch 640T film ?
For those who do not know about this film, this is a high-speed colour
slide film balanced for artificial light.

-Michel.
--
------------------------------------------------------------------------------
Michel Moreaux,                           | "Ceux qui ne savent rien en savent
Ecole Polytechnique Federale de Lausanne  |  toujours tout autant que ceux qui
Departement d'Informatique                |  n'en savent pas plus qu'eux"
Laboratoire d'Informatique Technique      |                  P. Dac.
EL-Ecublens                               |___________________________________
CH-1015 Lausanne                           
Phone # : (21) 693-46-72,   e-mail : moreaux@litsun.epfl.ch
------------------------------------------------------------------------------
Newsgroups: rec.photo
From: axman@acadia.Kodak.COM (Mike Axman)
Subject: Re: Digital Photography
Organization: Eastman Kodak Co., Rochester, NY
Date: Tue, 8 Sep 92 17:29:37 GMT

In article <Bu9pJp.20y@metaflow.com>, rschnapp@metaflow.com (Russ Schnapp) writes:

>I was certain, given the nature of this medium (i.e., usenet), that
>discussion of digital photography *somewhere* was a virtual certainty.
>From looking at rec.photo over the last week or two, I find an
>extremely diverse and voluminous discussion of conventional photography
>here.  The only mention I've seen of digital photography is of the
>ethics of applying intellectual property protection to Kodak's Photo CD
>product.
>
>Am I looking in the wrong place? 
>--

There is also sci.image.processing, but that group deals mostly with 
algorithm development, and more restoration/reconstruction issues, as 
opposed to the general topic of digital photography.

I suspect the traffic around digital photography to increase in rec.photo, 
as we are now seeing "affordable" scanners, writers, etc... (and PhotoCD).
Over the last year or so I've monitored rec.photo, however, the number of
discussions on this topic have been fairly small.

mike

>
>...Russ Schnapp
>BIX: rschnapp           Email: uunet!metaflow!rschnapp or rschnapp@metaflow.com
>Metaflow Technologies   Voice: 619/452-6608x230;  FAX: 619/452-0401
>La Jolla, California    Unless otw specified, I`m speaking only for myself!

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



DISCLAIMER:
Kodak gives me this Net access for free, but they aren't responsible for my postings.
Newsgroups: rec.photo
From: hasker@m.cs.uiuc.edu (Rob Hasker)
Subject: Re: Cambridge.........not again !!!
Organization: University of Illinois, Dept. of Comp. Sci., Urbana, IL
Date: Tue, 8 Sep 1992 17:52:16 GMT

DH02000 <DH02@polytec1.polymtl.ca> writes:

>Hi guys!
>
>Just curious (nothing else to do on a cloudy Labor Day!)...is there
>*anybody* out there who's had a *pleasant* experience dealing with
>"our friend" - Cambridge!

About 14 years ago, I ordered an Alpa Si 2000 from them.  Fortunately, I
didn't have any problems; they were the only mail-order house that carried
it.  But maybe the reason I didn't have a problem was that it _was_ an off
brand and I was even kind enough to them to buy the "kit" version (I didn't
know any better at the time, and I couldn't have afforded better equipment
anyways).

So maybe the satisfied customers consist of those who buy the kits.

Rob
From: hlam@umiami.ir.miami.edu
Newsgroups: rec.photo
Subject: Camera Bags
Date: 15 Sep 92 09:24:09 EDT
Organization: Univ of Miami IR

Does anyone have any comments or suggestions on the different Camera Bags
available?  i.e. photoflex,tenba,tamrac,etc..

I'm looking for a bag where I can conveniently leave it on my shoulder
and be able to pull the camera out without much fuss.  Right now, I'm using
a bag where I stack the lenses on top of each other by dividers.  So, it has
been troublesome when I want to change lenses quickly.  Sofar, I've been
carrying the following in my current bag: camera,20mm,28mm,50mm,35-105mm,
80-210mm,compact flash,filters,hoods, and 8 rolls of film.

Any suggestions would be helpfull...
Newsgroups: rec.photo
From: bil@burka..aix.kingston.ibm.com (Igor Belchinskiy)
Subject: Olympus OM-PC help wanted
Date: Fri, 04 Sep 92 21:45:39 GMT
Distribution: us
Organization: Be. I am.

My friend got Olympus OM-PC with Kalimar 35-135 zoom lenses last week.
And with a lot of buttons. But she has no manual and doesn't
know what this camera can do and how.

So if some kind soul may enlighten her (and me, btw)
that would be greatly appreciated

You may reply to vendiib%kgniax11@donald.aix.kingston.ibm.com
to to this newsgroup if appropriate.

Igor Belchinskiy

Newsgroups: rec.photo
From: CCGM <CCGM@MUSICM.MCGILL.CA>
Subject: Pull-Processing T-Max Sheet Film
Organization: McGill University Systems Inc (MUSIC/SP)
Date: Fri, 11 Sep 1992 23:00:41 GMT

   I've got situation where I basically want to contact print onto
T-Max sheet film (because it's easier than to use roll film). However,
the exposure is a bit too short for my liking. Obviously, what I want
to do is pull-process the film, and instead of rating it at 100 EI
I'd like to use something like 12 or 6 EI.
   Has anyone done this? Reducing the developing time is indicated,
I guess, but by how much? Trial and error can get me there, I suppose,
but it'd be nice if someone already knew!-) Also, I could inhibit the
developer by processing at a colder temperature, and perhaps also use a
weaker dilution.

   What I'm doing is some darkroom manipulation - basically, getting
an interference pattern similar to what you get with a print and a
negative image on the easel, so as to produce a version of a line
image for a portrait. I'm more interested in applying a technique than
in experimenting from scratch, but if necessary I'll do that. Just
thought that I'd ask first, though.

Glen Matthews
MUSIC Product Group, McGill University
550 Sherbrooke St. West, Montreal, Quebec, Canada H3A 3C5
Phone: (514) 398-4477 Fax: (514) 398-4488 BitNet: CCGM@MCGILLM
Internet: ccgm@musicm.mcgill.ca   Anonymous FTP: vm.mpg.mcgill.ca
From: sog@craycos.com (Steve Gombosi)
Newsgroups: rec.photo
Subject: Re: Lightworks and PMK Pyro (was Re: t-Max Films)
Date: 10 Sep 92 15:48:45 GMT
Organization: Cray Computer Corporation

I've been really intrigued with what I've heard about pyro's properties,
but doesn't the staining effect cause problems with VC papers?

Steve