HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.photo
Subject: Re: YASHIKA LYNX-1000 (Anybody had experience with it?)
From: fred-mckenzie@ksc.nasa.gov (Fred McKenzie)
Date: 9 Nov 92 15:15:38 EST
Followup-To: rec.photo
Distribution: world
Organization: NASA/Kennedy Space Center, Florida

In article <CMM.0.90.2.721328442.chribrud@gyda.ifi.uio.no>,
chribrud@ifi.uio.no (Christian Brudevoll) wrote:
> I have got a YASHIKA LYNX-1000, and wonders if anybody 
> have had any experience with it.

Christian-

I must be getting old.  The "Lynx-1000" sounds so familiar, but I can't
quite place it.  I think it may be one of the rangefinder models I was
considering back in the 60's, when I didn't have enough money to buy one!

If you can't find the battery, chances are it uses a selenium photovoltaic
cell to power the meter.  The selenium cells usually fail in time, probably
due to moisture in the air causing corrosion at the interface between the
external wiring and the selenium.  However, they usually fail by becoming
less sensitive, causing overexposure.  The "correct" fix is to replace the
bad cell with a good one.

There may be a resistor in series with the cell.  This resistor might be
temporarily replaced (or permanently replaced, if there's room) by a
variable resistor, which could be adjusted to make the reading agree with
other meters.  It could then be measured to determine the value of a new
fixed resistor.  This approach is NOT ideal!  It is possible that the
meter's accuracy will fall off at other light levels, if the substitute
resistor is much different from the original.

With regard to your shutter speed, 90% is actually pretty good!  That is a
small fraction of a stop equivalent.  One stop error would be equivalent to
50% or 200% of the shutter speed.

I recall a magazine article back in the late 60's, where a phonograph
turntable was used to measure shutter speed.  I tried it with good results.
 The method involves drawing a line on a paper sheet to be placed on the
turntable, with the line starting at the center hole.  A photo is taken of
the line rotating at a know speed, so the angle of the line in the exposed
negative is a measure of time the shutter was open.  I used black paper
with a white "line" made of a sliver of white paper, attached by tape.

fred-mckenzie@ksc.nasa.gov
Newsgroups: rec.photo
From: bmahler@javelin.sim.es.com (Brian Mahler)
Subject: Film FAQ
Summary: Is the FILM FAQ available
Keywords: Film FAQ
Organization: Evans & Sutherland Computer Corp.
Date: Wed, 11 Nov 1992 18:51:51 GMT


I was wondering if the Film FAQ was finished yet.  If so can someone
tell me where to find it  or send it to me.

Brian R. Mahler
Evans & Sutherland computer Corp.
Houston Texas
Newsgroups: rec.photo
From: eclipse@netcom.com (Brian McCullough)
Subject: Re: Embarrassed with Ektachromes
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Sat, 7 Nov 1992 19:50:07 GMT

schumann@msus1.msus.edu writes:
: 
: I use Kodachrome for two main reasons.  First, its dark storage 
: archival qualities.  But second (and also significant), what I call 
: the Kodachrome "sparkle."  No other color film that I've seen has 
: quite the same sparkle as Kodachrome.  This is not a slam against 
: other films -- every film has its appropriate place.  While 
: publications may prefer in some cases to use Kodachrome because of
: its archival qualities or because they are perhaps somewhat more
: familiar with it, I suspect that its the "look," the "sparkle" that
: leads them to prefer it (if and when they do prefer it).  After all, 
: how many other films have a look so unique that there's a well-known 
: song about it?  (Everyone sing together now ... "Momma don't take my
: Kodachrome away....")
: --
:    Paul L. Schumann, Ph.D.           |  VAX:  IN%"schumann@MSUS1.MSUS.EDU"
:    Professor of Management           |  Office Phone:       (507) 389-5349
:    Mankato State University          |  Secretary's Phone:  (507) 389-2966
:    Mankato, MN   56002-8400          |  Fax Number:         (507) 389-5497
: 

By extension, then, Elvis is the greatest musician in history because
Paul Simon wrote a song about Graceland??

Seriously, I know what you mean by "Kodachrome sparkle."  But if we're
gonna talk intangibles, I seem to notice a quality of image when I use
Ektachrome, which I can best describe as "accurate technically, but not
strictly literal." Presumably this stems from the relatively high color
saturation and shorter response curve it has.  In any case, my better
results with Ektachrome have a uniquely cinematic look to them.

You might guess from this that I see EPX as a godsend.  Velvia, on the
other hand, is ridiculous.  The photographic equivalent of overseasoning.

I think your observations of "sparkle" have to do with Kodachrome's 
unique film structure, which gives it the fine edges of black-and-
white, but with color, too, and allows it to be low in contrast without
being dead in coloration.

What I'm saying here is:  Vive le difference! (sans Velvia, mais bien sur.)


-- 
Brian C. McCullough                                eclipse@netcom.com
Opinions ventured here are those of myself only.
"Love to eat them mousies, mousies what I love to eat!
"Bite they little heads off, nibble on they tiny feet!"
                                 -B. Kliban
From: robert@sys.sweden.dg.com (Robert Claeson)
Newsgroups: rec.photo
Subject: Re: Concert Film?
Date: 10 Nov 92 09:21:03 GMT
Organization: Data General AB, Akalla, Sweden

In article <1992Nov2.150357.9862@bcrka451.bnr.ca>, poole@bnr.ca (Thomas Poole) writes:

> I will be going to a rock concert this Friday and hope to take 
> some photos of the event. Since it is a small venue I hope to
> get fairly close to the stage. Lighting will be from the    
> usual stage spotlights (tungsten I assume). Since I don't want
> to attract too much attention, flash is out of the question.
> 
> Could someone recommend a good film for these conditions?
> I want to get fine grain so I don't want a film too fast
> yet I will be standing on the floor being bounced off people
> so I will need a fairly fast shutter speed. 

It would be interesting to know whether you intend to use b&w,
color negative or color slide film.

1. For b&w, I'd use Kodak T-Max 400, possibly pushed a stop. Or if
   I don't mind the grain, I'd use T-Max P3200 exposed for its "real"
   EI, 1000, or pushed a stop to around EI 1600.

2. For color negatives, I'd use Fujicolor Super HG 400 or Kodak Ektapress
   400 pushed one or two stops or Ektapress 1600.

3. For color slides I'd use Fujichrome 400 Prof. (possibly pushed a stop)
   or Fujichrome P1600 exposed for EI 1600.

-- 
------------------------------ END OF MESSAGE ------------------------------
Robert Claeson                Internet: robert@sys.sweden.dg.com
Data General AB                         robert@sys.dg.se
Box 28                             CEO: robert@sys.sweden.dg.com:dg-smtp
S-164 93 KISTA                     Tel: +46 (0)8-92 55 00
Sweden                             Fax: +46 (0)8-751 36 22
Newsgroups: rec.photo,rec.video,comp.sys.amiga.graphics
From: otto@vaxb.acs.unt.edu (M. Otto, "Virtual Prisoner of the VAX")
Subject: Still video image -> .HAM or .GIF on regular floppy
Organization: University of North Texas
Date: Mon, 9 Nov 1992 00:42:51 GMT

   I need to recover the images that are stored on a still video disk.  The
images were recorded live from a Panasonic system, on a 2 inch magnetic disk.
I want to transfer the images to .GIF or .HAM format on a normal 3.5 inch floppy
disk.

   I am willing to pay a modest fee to have the images transferred.   If you
know of anyone who has the equipment to do the transfer, especially in the DFW
area, please send email.

--
         __ ____ __      otto@vaxb.acs.unt.edu
 /|/|   / / / / / /  A virtual prisoner of the VAX     // I'm sorry; my karma
/   |. /_/ / / /_/  at The University of North Texas \X/  ran over your dogma
                             Denton, USA
From: philg@zurich.ai.mit.edu (Philip Greenspun)
Newsgroups: rec.photo
Subject: Agfa Ultra 50 a bit too much for me
Date: 6 Nov 92 23:32:33
Organization: M.I.T. Artificial Intelligence Lab.
Distribution: rec
Reply-To: philg@martigny.ai.mit.edu
NNTP-Posting-Host: zug.ai.mit.edu


I just thought I'd let you guys know that I'm going back to Ektar 25
from Afga Ultra 50.  I shot Afga Ultra during foliage seasons and had
a bunch of 16x20s made.  Although the grain is not a problem (these
were 6x6cm originals from my Rollei), the color is a little unreal.
For example, the reflection of a blue sky on the water is a weird
electric color more appropriate to a black velvet Elvis poster.

I've like Ultra 50 before on overcast days and to some extent with
flesh tones, but I really think it is a film that doesn't grow on one.

So, before you take 100 rolls on that 'round the world trip, take it
from me:  if you love it in May, you may not love it in December.

Philip Greenspun
MIT Department of Electrical Engineering

P.S.  I am a devoted to Velvia so it is not that I am prejudiced
against color saturation.
Newsgroups: rec.photo
From: otto@meaddata.com (Otto Burgess)
Subject: Pentax & other medium format cameras
Followup-To: Re: Medium format advice
Organization: Mead Data Central, Dayton OH
Date: Mon, 9 Nov 1992 00:19:14 GMT
Distribution: usa

I have been tracking, with interest, the comments being made on medium
format equipment of late.  It reminded me of an artical I read some
two or three years ago about the top 20 professional photographers,
according to earnings in the US.  The artical was titled, `The 6x7
Club', because all of them used 6x7 cameras.  About 12 of them used
the RB67 or the new RZ67, the remainder used the Pentax 6x7.  This
fact, and given that the Pentax 6x7 has been around for a long, long
time, leads me to believe that the people complaining about the
performance of 'their' Pentax 6x7, is more pilot error then equipment.

I have used the Pentax 6x7 for 10 years, and the Pentax 645 for four
years.  I like this stuff so much that I dropped out of 35mm.  I
am not saying that these cameras are 'better' than others, I like
other cameras as well.  I have had the plesure to use Bronica,
Mamyia, Hassy, Rollie, and even some rangefinders.  No 35mm can
come close to the quality of medium format, if all procedures
are optimized in both formats.

I have taken many excellent photographs with my 6x7 over the years,
but I use the 645 more now for speed, and TTL flash.  If one takes
the time to learn, you can fire the shutter of the 6x7 just after
mirror lock-up, hand held, for all but the high action work.  I 
have gotten sharp images at 1/15 sec, with 90mm lens, by framing,
mirror lock-up, then shutter fire.

Responses, both negative, and positive accepted.
-- 
|Otto Burgess
|(513) 865 - 1024    
|Mead Data Central   
|P.O. Box 933        
|Dayton, Ohio  45401 
| 
|otto@meaddata.com



From: otto@meaddata.com (Otto Burgess)
Newsgroups: rec.photo
Distribution: usa
Followup-To: Re: Medium format advice
Organization: Mead Data Central, Dayton OH
Subject: Pentax & other medium format cameras
Keywords: 

I have been tracking, with interest, the comments being made on medium
format equipment of late.  It reminded me of an artical I read some
two or three years ago about the top 20 professional photographers,
according to earnings in the US.  The artical was titled, `The 6x7
Club', because all of them used 6x7 cameras.  About 12 of them used
the RB67 or the new RZ67, the remainder used the Pentax 6x7.  This
fact, and given that the Pentax 6x7 has been around for a long, long
time, leads me to believe that the people complaining about the
performance of 'their' Pentax 6x7, is more pilot error then equipment.

I have used the Pentax 6x7 for 10 years, and the Pentax 645 for four
years.  I like this stuff so much that I dropped out of 35mm.  I
am not saying that these cameras are 'better' than others, I like
other cameras as well.  I have had the plesure to use Bronica,
Mamyia, Hassy, Rollie, and even some rangefinders.  No 35mm can
come close to the quality of medium format, if all procedures
are optimized in both formats.

I have taken many excellent photographs with my 6x7 over the years,
but I use the 645 more now for speed, and TTL flash.  I one takes
the time to learn, you can fire the shutter of the 6x7 just after
mirror lock-up, hand held, for all but the high action work.  I 
have gotten sharp images at 1/15 sec, with 90mm lens, by framing,
mirror lock-up, then shutter fire.

Responses, both negative, and positive accepted.
-- 
|Otto Burgess
|(513) 865 - 1024    
|Mead Data Central   
|P.O. Box 933        
|Dayton, Ohio  45401 
| 
|otto@meaddata.com




-- 
|Otto Burgess
|(513) 865 - 1024    
|Mead Data Central   
|P.O. Box 933        
|Dayton, Ohio  45401 
| 
|otto@meaddata.com

Newsgroups: rec.photo
From: patrice@cs.concordia.ca (Patrice Scattolin)
Subject: Tamron 35-105 f2.8
Organization: Computer Science, Concordia University, Montreal, Quebec
Date: Mon, 9 Nov 1992 23:34:49 GMT


Does anybody know if this lens is any good. It would go on an Minolta
X700. 

Thanks

-- 
Patrice Scattolin
					patrice@cs.concordia.ca
Concordia University			Montreal, Canada
"I am so far north that Santa lives two blocks from me"
Newsgroups: rec.photo
From: poole@bnr.ca (Thomas Poole)
Subject: Stained Negatives?
Organization: Bell-Northern Research, Ottawa, Canada
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 9 Nov 1992 15:48:20 GMT

I just developed my second set of B&W negatives and although
my first set was very good, this set has a very pale yellow/
brown stain on the negatives. It doesn't cover all the 
negatives but it does appear on about half of the roll of
20. There are a couple of stains about the size of a thumb
print and a few more that run for about three or four shots
down the middle of the negative. The stains are very light,
definitely not light leaks, and seems to be yellow.

Can anyone tell me what these stains are?

I used Ilford 400 Delta 35mm film, developed for 8 min in Ilford
developer, 30 seconds in the stop bath (instructions called
for 10 seconds) and 1 minute in the Ilford Paper Fixer (guy
at the store said Paper fixer would work fine for film). Wash
for 10 minutes and then 30 seconds in Kodak PhotoFlo. 
The first time I did developing everything turned out fine
so I do not believe the water was the cause. As far as I
know everything remained constant.

Thanks in advance.
Tom...
Newsgroups: rec.photo
From: konkkola@jyu.fi (Markku Konkkola)
Subject: Re: Old & New Canon mix & match ?
Reply-To: konkkola@jyu.fi
Organization: University of Jyvskyl, Finland
Date: Fri, 6 Nov 1992 07:53:01 GMT

In article 1@cc.curtin.edu.au, zrepachol@cc.curtin.edu.au () writes:
> It is a 6mm thick mount converter, so you can fit an FD bellows on a EOS.

Are you sure?
I think that it's 13.92 mm.

Make

---
Markku K|nkk|l{   Computing Centre of Jyv{skyl{ University   Jyv{skyl{, Finland
Markku Knkkl   Computing Centre of Jyvskyl University   Jyvskyl, Finland

E-mail: konkkola@jyu.fi        phone: +358-41-603594        fax: +358-41-603611
===============================================================================
From: jspirer@rain.next.com (Jeff Spirer)
Newsgroups: rec.photo
Subject: Re: incident light meters
Date: 6 Nov 92 23:31:52 GMT

In article <1992Nov4.221131.9316@PacBell.COM> jpglori@srv.PacBell.COM  
(John P. Gloria) writes:
> The new IV F (?) is also a great choice, not as expensive, and
> does not have ALL the functionality of the IV, but will offer you
> alot of practical functionality. It however will serve most shooters 
> very well.
> 
> For a basic flash meter, the Minolta III F ( I forget the exact  
description) 
> will also measure FLASH. I would recommend it if money was a problem,  
and
> probably a better choice for most beginners.  BTW, the regular Minolta  
III 
> will not measure flash. 
etc etc.

I recently rented a Gossen LunaStar F, which sells for around the same as  
the cheaper Minolta and I found it very easy to use and it did everything  
I needed in a flash metering situation.  As a result of this, my  
recommendation would be to find a place to rent a meter (I think the  
weekend cost $5) and try out several to find one that you find  
comfortable.  This is a whole lot better than any other method of  
evaluating the product, especially given the low cost.  The place I rented  
from also rents the Minoltas; I would guess that in most areas this is the  
case.

Jeff
From: reuel@blivet.houst.sgi.com (Reuel Nash)
Newsgroups: rec.photo
Subject: Re: Medium format - buying advice wanted
Date: 6 Nov 1992 17:18:40 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA
NNTP-Posting-Host: blivet.houst.sgi.com


In article <1ddk2bINN9kl@iraul1.ira.uka.de>, uli@i13d5.ira.uka.de writes:
> 
> Another thing that I would like to know is the rule of thumb for
> save shutter speeds with medium format: Is it 
> 
> 	1/(#focal lenght in mm)       [as for 35mm cameras]
> 
> 	or is it
> 
> 	2/(#focal lenght in mm) ????  
> 
> I slightly remember that the Pentax manual recommends the latter, but I've read
> different opinions on the net.
>

The Mamiya 645 manual suggests never going below 1/125 for handheld shots
with a normal (80mm) lens. That would tend to indicate something more like

	1/2*(focal length in mm)
Newsgroups: rec.photo
From: sfysh@epas.utoronto.ca (Stephanie Moskal Fysh)
Subject: Toronto developers
Organization: University of Toronto - EPAS
Distribution: ont
Date: Wed, 11 Nov 1992 14:15:24 GMT

I'm a fairly new amateur photographer, looking for good (preferably
inexpensive) film developers in Toronto (west end or downtown), esp.
for colour prints and b&w.  Any info. welcome, incl. places to avoid.

Stephanie Fysh
(sfysh@epas.utoronto.ca)
From: jkk@aiai.uucp (John Kingston)
Newsgroups: rec.photo
Subject: Red Eye, Yellow Eye - why?
Date: 13 Nov 92 14:40:56 GMT
Reply-To: jkk@aiai.uucp (John Kingston)
Organization: AIAI, University of Edinburgh, Scotland


Can anyone answer the following:

I took a photo of a father and his 2 year old daughter recently. The picture
was taken indoors, with a telephoto lens set at approx 200mm, and a flash.
Aperture would be f5.6, exposure set by the camera - probably 1/90 sec. As my
Minolta 5000i has an integral flash positioned just above the lens, the
combination of the flash, the long telephoto lens, and the relative darkness
of being indoors, caused my subjects to have brilliant "red-eye" - in fact,
their pupils looked like miniature billiard balls.

Now I know that "red-eye" is caused by reflections from the retina. What I
want to know is, why did the little girl have one "red" eye and one "yellow"
eye ? I've never heard of this phenomenon. As far as I can see, her eye pupil
looks like a yellow billiard ball - approximately the colour of yellow that
tungsten light appears to the human eye. Her "red" eye was looking directly at
the camera, but the "yellow" eye appeared to be looking a few degrees towards
her nose. They were at the side of the room, crouching down (well, the father
was); I was in the centre of the room, standing up.

Anyone know what causes this effect?

JK


John Kingston,                               | 
Knowledge Engineering Methods Group,         | The heart of the problem
AIAI, University of Edinburgh                | is the problem of the heart
E-mail jkk@aiai.ed.ac.uk, phone 031-650 2736 |   
Newsgroups: rec.photo
From: hamm@weejordy.physics.mun.ca (Craig Hamm)
Subject: Re: Nikon EM ***
Organization: Ocean Sciences Centre
Date: Thu, 5 Nov 1992 19:01:42 GMT

	The EM was my first SLR.  I loved it.  It always worked, and
	took many good photos.  I moved up to an FE, and then added an
	FM2n.  The EM is good for the money, most often.

-- 
  Craig Hamm, Memorial University, | I'm a spud man, I've got eyes all around.
  Newfoundland,              ______| De-evolution, execution, no solution.
  DoD #1500,                / 
  1981 Maxim 650            | 
  __________________________|
From: dwing@cudnvr.denver.colorado.edu (Dan Wing)
Newsgroups: rec.photo
Subject: Maxxum 7xi and zoom lenses
Date: 10 Nov 92 08:25:49 GMT

I'm looking at purchasing a Minolta Maxxum 7xi.  I'm concerned about the noise 
of the camera (AF, power zoom, film advance), and would like to minimize the
noise when necessary.

I've noticed that most (all?) lenses available for the camera can be set to 
manual focus, which should silence the whirring of the motor.  According to
the local camera store, some lenses can be set to manual-zoom (and turn off the
power zoom).  Which ones?  My wife will be using the camera on some occassions, 
and isn't a terribly good photographer, so I'd like to keep the automatic
composition available with power-zoom, if possible.  

I'm looking at a 28-80mm zoom lens (from Minolta) -- any recommendations for
another company's lens that would be compatible with the xi?  I'll give up
the auto-composition if I have to, but it'd be nice to just turn off the 
silly motor when I want to.

Thanks,

-Dan Wing, Systems Admin, University Hospital, Denver (DGW11)
 Internet: DWING@UH01.Colorado.EDU, or DWING@cudnvr.denver.colorado.edu
 BITNET:   WING_D@UCOLMCC, or DWING@CUDENVER
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Sharpness
Keywords: Sharp
Date: 5 Nov 92 15:58:42 GMT

In <1992Nov5.023325.20009@cs.mun.ca> michael9@cs.mun.ca (Michael Sullivan) writes:

>  This isn't exactly in the FAQ, so I hope someone can help me out.

>  The problem is, my pictures aren't coming out as sharp as I would like.
>Is the sharpness of a photo strictly a function of lense quality?  Or am
>I not doing something quite right?

>  I'm using a Pratika 35mm MTL-5 SLR, with a Tamron 70-210 f3.8, the exact
>model number I am not sure of.

>  Any advice?

It is quite possible that the length of the light path to your focusing
screen is different from the length of the light path to your film plane.
In other words, the focusing screen may be telling you you're in focus
when really you're not.

So, try taking pictures of something at a 45 degree angle and fiddle
with the focus.  Cheap targets include a ruler, or newspaper.  Set
everything up for maximum magnificaiton, focus on the middle mark, set
your lens to its widest aperture (for minimum DOF) and shoot.  After
developing the film, see if the middle mark is the sharpest.  If not,
your focusing screen may need adjusting.

Finally, try shooting from a tripod.  You might just be experiencing
camera shake.  Be sure to use a tripod for the test outlined above.

Hope that helps.

ACS
-- 
 ___ ___ ___ ______________________________________________________________
|   |   | __|      Democracy is not a way of getting better solutions.     |
| - | --|__ |           It's just a way to spread the blame.               |
|_|_|___|___|______________________________________________________________|
Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|
Newsgroups: rec.photo
From: eugene@briar.lle.rochester.edu (Eugene Kowaluk)
Subject: JOBO telephone
Organization: UofR Laboratory for Laser Energetics
Date: Thu, 5 Nov 92 21:13:53 GMT


Ray Katos writes:

> jobo photo support, ann arbor MI 313-995-4192 

Also at 1-800-525-2821.