HDTenEightyP/NetNews huggingface dataset:
From: mtoms@ems.cdc.com (Mark Toms)
Newsgroups: rec.photo
Subject: Re: Wedding, a list of standard shots
Date: 28 Sep 92 15:26:44 GMT
Reply-To: mtoms@ems.cdc.com
Distribution: na
Organization: Empros Systems International, a division of CDC

In article <5113@daily-planet.concordia.ca>, patrice@cs.concordia.ca (SCATTOLIN patrice) writes:
|> 
|> 
|> Does anyone have a list of shots that one MUST do as a wedding photographer.
|> I was asked to do the wedding of a friend and it's my first. Any help
|> is appreciated.  Is this a FAQ? Should we build one?. 
|> 
|> 
|> 
|> Thanks. 
|> 
|> 
|> -- 
|> Patrice Scattolin
|> 					patrice@cs.concordia.ca
|> Concordia University			Montreal, Canada
|> "I am so far north that Santa lives two blocks from me"
  You might look for the book titled "Professional Techniques of the
Wedding Photographer" for some hints on this.  It is available
at most photo stores and a lot of book stores.

  I can look up more information (like publisher) for you if 
you need it.


==========================================================================
J. Mark Toms                                email: mtoms@ems.cdc.com
Baltimore Gas & Electric, Company
C/O Empros Systems International            Phone: (612) 553-4423
2300 Berkshire Lane North                     FAX: (612) 553-4018
Plymouth, Minnesota  55441-3694 USA      Mailstop: PLY060
==========================================================================
From: howard@hasse.hal.com (Howard Gayle)
Newsgroups: rec.photo
Subject: Spot metering from Hasselblad screen
Date: 4 Oct 1992 17:49:38 GMT
Organization: HaL Computer Systems, Inc., Campbell, California
Reply-To: howard@hal.com (Howard Gayle)
NNTP-Posting-Host: hasse.hal.com
Summary: Shove an Ultra Spot into the waist-level finder!
Keywords: macro, exposure, metering, Acute-Matte, Gossen

Recently I was trying to photograph a small gold coin using
electronic flash.  I put the coin inside a cylinder of white
translucent plastic to serve as a tent.  Because the subject
was too small to get in an incident flash meter, I took a Gossen
Ultra Spot, put it in flash mode, put its lens inside the waist
level finder hood very close to the focusing screen, and fired
the flash.  I took the spot reading, opened up one stop so the
coin would look gold rather than 18% gray, and shot a Polaroid.
I was very surprised that the Polaroid exposure was just right!
I used the same trick on a sunlit macro shot of a small flower
outdoors, with the spot meter in shutter priority mode.  Again,
the exposure was perfect!  This was with Hasselblad's
Acute-Matte screen; darker screens would probably require a
correction factor.
--
Howard Gayle
HAL Computer Systems, Inc.
1315 Dell Avenue
Campbell, California 95008
USA
howard@hal.com
Phone: +1 408 379 7000 extension 1080
FAX  : +1 408 379 5022
From: mopar+@pitt.edu (Jerome A. Marella)
Newsgroups: rec.photo
Subject: Omega B22 enlarger info and filter info needed
Keywords: Omega B22 B+W filter
Date: 7 Oct 92 00:34:11 GMT
Organization: University of Pittsburgh


A friend of mine gave me an Omega B22 enlarger. There is only
one problem, the internal lenses are all over the place and I have no 
clue as to how they should be positioned inside the enlarger. If anyone 
has one of these or know about them, I would appreciate the help.

Another friend of mine and I have been developing (1 roll so far) and 
printing some (15-20 prints so far) B+W film (Plus-X) in my basement. 
Borrowed another enlarger, trays, etc. from my wife's uncle. So all I 
had to buy so far was chemistry :) I'll have to give the stuff back 
sometime, so I want to fix the B22 enlarger.

Anyway, The prints look like they need some contrast, so I assume
I need a contrast filter. What is a good starting point for a contrast
filter? (ie cheap starter filter) I'm not really concerned with extreme
high quality(yet). All responses will be greatly appreciated.


Now if someone would give me a good camera....

--
Jerome A. Marella
mopar+@pitt.edu    mopar@pittvms.bitnet
Newsgroups: rec.photo
From: sevenup@netcom.com (Mark W. Moorcroft)
Subject: Re: How to make a good ghost illusion?
Organization: Netcom - Online Communication Services (408 241-9760 guest)
Date: Wed, 30 Sep 1992 04:13:29 GMT




Has anyone tried any strobe effects with the same idea as this thread
using an SB-24 or ??


??  --  :-)   --  ??


-- 

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
 Mark W. Moorcroft -- sevenup@netcom.COM -- C.I.S. 70741,325
-------------------------------------------------------------
  "I speak for myself and those who agree with me !"   ;-)
Newsgroups: rec.photo
From: wave@waits.media.mit.edu (Michael B. Johnson)
Subject: Re: George Eastman's musical descendant
Followup-To: alt.urban-legends
Organization: MIT Media Laboratory
Date: Mon, 5 Oct 1992 19:46:09 GMT

H G J Evans writes
> In article <1992Oct4.025230.17209@ultb.isc.rit.edu> andpph@ritvax.isc.rit.edu  
writes:
> >Does anyone know the name of a direct descendant of George Eastman who is a
> >MAJOR rock and roll star?
> 
> 
> You're not talking about Linda Macartney (nee. Eastman, wife of Paul)
> are you? I don't know that I would call *her* a 'MAJOR rock and roll
> star', but her husband has sold the occasional record in his time!
> 
> 
> Huw.

This belongs in alt.urban-legends, guys...

Linda McCartney is not George Eastman's direct descendant.  And if you 
really think she is, I have a Neiman Marcus cookie recipe for you...


--

-->  Michael B. Johnson
-->  MIT Media Lab      --  Computer Graphics & Animation Group
-->  (617) 253-0663     --  wave@media-lab.media.mit.edu
-->  NeXT Mail accepted at  wave@nordine.media.mit.edu
Newsgroups: rec.photo
From: tonyp@mcs213e.cs.umr.edu (Tony Phillips)
Subject: Re: night exposures for traffic
Date: Thu, 1 Oct 1992 01:55:19 GMT
Organization: University of Missouri - Rolla

In article <5360809@hplsla.hp.com> andyc@hplsla.hp.com (Andy Cassino) writes:
>yyh@osustat.mps.ohio-state.edu (Yu-Yun Ho) writes:
|> 
|> I am a beginner, I am fascinated by the picture of patterns 
|> formed by traffic on a highway during the night--cars turning into
|> streaming ribbons of light. It will be a dream
|> come true if I can take such pictures myself. I have a 28-80 f3.5
|> zoom lens and am buying a new 100-300 f4.5 zoom lense , can I use either
|> of the lenses to shoot such scenes? If not, what kind of lens should I
|> get?  
|> 
|> Yuyun
|
|Yes, you can use either one, just pick the one that gives you the composition
|you want. Virtually any kind of lens can be used for this type of work. I
|tend to prefer something like 300mm to 400mm myself, it makes it easier 
|to isolate patterns in an urban area. But, I have not done much of this, just
|a couple of rolls while doing other night photography.
|
|If you want to get going fast, try a roll of Fujichrome 50D or Velvia.
|A basic exposure is f/11 for 2-4 minutes. Use the "B" or "T" shutter setting, 
|a cable release and a tripod. I haven't tried any other films.
|
|
|    %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|    % Andy Cassino                                       %
|    % Hewlett-Packard - Lake Stevens Instrument Division %
|    %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

I, too, am a major fan of this type of photography.  I prefer wide angle lenses
because of the composition it allows me (I also like to include city lights
and such with the street (interstate) I photograph)


Some of my best results were achieved with Kodacolor Gold Plus 200 in
my Pentax P30t.  I was using a Kalimar 35-70 at 35mm f/22 for 2 minutes.
I shot the scene through my window screen which added the starlight
effect to the stationary pin-point sources of light.

One important thing to remember, though, if you're using print film is to
tell the processor to print the black parts BLACK (don't compensate for
underexposure) or you'll lose the color saturation and contrast that
night photography can give you.

This is something that can take a long session to do (I spent several 
hours) because of bracketting and waiting for traffic.  And as you
start out experimenting, don't be afraid to use the film.  During a recent
lightning storm, I took a whole role of 36 exposures (LUCKILY) and only
had four or five acceptable pictures from the bunch.

Good luck!

P.S.  It never ceases to amaze me how some light that looks like one color
to one's eyes looks completely different on film.



-- 
|  Tony Phillips-  University of Missouri CS Dept.  |  Programming: A noun   |
|                                                   |  meaning 'The Art of   |
|  Reply to:  tonyp@cs.umr.edu                      |  debugging a blank     |
|  Prefered Address:  S102066@UMRVMA.UMR.EDU        |  sheet of paper'       |
From: rboudrie@chpc.org (Rob Boudrie)
Newsgroups: rec.photo
Subject: Re: Don't Buy From Smile Photo
Date: 30 Sep 92 20:49:10 GMT
Organization: Center For High Perf. Computing of WPI; Marlboro Ma

>If they claim that you ordered the filter, then it is their word against
>yours. The credit card company probably will not get involved, in this
>case. 


They *are* involved.  They have a choice of using coercion to try to
collect an unauthorized charge from the cardholder, or seizing some of
the money owed to Smile Photo.  Either action constituted "involvment".

Taken to the extreme, is the card company saying that once a vendor
has your number they can send you anything they want and sucussfully
bill you for it?

Rob Boudrie
rboudrie@chpc.org
From: tim@introl.com (Tim Chase)
Newsgroups: rec.photo
Subject: Re: Experience with Canon EF 100-300mm f/4.5-5.6 USM
Date: 1 Oct 1992 23:05:21 -0500
Organization: Introl Corp.
Distribution: na
NNTP-Posting-Host: introl.introl.com

In article <lcm810INN8fd@jethro.Corp.Sun.COM> sdm@pyramid.Corp.Sun.COM (Scott Mann) writes:
>In article <BvF7pC.93q@acsu.buffalo.edu> tklai@acsu.buffalo.edu (Tobysze K. Lai) writes:
>>
>>So, if anyone who owns or has experience with this USM lens, any advice or
>>comment is greatly appreciated.  There is one question in my mind, though,
>>is the lens quality of the 100-300 USM really better than the 75-300?  And
>>how would it compare to the Sigma 75-300 f/4.5-5.6 APO? (The difference in
>>price is only $40)  
>
>I own, and use extensively, the 100-300mm f4.5-5.6 USM.  I have
>found it to be an excellent lens.  It takes very sharp pictures

I've also got one and must agree. Also, it's practically silent and focuses
very fast.  The downside is that it eats batteries.


-- 
Tim Chase		           Introl Corp. Milwaukee, WI USA
Email: tim@introl.com		   Phone: +1 (414) 327-7171
From: tron@corona.uoregon.edu
Newsgroups: rec.photo
Subject: Get N8008s or N90 ?
Date: 1 Oct 92 01:09:54 GMT
Organization: MSI- University of Oregon

I was thinking of getting an N8008s before the N90 was on the market. Now
that it is, is the N90 really worth the difference in price between the two
? I'm just an amateur user but I want a camera that I can grow with. Thanks
for any comment/s or suggestion/s.

ron
ps email replies are ok
From: llamas@itd.itd.nrl.navy.mil (Winston Llamas)
Newsgroups: rec.photo
Subject: medium format help
Date: 29 Sep 92 19:16:04 GMT
Article-I.D.: itd.DrLLAMAS.92Sep29151604
Reply-To: llamas@itd.nrl.navy.mil
Distribution: usa

I am thinking about getting a medium format system.  Anyone have any used
Mamiya, Bronica or Pentax 645 systems that they want to sell?  What about 
an older Kowa 66 system?  Any thoughts on this camera (the Kowa)?  Suggestions,
opinions, information - all are appreciated.  Thanks.

Winston
--
#========================================================#
# Winston M. Llamas       email: llamas@itd.nrl.navy.mil #
#========================================================#
Newsgroups: rec.photo
From: wave@waits.media.mit.edu (Michael B. Johnson)
Subject: FOR SALE: loaded Maxxum 9000
Organization: MIT Media Laboratory
Distribution: ne
Date: Mon, 5 Oct 1992 07:52:58 GMT

(Since I prefer not to deal with shipping stuff, I've set the distribution
 on this posting to the New England area only.  If it slips out, I apologize)

Well, I after serving me faithfully for about 5 years, I finally took the
plunge and replaced my trusty Minolta Maxxum 9000 setup with the new 
Minolta Maxxum 9xi.

I now have the following equipment to sell:

Minolta Maxxum 9000 Body
Minolta Program Back Super 90
Minolta Auto Winder AW90
Minolta 2800 Flash
Minolta Off camera shoe and cable for Minolta Maxxum Flash 
Minolta Maxxum AF 35-70mm, f3.5-4.0 Zoom lens
Sigma AF 75-200 3.5-4.5 Zoom lens for Maxxum

All manuals and paperwork, and a pretty handy large format paperback
about the Maxxum family-o-products, a necessity to using the Program
Back Super 90 effectively.

** the straight skinny**

I bought all of this equipment over the course of 1987 and 1988.  I
got the body, 35-70 zoom, and 2800 flash used from a guy who bought
the stuff, used it for about 1 month and then needed cash.  I've used
this stuff quite a bit, but since grad school haven't used it enough
to justify hanging on to it.  I've had the film rewind crank on the
body repaired once, but have no problems not of my own making other
than that.  Everything's in at least good shape, with the Program Back
Super 90 and the Auto Winder AW90 in excellent condition (rarely used,
and mainly in studio settings).

For those who don't know, the 9000 is a hell of a camera, combining
all the features a serious amateur or pro could want.  With the above
equipment, you have continuous autofocus, > 1 fps, spot metering,
highlight and shadow bias metering, multi-spot metering, autobracketing
in settable increments, the ability to imprint exposure, date, count and
other info on the edge of a frame, ... oh, all kinds of stuff.  I can
type in the spec sheets if anyone cares.

I won't mention what I paid, since I think that's a silly statistic.
(Of course I'll tell you if you ask).  I did look up in the latest
issue of a photo mag how much this equipment would cost from your
basic NY mail order photo shop if you bought it new today, and the
total was between $1200 and $1300.  

I'm looking for a fair price.  Make me a reasonable offer, and I'll
think about it.  This equipment isn't burning a hole in my closet, so
I am looking for a "reasonable" price, not just whatever I can get.

I'm not very keen on the notion of shipping this anywhere, but I'm not
averse to bringing it somewhere during the day in the
Cambridge/Boston/on a T line, if somebody can't leave work but wants
to take a look at lunchtime.  Being a grad student lends itself to
flexible hours, so let me know. 

e-mail is the best way to get in touch with me, or you could try to
catch me at my office at home (547-0563).

Michael B. Johnson

--

-->  Michael B. Johnson
-->  MIT Media Lab      --  Computer Graphics & Animation Group
-->  (617) 253-0663     --  wave@media-lab.media.mit.edu
-->  NeXT Mail accepted at  wave@nordine.media.mit.edu
Newsgroups: rec.photo
From: andpph@ritvax.isc.rit.edu
Subject: RE:-100mm focal length lens
Reply-To: andpph@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Sat, 3 Oct 1992 02:21:55 GMT

In article <BvEDp8.LI7@inews.Intel.COM>, nstrand@hopi.intel.com (Norman Strand
>~) writes:
>I have lost the request for information but someone asked if there is a
>source for a -100mm focal length acromat lens.  I held a 2x teleconverter
>for a 35mm lens in the direct sunlight and noticed that the light paths
>would indicate that a 2x teleconverter is a negative focal length lens.
>However with the one that I have the focal length is too short and the 
>diameter is too small to fit the request.  I stoped at a camera store
>last night and noticed that the diameter of the rear element on lenses
>for the mamiya 6x7 is about 50mm, and logic tells me that a 2x converter 
>for a 100mm normal lens would have a focal length of -100 mm.  One good    
>measurment is worth the logic of a thousand experts.  Unfortunately 
>I did not find a 2x teleconverter for a mamiya 6x7 that I could measure.

Without taking much time to think this through it seems to me that if a -100mm
lens is placed near a +100mm lens the focal length of the combination will be a
compund objective resembling a flat sheet of glass, meaning of infinite focal
length. Introducing a separation between the elements I think will either make
the combination still negative or positive depending on the orintation.

Astronomers regularly use a weak negative element near the focalplane of the
prime lens to make the scope operate at a longer equivalent focal length just
as photogs use these negative lenses as focal length "extenders". Negative
lenses in front of positive ones are retrofocus designs (typically wide angle
lenses on 35mm cameras) and in the opposite orintation they are "telephoto"
lenses.

This is not to criticize the above post, just adding material for possible
further discussion. Thank you.

andy

        *  *  * * *  *
         \/\/\/\/\/\/   Andrew Davidhazy, RIT, High Speed Photography Lab.
          |        |    IN%"andpph@ritvax.isc.rit.edu"    fax 716-475-5804 
_________/          \_____________________________________________________
From: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: Experience with Canon EF 100-300mm f/4.5-5.6 USM
Date: 5 Oct 92 19:19:42 GMT
Reply-To: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Followup-To: rec.photo
Distribution: na
Organization: Amdahl Corporation, Sunnyvale CA

In article <92277.141142IO92112@MAINE.MAINE.EDU> IO92112@MAINE.MAINE.EDU writes:
>Another problem I have with this zoom is that its zoom ring is very loose.
>When the zoom are hold at the verticle position, the zoom ring will slide
>down. The EF 75-300mm/3.5 has the same problem.

This is very, very common and does not reflect on the Canon EF lenses
in particular.  

Barry
--


|----------------------------------------------------------------------------|
| Barry Sherman, Amdahl Corp.  | PROGRAM: n. A magic spell cast over a com-  |
| bjs@ruts.ccc.amdahl.com      | puter allowing it to turn one's input into  |
|                              | error messages.  tr.v. To engage in a pas-  |
|                              | time similar to banging one's head against  |
|                              | a wall, but with fewer opportunities for    |
|                              | reward.                                     |
|----------------------------------------------------------------------------|
| 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: dougb@comm.mot.com (Doug Bank)
Subject: Re: Macro Lens Opinions
Reply-To: dougb@ecs.comm.mot.com
Organization: Motorola Land Mobile Products Sector
Date: Tue, 6 Oct 1992 18:46:46 GMT

In article <1992Oct04.115528.20028@bmerh85.bnr.ca>, illidge@bcarh758.BNR.CA (Ed Illidge) writes:
|> I am interested in getting an AF Nikon Macro Lens.  The one that I have
|> my eye on is the 105/2.8.  The Nikon handbook says that although this
|> is an excellent lens, it is not flat field. 
|>  
|>   What exactly does this mean?
|>   Has anyone who owns the lens found this to be a big problem?
|>   Should I go for the 60mm instead?
|> 
|> I primarily want the lens for, surprise surprise, macro work.  I like
|> that both of these lenses will go to 1:1 without tubes.  I would also
|> like the 105 since I figure that I could probably get away with it as
|> a protrait lens also.  Is this a reasonable assumption?
|> 
|> Any comments and opinions are greatly appreciated as always.
|> 

I don't have the lens, and while I think that it is flat field, I wouldn't
bet any money on it.  Flat field is only essential when doing copy work.

Go for the 105.  I've got one (Vivitar Series 1) and I love it.  It is 
a very good focal length.  Very versatile.  It allows you to get further
away from the subject, and makes it easier to throw the background out of 
focus.  You should have no problem using it a portrait lens.

-- 
Doug Bank                       Private Systems Division
dougb@ecs.comm.mot.com          Motorola Communications Sector
dougb@nwu.edu                   Schaumburg, Illinois
dougb@casbah.acns.nwu.edu       708-576-8207
From: finn@isi.edu (Greg Finn)
Newsgroups: rec.photo
Subject: Re: Next Nikon camera: An AF interchangeable lens rangefinder?
Date: 29 Sep 92 21:18:43 GMT
Reply-To: finn@dalek.isi.edu (Greg Finn)
Distribution: usa

In article <1992Sep28.212947.7294@cerritos.edu> jacobs@cerritos.edu writes:
>	The reason Nikon would introduce a rangefinder camera with
>interchangeable lenses is to provide a quieter camera. There is quite obviously
>a demand for a less noisy 35mm camera for instance Canon's EOS Elan and RT.
>There is also a demand for a professional RF camera,for photojounalists
>example, Leica keeps pumping out M-6s at $3000 or so a pop with lens and Konica 
>just introduced a high quality AF rangefinder with a fixed 35mm f2.0 lens
>called the Hexar. If Nikon does produce such a camera it makes sense to use SLR
>lenses to provide some autoexposure functions (like a program or shutter
>prefered automatic functions) as well as the cost effectiveness of producing
>one lens line. THINK BEFORE YOU TYPE!!!

	Assuming that my Leica books are accurate, recent yearly
production figures on M-6 models are several thousand units per year
(and by the way, an M-6 is obtainable new for as low as $2600 with
lens if you look).  That is not exactly much of a market.  I don't
understand your point.  What demand?
--
Gregory Finn	(310) 822-1511
Information Sciences Institute, Marina Del Rey, CA 90292
From: eugene@briar.lle.rochester.edu (Eugene Kowaluk)
Newsgroups: rec.photo
Subject: Macbeth Color Chart
Date: 6 Oct 92 20:17:10 GMT
Organization: UofR Laboratory for Laser Energetics


Paul Repacholi writes:

> The first image I would like too see is the wonderfull, dynamic, exciting...
> McBeth colour chart...


It would be difficult to carry your terminal to on-site photography. :)

Scanning aside, I've used a Macbeth Color Rendition Chart for several years.
Although I filter out artificial lighting and use Polaroid proofs, for those
difficult lighting situations my first shot is of the chart.  This also works
with 35 chromes not only to test the lighting but also to see the response
various films have to the lighting, and I keep these along with the chart.

Obviously, it would be difficult for me to carry on-site items to the color
lab to color match [that's why the photography is "on-site" :)].  Instead, in
shooting 2.25, I just bring in the first neg with the chart on it along with
the neg I want color matched.  I work with a custom color lab; the two
minilabs I tried claim that their machines won't let them override the
machine-defined color. 

For those of you not familiar with this chart, it's a 9x13in (23x32.5cm)
thick piece of cardboard (sized so that its proportional to 35 format)
with four rows of six columns of 4.6cm squares;  three rows are color and
one is b&w.  An attached page gives the color names and specifications,
such as CIE values (including a luminous reflectance factor), Munsell
Notation (hue & value/ chroma), and ISCC/NBS names.

For example, No. 1 is dark skin with CIE=(.400,.350, 10.1), hue=3YR, value/
chroma=3.7/3.2, and ISCC/NBS name=moderate brown, etc.

For a technical description, a note is given citing CS McCamy et al.:
J. Applied Photographic Engineering, Summer Issue, 1976, vol. 11, no. 3,
pp.95-99.

As to scanning it, since the chart's colors are so quantified, you might
find a correlation between those numbers and your computer's standard,
such as rgb (available colors by name for coloredit) which runs on
sun sparcs.
 

eugene kowaluk
Newsgroups: rec.photo