HDTenEightyP/NetNews huggingface dataset:
From: dougb@comm.mot.com (Doug Bank)
Subject: Re: Nikon 75-150mm/f3.8 Series E - your opinion
Reply-To: dougb@ecs.comm.mot.com
Organization: Motorola Land Mobile Products Sector
Date: Wed, 11 Nov 1992 16:38:51 GMT


|> I am about to buy a used Nikon 75-105mm/f3.5 series E lens.  I would
|> like you folks to share your experiences about this lans with me.  
|> Its focal length is temptimg me, but Series E is notorious about its mechanical
|> performance.  Please feel free to either post or send email.              

I've got one.  I use it occaisonally, but I have many more suitable lenses
these days.  The only problem that I have had with my lens is that the 
zoom/focus barrel tends to slide when i point the lens up of down.  I would
be sure to try before you buy.

-- 
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                    
Organization: Hunt Institute for Botanical Documentatn, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.photo
Date: Wed, 11 Nov 1992 08:58:37 -0500 
From: "Frank A. Reynolds" <fr0c+@andrew.cmu.edu>
Subject: Old English Camera

Anyone from England know anything about a,

Agifold, Agilux camera (No. 57336).
Anastigmat 9 cm. f.4.5  lens.

This camera has been residing in a darkroom drawer for at least 20
years, I think its time to find it a new home.


Thanks for any information,
Frank
From: monson@hobo.ECE.ORST.EDU (Ty Monson)
Newsgroups: rec.photo
Subject: Shutter speeds (was Re: Medium format - buying advice wanted)
Date: 7 Nov 92 00:58:30 GMT
Article-I.D.: news.BxBMpn.A5C
Organization: ECE Dept.,OSU,Corvallis

In article <BxBG1I.27D@fiveup.cs.unm.edu> deng@fiveup.cs.unm.edu (Deng) writes:
>In article <1ddk2bINN9kl@iraul1.ira.uka.de> uli@i13d5.ira.uka.de (Uli Bodenhausen) writes:
>>
>>Something that I don't like about the Pentax is that one can't choose
>>shutter speeds between full stops (like 1/90th). The only way is to
>^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>Is there anybody can tell me which camera that the shutter speed can be set
>between the two stops manually? It would be a great progress in camera design.
 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
  I think this was possible on the Leica M3. (others?)
  Confirmation of this by someone who works with Leicas would be 
  appreciated.
>
 (rest deleted)

The Nikon F3 and FE have one mechanical shutter timing at speeds between
the standard shutter speeds. (examples - not a comprehensive list)
but the shutters do not permit a whole range of intermediate speeds.
From: uli@i13d5.ira.uka.de (Uli Bodenhausen)
Newsgroups: rec.photo
Subject: Re: Medium format - buying advice wanted
Date: 6 Nov 1992 11:14:19 GMT
Organization: University of Karlsruhe, FRG
Distribution: world
NNTP-Posting-Host: i13d5.ira.uka.de

In article <1992Nov5.212034.25341@netcom.com>, hamish@netcom.com (Just Another Deckchair on the Titanic) writes:
|> In article <46520045@hpscit.sc.hp.com> feltman@hpscit.sc.hp.com (Robert Feltman) writes:
|> >I used to own a 6X7 (Pentax). I found the lenses that I owned to be the
|> >sharpest I have ever had the pleasure to work with. I had the 55,75,105,and
|> >165, all the latest versions. I used the 165 and 105 extensively with
|> >extension tubes and loved the results.
|> >
|> > [...]
|> 
|> I want to second this - I've owned a Pentax 6x7 (with the 55mm, 90mm,
|> and 165mm lenses) for about 18 months now, and this combination has
|> produced sharp, grain-free negatives and transparencies well beyond my
|> expectations. With mirror-lock-up and a good tripod, the results were
|> equal to much of the work I'd previously done with a Hasselblad; when
|> hand-held, as long as you get used to using MLU or use fast film, it
|> produces surprisingly good results (making it suitable for
|> backpacking). Frankly, although I was skeptical at first, the lack of a
|> changeable film holder doesn't seem to be a real problem (film is
|> cheap, and Pentax bodies aren't a lot more expensive than Hassy film
|> backs...).

Hmm, I have the Pentax with the 45mm and 135mm macro lens. I have no
doubts about the 45mm lens, but I'm not too sure about the 135mm. I have
done no extensive comparisons, but it seems as if it has to be stopped
down quit a bit to really deliver good results. But anyway, I always
thought that it was a bargain for the $290 that I paid for it (prices have gone
up recently).

Something that I don't like about the Pentax is that one can't choose
shutter speeds between full stops (like 1/90th). The only way is to
adjust the aperture.

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.

	Uli
From: marc@milan.East.Sun.COM (Marc Thompson-Sun-Vienna VA-Systems Engineer)
Newsgroups: rec.photo
Subject: Chrome prints other than Ciba's
Date: 12 Nov 92 18:28:54 GMT
Reply-To: marc@milan.East.Sun.COM
Organization: Sun Microsystems, Inc.
NNTP-Posting-Host: milan.east.sun.com

Gang:

Is anyone aware of a more "realistic" medium of printing slides than Cibachromes.
Not to say that Cibas are bad, but they tend to be somewhat metallic.

I am looking for a way of printing clean and clear images that look more
natural and less metallic than the images I am getting from Cibas.

A good example is magazine adds. The images are clean and clear, but
not metallic.  I have obtained more realistic images from print films, but
prefer chromes for viewing, storage, and scalability (enlargments).

Maybe soft filters will help!

All comments are welcomed .....
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Newsgroups: rec.photo
Subject: Re: Medium format - buying advice wanted
Date: 7 Nov 92 12:33:22 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


I must say that the more I read this file the more I appreciate
my hasselblad.  It is fully manual, the mirror locks up without
draining the battery, it is totally modular, and used stuff, while
not cheap, is readily availiable and usually in great shape - most
hasselblad owners treat their cameras with great respect (look at the
investment they represent) and I have been able to get some great
buys on used gear in top condition by patiently waiting around...

Image aspect and size???? not an issue for me, and very convenient.  I have
a friend with a GS-1 and his biggest complaint is constantly having to
rotate the camera - he shoots weddings.

brian
From: yavor@acpub.duke.edu (Yavor B. Parashkevov)
Newsgroups: rec.photo
Subject: wide-angle info?
Date: 12 Nov 92 22:43:05 GMT
Organization: Duke University; Durham, N.C.

Hi all!

I am trying to select a wide-angle lens for my system. Budget
limitations do not allow me to buy a Nikkor, so I am looking at the 
stuff from the independent manufacturers. I would very much
appreciate input on your opinions/experiences with Vivitar, Sigma and
Tamron's SFL-lenses in the 19 - 24 mm category. I am mainly concerned
with sharpness, freedom from flare and close-focusing capability.
Freedom from distortion and field flatness are not major considerations.

Please e-mail to yavor@acpub.duke.edu

If I get enough responses, I will post a summary.

THANX!

Yavor Parashkevov

e-mail: yavor@acpub.duke.edu
snail:  2422 W Club Blvd
        Durham, NC 27705-0325
        USA
Newsgroups: rec.photo
From: hamm@weejordy.physics.mun.ca (Craig Hamm)
Subject: Re: How much to charge for print?
Organization: Ocean Sciences Centre
Date: Sun, 8 Nov 1992 17:36:12 GMT

	Ask the potential buy what they think the print 'as is' is worth
	to them.  Use that information to form the basis of your
	decision.  If they offer you $40, screw it and keep it yourself.
	If they say: 'OK, I offer $275' You can think about it.  If your
	name is on it, and it goes in a good location you might consider the
	sale, or just having the satisfaction that somebody admired your
	work.

-- 
  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            | 
  __________________________| 

Newsgroups: rec.photo
From: bauer@informatik.uni-ulm.de (Christian Bauer)
Subject: Re: Tamron 35-105 f2.8
Followup-To: rec.photo
Organization: University of Ulm
Date: Tue, 10 Nov 92 10:19:43 GMT

In article <BxH2u2.1yB@newsflash.concordia.ca>, patrice@cs.concordia.ca
(Patrice Scattolin) wrote:
> Does anybody know if this lens is any good. It would go on an Minolta
> X700. 
Have such a lense on my Contax 167. Quality compared to the Nikon 35-105
is better. compared to a Zeiss 28-80 is a little bit less. But the point
is the 2.8 in contrary to other manufacturers. 

Solid lense of very good quality. (also aproved in many tests in Germany)

Christian Bauer
From: jspirer@rain.next.com (Jeff Spirer)
Newsgroups: rec.photo
Subject: Re: Medium format - buying advice wanted
Date: 6 Nov 92 21:55:49 GMT

In article <1d75anINN52n@usenet.INS.CWRU.Edu> bu890@cleveland.Freenet.Edu  
(Brian Segal) writes:
> 
> I have several acquaintances and a cousin who have used the pentax 6x7  
system
> extensively and all of them have good things to say about the system.
> 
> The only criticisms I have heard are : (1) totally battery dependant
> and if you forget to shut it off the battery (expensive) drains dead.

Also, using mirror lockup eats up the batteries very rapidly.  If you plan  
to do a lot of work with mirror lockup, there are other cameras that would  
be better to use.

Jeff
Newsgroups: rec.photo
From: ingram@mte.ncsu.edu
Subject: Maxxum 9000 accessories
Keywords: Maxxum 9000
Organization: North Carolina State University Project Unity
Date: Mon, 9 Nov 1992 13:37:05 GMT

Anyone who has info on pricing and where to get hard-to-find accessories for the Maxxum 9000 (ie:  100 exp back, Super Program back, Still Video back, Data Rec'ver, etc), please e-mail me:

ingram@mte.ncsu.edu

Thanks in advance!

Michael


Newsgroups: rec.photo
From: krish@leland.Stanford.EDU (venkatraman)
Subject: Nikon N8008S vs. N90 - opinions wanted
Summary: which is better
Organization: DSG, Stanford University, CA 94305, USA
Date: Fri, 13 Nov 92 20:06:41 GMT

I'm newcomer to this group so my apology if this issue has already hacked to
death (from a message I saw recently I suspect that the N90 has already no
little attention here).

So, I've finally saved up some money and decided to take the plunge and go for
a top end Nikon system (relatively speaking to you F4S owners out there :-)).
I've looked at both the N8008S and the N90 and I just can't make up my mind!
The N8008S offers most everything I suspect I'll ever need, particularly if at
a later stage I get the multi-function back but then the new metering system
and the greater number of program modes on the N90 seem to be just too tempting.

Well, any kind soul out there with words of wisdom to help me out?  Email or
post and if there are enough responses I'll summarize.

Any comments, observations, experience with, etc., on the various low Nikon
zooms (29-70, 28-85, 35-70, 35-105 and 35-135) would also be appreciated.

thanks,

nitin

ps. I realize of course that a subjective question like this is against all
    that is good by netiquette and I'll probably burn in hell for it but
    what the heck, I've already sold my soul to rock and roll and besides,
    you can always find redemption in southern california :-) :-).

nitinm@kronos.ap.nisd.cam.unisys.com
From: feldman@hal9k.cxo.dec.com (james feldman)
Newsgroups: rec.photo
Subject: Re: Moving up to 6x7 (Mamiya)
Date: 10 Nov 92 22:01:48 GMT
Article-I.D.: nntpd2.1992Nov10.220148.25772
Reply-To: feldman@hal9k.cxo.dec.com (james feldman)
Organization: Digital Equipment Corporation

In article <27933@castle.ed.ac.uk>, huw@castle.ed.ac.uk (H G J Evans) writes:
|>Older lenses are 'C
|>series', and some older still, without the C designation, should perhaps
|>be avoided, as they were un-coated.
Perhaps the very early ones weren't coated, but my non-"C" 65mm is coated (at
least the front and rear elements have that "look"), but not as well as my
127mm "C" type.  It was my understanding that starting with the C lenses, all
elements got the treatment.  If you're going to be shooting in high contrast
situation's, I would go with either the "C" or KL series.  Also be aware that
older leaf shutters tend to slow down in the upper speeds by as much as a stop.
The RZ lenses are electronicly timed, and I would expect them to be more
accurate at the high end.  

|>  The rotating back is really the "raison d'etre" of the RB and RZ
|>cameras (RB = Rotating Back), and it is *immensely* useful. It means the
|>end of needing to turn the camera on its side to take vertical format
|>pictures. 
Another reason these cameras are so popular with studio shooters is that
rotating back means you can change format (portrait vs landscape) without
distubing the camera on the tripod (or studio stand).  The downside of this is
that the camera is really a 7x7 camera which makes it bigger and heavier than
others in it's class.

|>  I would admit to having one or two small gripes about the RB, but they
|>are not significant enough to put me off it. It is unquestionably a
|>superb machine, very well made, and extremely reliable, which does what
|>it is intended to do about as well as any camera could.
The RB is state of the art for about 25 years ago.  On the other hand they're
built like the proverbial Cat D9, and only weigh half as much ;')

--
Jim Feldman                         || This space for lease, contact your
Digital Equipment Corp              || Digital Sales Rep.
CSC/Colorado Springs                || 

My opinions are my own and in no way reflect Digital's POV (unless they're
charging somebody for me to give them).
From: ms5477a@auvm.american.edu (Mathew L. Spolin)
Newsgroups: rec.photo
Subject: Review of film about celebrity photographers (long)
Date: 10 Nov 92 00:12:07 GMT
Organization: Cybervision Productions
X-Xxmessage-Id: <A724697CAD049637@cyber.hughes.american.edu>
X-Xxdate: Mon, 9 Nov 92 00:16:12 GMT
X-Useragent: Nuntius v1.1.1d12

Documentary Review
Blast 

(C) 1992 by Mathew L. Spolin
Stalking the Stars for Fun and Profit
Blast 

Pop!  Pop!  Snap!  With a whir and a dash, Blast 
Blasioli and Robert Garrard take you right into the rushing, shutter
snapping world of the New York paparazzi.
These are the professional sharpshooters, hunting with the auto winding
cameras and the quick recycle flash, seeking the valuable celebrity image
for sale and resale to the hundreds of tabloid publishers worldwide. 
Freelancer Victor Malafronte is the centerpiece of the film as he dodges
bodyguards, fans, and other photographers that stand between him and the
perfect image.
More than a voyeurs delight, the film touches on important aspects of
our image
the mere image of a celebrity a valuable commodity all over the world. 
The film and equipment behind the image seem to  matter as little as the
circumstances of the photo.
Even so, most of the sharpshooters in the film plied their trade with
very advanced equipment.  For budding paparazzi, speed and flexibility
are essential.  Large film magazines, high
focus zoom lenses are the norm among the professional stargazers.  For
the best chance at publication, a slide film offering rich color seems to
be the industry standard.
The most important photographic tool is information.  Although one may
have the slickest equipment, the most powerful flash, knowing where and
when which celebrities will arrive is the key to becoming a successful
paparazzi.  The film documents the tenuous information
crowd of tabloid photographers, yet offers few tips on how to glean such
information.
But the rewards are generous.  One single frame of Michael J. Fox, his
wife, and newborn son eventually reaped over six thousand dollars in
royalties.  To obtain that shot, Malafronte staked out Foxs apartment
building for hours, waiting in a car parked across the street.
Cinematically, the movie is bold and exciting.  Intense rock music
accompanies hand
New York streets.  The sprint through crowds in competition for the
elusive image is the night
treats us to a generous helping of it.  These techniques create an
exciting feeling of being a part of the action.
Much of the on
from the photographers during their off
communicate their thoughts and feelings about their trade.
One of the key questions that the film asks relates to the ethics of
shooting people against their wishes.  Malafronte believes that such
exposure is the price of fame, remarking that he has Uno sympathy for
someone making 20 to 30 million dollars a year.U  
It takes a special, outgoing sort to jump over limousines, crash
banquets, and shout the familiar names of celebrities, competing for that
one golden exposure.  For better or worse, the image market waits to
reward the boldest and brashest camera, the most invasive lens.
From: sdpage@andersen.co.uk (Stephen Page)
Newsgroups: rec.photo
Subject: Enlarger tips wanted
Date: 9 Nov 92 01:13:46 GMT
Organization: Andersen Consulting (UK Practice)

I am about to buy an enlarger for B&W and colour (Cibachrome) printing.
Any hints on what to lookfor would be particularly useful. I have been
impressed by the build quality (but not the price) of Kaiser enlargers,
but clearly there are several others to consider. How do I choose??

Thanks

sdpage@andersen.co.uk
From: ksbradley@llnl.gov (Keith Bradley)
Newsgroups: rec.photo
Subject: Point & shoot question
Date: 5 Nov 92 23:57:14 GMT
Distribution: usa
Organization: UC Davis Dept of Applied Science, at LLNL
Originator: larson@vsattui.llnl.gov


Looking for advice.  I would like to purchase a 
point-and-shoot camera for my wife,
now that we have a newborn in the house.  I shoot a Canon EOS 650, 
and she has gotten used to it (sort of), but doesn't
like to have to change lenses, etc. when the perfect photo op occurs. 
I know that the premium cameras (Leica, Contax, Rollei, etc.)
must have better optics, but do they really produce better photos?
My wife has begun to acquire an eye for image quality from our EOS,
so I'm concerned that "consumer" point-and-shoots from
Nikon, Canon, Minolta, etc. will not satisfy her (or me!).
Can anyone advise me on the relative merits of the "premium"
point-and-shoots, and recommend a particular model?
This message was written using a friend's account, so
could you please reply to my e-mail address, which is
ksbradley@llnl.gov  Thanks for the help!

-Keith-

Please respond via e-mail to:
ksbradley@llnl.gov

Newsgroups: rec.photo
From: umeca80@ps.ic.ac.uk (Bruce Taylor)
Subject: Re: Concert Film?
Organization: Imperial College Computer Centre
Date: Wed, 11 Nov 92 14:16:11 GMT

In reply to article <1992Nov2.150357.9862@bcrka451.bnr.ca>, poole@bnr.ca.

> I will be going to a rock concert this Friday and hope to take
> some photos of the event.

> Could someone recommend a good film for these conditions?

I have tried several films for rock/concert photography over the years.
These days I use the following:

  For transparency:

    1: Scotch 640T - tungsten balance. Colours can be slightly washed
                     out but usually very good under stage lighting
                     conditions.

    2: Fujichrome P1600 - daylight balance. Use with a conversion
                     filter (Kodak 80a), expose at 1600.

    3: Ektachrome 800/1600 - daylight balance. Use with a conversion
                     filter (Kodak 80a) at 800. It's not worth pushing
                     this film to 1600 though as the colours go and the
                     grain gets noticeable (i've found that this is true
                     under all conditions).

  For monochrome:

    1: Ilford HP5+ - shoot at 800 with increased development (approx. 10%
                     increase, you need to experiment). Grainier than the 
                     equivalent T-Max film but much better shadow detail
                     which you will need.

One other point - as the lighting at these venues is usually awful then
leave the slow zooms at home. Stick to the fastest (i.e. widest aperture)
lenses you have, preferably f2.8 or faster.

Hope that was of use, good shooting!

Bruce Taylor       Process Systems Engineering, Imperial College.
(umeca80@ps.ic.ac.uk  - silly i.d. buts that's the system here!)

    

Newsgroups: rec.photo
From: wiltz@after (David Wiltz)
Subject: Re: Advice on Canon 50 mm/f1.8 wanted
Organization: University of Illinois at Urbana
Date: Wed, 11 Nov 1992 17:22:27 GMT
Keywords: Canon

d90-nsc@nada.kth.se (Niclas Schopenhauer) writes:



>   I am considering buying a 50 mm lens for my Canon 100 (Elan in the US, I
>believe). However, since the only 50 mm lens by Canon on the market (not counting
>the 50/f1.0) belongs to the II series which, I am told, have bad optical quality,
>I'm considering buying a second-hand copy of the old 50 mm f/1.8.

>  What I would like to know is how good the old one is compared with the one from
>the II series. Any advice would be welcome.

>  (By the way, am I the only one hearing rumours about a new 50 mm f/1.4 USM ?)


It's a good, solid lens.  Metal construction, durable, etc.
I'd take it over that piece of crap II anyday.
-Dave
--
   David Wiltz                                wiltz@after.math.uiuc.edu
   Calculus&Mathematica Development Team
   University of Illinois at Urbana-Champaign  NeXTmail always welcome!
-Doing business with the government is a lot like playing poker with God.-
From: hyunj@crockett1b.its.rpi.edu (John Hyun)
Newsgroups: rec.photo
Subject: Interested in buying some equipment
Keywords: buying, equipment
Date: 12 Nov 92 07:10:30 GMT
Article-I.D.: rpi.bsq12wj
Reply-To: hyunj@rpi.edu
Organization: Rensselaer Polytechnic Institute, Troy, NY.

If anyone is interested in selling one of the following items,
please respond to me personally through E-mail:

1) 1.4x tele-extender for a Canon FD mount
2) 2.0x tele-extender for a Canon FD mount
3) 300mm lens for a Canon FD mount (or a zoom including this focal length)
4) 400mm lens for a Canon FD mount (or a zoom including this focal length)
5) light meter

--John
hyunj@rpi.edu
Newsgroups: rec.photo
From: donl@glass.esd.sgi.com (donl mathis)
Subject: Re: Stained Negatives?
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Date: Mon, 9 Nov 1992 19:25:32 GMT


In article <1992Nov9.154820.29694@bcrka451.bnr.ca>, poole@bnr.ca (Thomas
Poole) writes:

|> 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).

Don't scrimp on fixing!  I don't know if the dilution of Ilford's paper
fixer is different than for film, but if you're having trouble, don't
make compromises like that.  I'd suggest using proper fixer, for a
good, long, healthy time.  In any case, I can't imagine 1 minute being
enough time for any film, in any fixer, so if you are going to use
the paper fixer, give it five minutes and see what it looks like.  In
fact, dump a little in a dish or something, and see how long it takes to
clear an unexposed piece of film that you slosh around in there, and
double that time when you're processing.

Also, I would suggest you fix that film again; a perfectly acceptable
thing to do.  You should probably give it a water rinse first, and then
fix for a few minutes, and see if it clears it up.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com