HDTenEightyP/NetNews huggingface dataset:
From: kurisuto@CHOPIN.UDEL.EDU ("Sean J. Crist")
Newsgroups: rec.photo
Subject: *** Beginner needs advice fast
Date: 2 Oct 92 14:08:39 GMT

Dear all,

     Sometime in the next week, I *need* to buy a camera.  This is a
problem, because I don't know enough about cameras to make an informed
decision.  I will mainly be taking slides, mostly of outdoor events such as
political marches, as well as a fair amount of copy stand work.  I want to
be able to override any of the settings such as f-stop and shutter speed
for some point in the future when I learn to use these things correctly,
but it would be helpful (although not essential) if the camera could make
some of these decisions for me for now.

     A photography major friend of mine recommended a Pentax K-1000, which
seems to run around $150 without any lenses.  The drawback is that this
camera is totally manual.  A salesman in a camera shop told me that I
would kick myself later if I went with the K-1000, and recommended that I
buy a Pentax P-Z-10 for $300 without lenses.  Was this good advice, or was
he just trying to make a sale?

     A camera that can give professional-looking results is essential,
since I will be using these slides in paid presentations.  A lot of
special camera features are not necessary; I'm not planning to do any kind
of unusual or artistic photography.

     Any advice on what kind of camera I should get would be appreciated. 
I would like to spend less than $400 on the whole initial
setup, if there's any way this is possible.

     Thank you all very much!

--Sean
kurisuto@chopin.udel.edu



Newsgroups: rec.photo
From: fohl@cbnews.cb.att.com (mark.e.fohl)
Subject: Hyperfocal distances
Organization: AT&T
Date: Mon, 5 Oct 1992 11:50:20 GMT
Keywords: lens, depth of field, hyperfocal


I've got a question for the optics gurus in the group.  Is depth of field
the same for all lenses of a given focal length and aperture?  That is, for
a 50 mm lens at f16, is the depth of field the same for Nikkor, Zeiss, Ritz,
etc.?  

I've got a Mamiya C220 twin lens, and I need some work on my depth of field.
I'm trying to determine hyperfocal distances for the lenses I've got.  I seem
to remember seeing depth of field charts for those lenses, but I can't find
them.  If the depth of field charts for any lenses will do, my search will be
easier.  Any help would be appreciated.

Thanks,

Mark
From: feltman@hpscit.sc.hp.com (Robert Feltman)
Date: Tue, 29 Sep 1992 23:58:25 GMT
Subject: B&W.Tone sep.FB or RC? Neg size?
Organization: Hewlett-Packard, Santa Clara, CA
Newsgroups: rec.photo

Hope this subject hasn't been covered recently....

Two questions:

1. B&W neg size. I read that the larger the neg, the better the tone
   separation. Is this true? Why? Why not?

2. B&W paper. Ignoring the archival question, does fiber make a better
   print than RC. In terms of what the print looks like to the viewer.
   Is there a general concensus amongst pros? Amateurs? What are the 
   factors involved if there is a difference?

OK, so I can't count. You get that way working in the dark all the time :)

Thanks to all who contribute,

Bob Feltman 
Newsgroups: rec.photo
From: lmitchel@nyx.cs.du.edu (lloyd mitchell)
Subject: Re: Ektar vs. Gold
Organization: University of Denver, Dept. of Math & Comp. Sci.
Date: Tue, 29 Sep 92 02:40:06 GMT

In article <1992Sep28.154851.10804@kodak.kodak.com> axman@acadia.Kodak.COM (Mike Axman) writes:
>In article <1992Sep26.021234.16137@mnemosyne.cs.du.edu>, lmitchel@nyx.cs.du.edu (lloyd mitchell) writes:
>>
>>So, my question is, is Gold 100 any better or worse than Ektar 25?  Also, what
>>would be the best film for shooting computer screens with a 35mm camera?
>>
>
>I would suspect that in this application, the differences between Ektar 25 
>and Gold 100 would be minimal.  However, since noise power is additive, the
>finer grain of the Ektar should always be measureably better, but given the 
>extensive "phosphor" noise of the screen, it may not be discernably different
>with your magnifications, etc...

This seems to be the bottom line for me.  Considering my particular application,
I don't think I'll see much difference between Ektar 25 and Gold 100.  At least,
the differences between films may well be overshadowed by the differences in
print batches and color corrections.
 
>By the way, who was this lab manager?  I want to take him off my Christmas list.

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

In his defense, I'll say that the lab manager (a 1-hour place) has a vested
interest in reducing his workload, which does not make him vacuous or terminally self-centered.  He does quasi-custom work for me at a discount price because
I give him slack and know what I want.  Thus, keeping him happy *is* a valid
consideration *for me*.  Your mileage will vary.

Thanks for all the posted and mailed responses.  They were both informative
and helpful.

Kerry Mitchell
From: donl@glass.esd.sgi.com (donl mathis)
Newsgroups: rec.photo
Subject: Re: Preserving color photographs
Date: 26 Sep 92 12:00:12 GMT
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA


I haven't been following this thread, but I thought I'd offer a few
basic rules for preserving color photographs that cover 90% of all
possible problems.  I doubt if anyone's mentioned these; I found them
in a book called "Lux Loco -- the Art and Science of Color Photograph
Preservation".

1) Wash your hands before your viewing session.  Dirty hands spread
disease.

2) Don't use color photographs as coasters, or as napkins.

3) Don't take them in the pool with you, of if you do, only take one at
a time, so they don't stick together as they dry.

4) Don't use color photographs in any way in your pet- or child-care
procedures.

5) Talk to your pictures.  Studies have shown that regular
conversations with your pictures will help them stay sharp and vivid,
well into their old age.

6) Try to keep them grouped by age, rather than in some other manner.
There are sympathetic vibrations that arise between photographs taken
at about the same time; if you keep them grouped by age, rather than
category, these vibrations tend to join together and ward off the
effects of smog and other undesireable atmospheric elements, such as
too much cologne.

7) Once a year, take them all out of their storage places, and lay them
out in a mosaic on your living room floor.  This will help them
breathe, and permit any bad vibes that have soaked into the emulsion to
dissipate.  Wave a fan of ostrich feathers over them for about 15 or 20
minutes, and then put them away again.

8) Never, ever, under any circumstances, look at your pictures while
cooking in a wok.

9) If you do notice a change in color, do not attempt to touch them
up with lipstick and eyeliner!  You would be surprised at how many
photographs are ruined with such techniques.

10) For the ultimate in preservation, set your camcorder on a tripod,
pointing at your album, and slowly leaf through the album.  Even if
the prints go bad, you can always watch the tape.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com
Newsgroups: rec.photo
From: raghu@norway.fishkill.ibm.com (Raghu Hudli)
Subject: Nikon FM-2 
Date: Wed, 30 Sep 92 18:50:50 GMT
Reply-To: raghu@vnet.ibm.com
Organization: IBM Corp., E. Fishkill, NY

I am looking for a manual SLR camera. I like the Nikon FM-2. 
I would appreciate if Nikon FM-2 owners shared their experience.
Also, would Nikon N2000 be a better buy than the FM-2? 

Raghu Hudli
-----------------------------------------------------------------------
Raghu V. Hudli                       Tel:   (914) 892-4188
IBM Corporation                      Fax:   (914) 892-4316 
E. Fishkill, NY                      email: raghu@vnet.ibm.com
------------------------------------------------------------------------
Disclaimer: The opinions/views expressed here are mine and my employer
does not necessarily concur with me.
Newsgroups: rec.photo
From: tab62@isuvax.iastate.edu (   )
Subject: Spec. for EF 80-200/2.8L
Reply-To: tab62@isuvax.iastate.edu
Organization: Iowa State University, Ames, Iowa
Date: Fri, 2 Oct 1992 16:32:16 GMT

Could someone please post the spec. for Canon EF 80-200/2.8L.  And the most
question is is this lens has internal focus design?

Thanks!

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Chong Siak     Iowa State University  Ames  Iowa   tab62@isuvax.iastate.edu                      
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
From: sawicki@src.dec.com (Filip Sawicki)
Newsgroups: rec.photo
Subject: Re: AGFA, Fuji, Kodak or ?
Date: 5 Oct 92 18:44:12 GMT
Article-I.D.: src.1992Oct5.184412.21123
Organization: DEC Systems Research Center

In article <67111@cup.portal.com>, John_A_Pham@cup.portal.com writes:
|> What's the different in quality of AGFA, Fuji or Kodak film.
|> Assume it is all ISO 100 speed.  I do notice that Fuji film is
|> cheaper than Kodak. 

   Take a look at the colors of the film boxes. They tell you the whole story
(pros, please no flames!):

Konica is cold and bluish (good for architecture)
Kodak GOLD is too warm (too much red and yellow) usually
Fuji is too green IMHO
AGFA has worst resolution and grain, but gives balanced colors

Of course, this is true mostly for amateur films developed and printed in cheap
labs. Good labs will give you similar prints from any film, though they will
still differ very slightly in color rendidtion.

Ah, and then comes the next factor: the paper type and manufacturer. But this is
quite a different story.

fi.
From: tklai@acsu.buffalo.edu (Tobysze K. Lai)
Newsgroups: rec.photo
Subject: Re: Experience with Canon EF 100-300mm f/4.5-5.6 USM
Date: 5 Oct 92 05:37:05 GMT
Organization: UB

Hi everyone,

After I posted the article, many people have sent me emails and posted their
responses to the net, that gave me a lot of helpful advices.  I just want to
thank the following net folks for their responses:

	Scott Mann         David Bailey        
	Tim Chase          Alvin Shih
	Jason Chen         Gautham Kudva
	Bob Atkins         Tim Chen
	Pete Stoppani


Toby Lai
tklai@acsu.buffalo.edu
Newsgroups: rec.photo
From: michelle@play.esd.sgi.com (Michelle Boyd)
Subject: Re: Request opinions on Olympus ISI-1
Keywords: Autofocus cameras, Olympus ISI-1, recommendations
Organization: Silicon Graphics, Inc.
Date: Tue, 29 Sep 1992 00:51:52 GMT


We bought an Olympus ISI-1 because we wanted a compact
camera with a zoom lens to take on vacation.  It does
a pretty good job.  The two drawbacks I found:  1) I
haven't spent much time with it, so I've forgotten all
of the modes with the buttons, and 2) the autofocus
won't focus on our totally black cat.

michelle

Newsgroups: rec.photo
From: phr@telebit.com (Paul Rubin)
Subject: Re: Tokina 28-70/3.5-4.5 MF vs AF question
Organization: Telebit Corporation; Sunnyvale, CA, USA
	<1992Oct6.215513.13486@cbnewsj.cb.att.com>
Distribution: na
Date: 6 Oct 92 15:59:28

    Pentax has the best record on lens compatibility of any brand that
    I know of.  Even with Nikon, certain old lens/new camera and new
    lens/old camera combinations are incompatible and possibly
    damaging to the equipment.

You must be joking.  You are telling us you can put a screw mount
lens on a K-mount camera without modification or adapters?
From: jkk@aiai.uucp (John Kingston)
Newsgroups: rec.photo
Subject: Anyone surveying UK mail order companies?
Date: 6 Oct 92 07:48:05 GMT
Reply-To: jkk@aiai.uucp (John Kingston)
Distribution: uk
Organization: AIAI, University of Edinburgh, Scotland


Is anyone keeping a survey of UK mail order companies, like the one that's run
for the USA? If so, here's my tuppence worth:

Tecno: minor hassle

I ordered a Minolta 5000i from Tecno, Ilford, Middx, on 1 September. (199.95
including a Sigma 28-70 AF lens). I finally received it on 3 October. It
turned out that the main cause of the problem was the Edinburgh Parcelforce
depot. Because I had given my address as "14 Dalkeith Rd" rather than "Flat 8,
14 Dalkeith Rd", the delivery man had failed to read the nameplates at the
front door and had returned the parcel to the depot. He claimed to have
put a card through my door, but this is a lie; whose door it went through, I
have no idea.

As for Tecno, my complaint is that the first guy I contacted [Tim] checked
that the order had been dispatched, and then did little else. It wasn't until
I phoned someone else [Helen] that she contacted the Edinburgh parcel office
for me using Tecno's Trackfast reference number and discovered that the camera
was awaiting collection. Since it took Helen about 20 minutes to sort this
out, I'm unimpressed with Tim, especially since I had asked for a replacement
camera to be sent and he failed to tell me that this wouldn't happen until
they had tracked down the first one. 

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: hyunj@sage4c.its.rpi.edu (John Hyun)
Subject: For sale: metal tanks for metal reels (35mm)
Reply-To: hyunj@rpi.edu
Organization: Rensselaer Polytechnic Institute, Troy, NY.
Date: Fri, 2 Oct 1992 22:52:41 GMT

If anyone is interested in buying some metal tanks and metal reels
(35mm) for B&W darkroom development, please drop a line. 

--John
hyunj@rpi.edu
From: yyh@osustat.mps.ohio-state.edu (Yu-Yun Ho)
Newsgroups: rec.photo
Subject: night exposures for traffic
Date: 30 Sep 92 03:53:28 GMT
Organization: Department of Statistics, The Ohio State University
NNTP-Posting-Host: osustat.mps.ohio-state.edu

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?  
Thanks in advance.

Yuyun
From: huw@castle.ed.ac.uk (H G J Evans)
Newsgroups: rec.photo
Subject: Re: George Eastman's musical descendant
Date: 5 Oct 92 12:26:37 GMT
Organization: Edinburgh University

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.
Newsgroups: rec.photo
From: troby@diana.cair.du.edu (Thorn Roby)
Subject: Recommendation sought for ~300mm Tele for 6x9
Organization: University of Denver, Denver, Colorado
Date: Mon, 28 Sep 92 20:35:02 GMT

I'm looking for a telephoto (<$300 used) I could put on a Speed
Graphic with a maximum bellows extension of about 12". I'd rather
keep the extension down to under 10" if possible to improve 
stability. I'd like to be able to get something like 10x enlargements
out of the negs, so probably 50 lp/mm or so resolution. Shutter
preferred, but barrel OK. Anyone familiar with older Tele-Xenars, or
others in that class? I'd be shooting 6x9 with minimal movements, so
coverage isn't a big deal.
-- 

Thorn Roby                              troby@diana.cair.du.edu
CARL Systems, Inc.                               troby@carl.org   
3801 E. Florida Ave.,Suite D300,Denver, CO 80210 (303) 758-3030
From: hship@sw.stratus.com (Howard Ship)
Newsgroups: rec.photo
Subject: Ilford Delta w/ Sprint Developer
Date: 29 Sep 92 15:19:23 GMT
Organization: Stratus Computer, Inc.

I just picked up some Ilford Delta and some Sprint B+W Developer.
I've seen Sprint before but never tried it.  The bottle has a simple table
that (if accurate) helps to take the guess work out of developing under
special circumstances (i.e., pushing, etc.).   It gives a base letter for
each type of film, and you use the letter and some adjustments to calculate
the immersion time.

However, it does not include a time for Delta (which is, I believe, a new
film).  And, although Sprint claims to be a direct replacement for D76 1:1,
Sprints time for Tri-X is 30 seconds longer than Tri-X lists for D76.

Has anyone tried using Sprint with Delta or with other films?

-- 
"I can't believe I had the Anti!"
Howard_Ship@vos.stratus.com
From: billn@hpcvaac.cv.hp.com (bill nelson)
Newsgroups: rec.photo
Subject: Re: Legal aspects and copyright
Date: 29 Sep 92 19:12:47 GMT
Article-I.D.: hpcvaac.1992Sep29.191247.19889
Organization: Hewlett-Packard Company, Corvallis, Oregon USA

zrepachol@cc.curtin.edu.au (Paul Repacholi) writes:
: 
: > I also had a friend who told me today that some famous model came and appeared
: > in a mall, and he went to take pictures of her. She pointed out that the
: > press was ok, but my friend was not, and the guy was harrassed and then
: > threatened by people who apparently owned the store and his bouncer. Now my
: > friend did not cross any "police lines", nor did he try to contact the
: > model, and was simply taking shots for his own self. If the person is not
: > trying to make a nuisance of himself, but just taking pictures, in a public
: > area, is there any legal grounds for this sort of harrassment?
: > 
: 
: NO WAY.

Well, it depends. The courts seem to be divided on this subject. Many say that
the mall is private property open to the public. Being private property, the
owner (or manager) has the right to set limits/requirements for anyone being
on the property. That includes whether a person is allowed to take photographs.

Now, if this were a city street or park, or other public property, then you
would have every right to take pictures.

Bill
From: shun@cbnewsh.cb.att.com (shun.cheung)
Newsgroups: rec.photo
Subject: Re: Telephoto zoom lens recommendations wanted
Date: 29 Sep 92 21:23:16 GMT
Article-I.D.: cbnewsh.1992Sep29.212316.21647
Distribution: usa
Organization: AT&T

>>I am also considering which way to go telephoto for my Minolta 8000i, and  
>>would appreciate recommendations for a "bang for the buck" decision (using  
>>B&H prices) verses:
>>
>>	Sigma 75-300 f/4.5-5.6 APO, $260  (or "DL" at $170)
>>	Tokina 75-300 f/4.5-5.6, $200
>>	Minolta 70-210i f/3.5-4.5, $205  (I have a Minolta i camera)
>>	Tokina 80-200 f/2.8 APO, $510  ($440 at Abe's of Maine)
>>
>	I would recommend that you get a zoom out to 300mm. I had an
>    80-200, and would up getting a 60-300 as the 80-200 just wasn't
>    "long enough", especially at the zoo.

It really depends on what your subjects are. 200mm is probably
sufficient for most landscape situations. If you are talking about
zoo animals and birds, you probably need 300mm or even beyond.

In my experience, the problem with most ~70-300mm zoom is the maximum
aperture. f5.6 is frequently not fast enough for a long lens. If one
doesn't need any significant enlargement, maybe high-speed film can be
used to compensate for that. I happen to have a 80-200 zoom and a 300mm/f4
and am happy with that combination. Of course that means extra cost
and weight. There is no "right" answer to this question. The bottom line
is what type of compromise one is willing to make.
-- 
-- Shun Cheung,    electronic: shun.cheung@att.com    voice: (908) 615-5135
     HR 1A-304, AT&T Bell Labs, 480 Red Hill Road, Middletown, NJ, 07748 USA
Newsgroups: rec.photo
From: cstone@nodecg.ncc.telecomwa.oz.au (Charlie Stone 4915162)
Subject: Help wanted with depth of field problems !!!
Organization: Network Computer Centre
Date: Mon, 28 Sep 1992 11:48:37 GMT

I need some assistance from the experts on a black and white photographic 
conundrum - if you are an optimist please call it a challenge.

I would like to photograph a model of a steam pumping engine from the same 
aspect as a photo that already exists of the original full sized machine.

This model fills an approximately cubic space or box of 36 inches length,
21 inches wide and 25 inches high.  The lens must be placed at about half
the height of the box and directed along the diagonal (so that you can see
both a side and the end of the box).  To duplicate the original picture
the lens will have to be about 12 inches from the nearest corner, 40 inches 
from the corner at the end of the left hand visible face, and 23 inches
from the corner at the end of the right hand visible face. 

I would like the photo to be razor sharp (like the original) and to be
free of the distortion associated with a fish eye lens.  

I have been having difficulties with depth of field (getting it all in focus)
and with fitting the whole machine into the photo.

The cameras available are a 5 by 4 speed graphic, a 5 by 4 view camera,
a 35 mm SLR or a 2 1/2 inch square SLR. 

Is this an impossible task with the equipment available?
What is the longest focal length that could be used?
Is there a more suitable camera for the task?

Thanks in advance. 

Charlie Stone.

********************************************************************************


       \--------------------------(^)--------------------------/
                                ___|___   
                                 
              For my next (and possibly last) manoevre !!

C. Stone.
Perth, Australia.
********************************************************************************
From: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: Magzine: Darkroom & Creative Camera Techniques
Date: 30 Sep 92 19:17:15 GMT
Reply-To: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Followup-To: rec.photo
Organization: Amdahl Corporation, Sunnyvale CA

Garry Huang writes:

>I just received a mail from Darkroom& Creative Camera Techniques Magzine.
>I have never seen or heard this magzine. Just wondering anybody has any
>experience and comments with the magzine.

Outstanding magazine.  It's name says it all.  Focus is on advanced
camera and darkroom topics.  Quite technical at times.  _Camera and
Darkroom_ is a good step in the same direction, although not as
technical.  Both offer fine-art photograph layouts and equipment 
reviews that go far beyond the techno-electro-camera-of-the-month,
as offered by Mopular.

Both pay more attention to large format than to small and medium,
although both also pay more attention to small and medium formats
than does Mopular to large.  Got that? :-)  B/w will be featured
heavily while Mopular, aside from a bi-annual "Shoot B/W!!!! We'll
Show You How!!!!!" spread, ignores it.  In general, articles tend
to be by recognized (albeit sometimes controversial) technical
and artistic authorities and photographers.  Focus tends to be
on fine-art photography, rather than outdoor.

Barry

--


|----------------------------------------------------------------------------|
| Barry Sherman, Amdahl Corp.       | "Any fool can face a crisis - it's     | 
| bjs@ruts.ccc.amdahl.com           |  this day-to-day living that wears you |
|                                   |  out." - Anton Chekhov                 |
|----------------------------------------------------------------------------|
| 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.                                                        |
|----------------------------------------------------------------------------|