HDTenEightyP/NetNews huggingface dataset:
From: jchen@smdsctt.bellcore.com (C. Jason Chen)
Subject: Rear Curtain Sync on EOS 630
Reply-To: jchen@ctt.bellcore.com
Organization: Bell Communications Research
Date: Mon, 31 Aug 92 18:46:42 GMT

According to Glen's List, EOS 630 has rear (second) curtain sync for flash. 
But I could not find this feature in the EOS manuals. How do I set this up?

Secondly, since rear curtain sync has a lot of neat applications. Why most
cameras only support front curtain sync? If I switch to rear curtain sync,
what will I miss?

-- 

C. Jason Chen                 
**************E-Mail: jchen@ctt.bellcore.com
**************V-Mail: (908)699-6993
**************P-Mail: 444 Hoes Lane, 1E229, Piscataway, NJ
From: sam@esl.com (Samuel Hahn)
Newsgroups: rec.photo
Subject: tripods
Date: 2 Sep 92 01:04:44 GMT
Reply-To: Samuel Hahn <sam@esl.com>

Is there anything complicated to buying tripods?  I don't see much  
discussion, but then I'm not a serious photographer.  I have a IS-1 (so I go  
for ease of use), and just want something to hold the camera so that I can be  
in the picture every once in a while (I'm usually not, right now).  I've  
looked at the SLIK-1000 and SLIK-600 (at the local Service Merchandise  
place); I was wondering what people would recommend for a relatively  
unsophisticated user looking for a good basic tripod.  Thanks for the advice.
-- Sam
From: fiddler@concertina.Eng.Sun.COM (steve hix)
Newsgroups: rec.photo
Subject: Re: Need a new camera - what to get?
Date: 27 Aug 92 21:35:16 GMT
Organization: Sun Microsystems, Mt. View, Ca.
NNTP-Posting-Host: concertina

In article <1992Aug28.041352.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au (Paul Repacholi) writes:
>
>The FD 35-105 zoom is a good all rounder. All the FD lens except the 200 f4
>macro are still current I believe, though some may be a bit hard to track
>down now.

The 200/4 macro seems to still be on the price lists of mail-order
dealers.  If it's going away, it's worth snatching up...imo, of course.


--
-----------------------------------------------------------------------
Of making many books there is no end...  |  What's wrong with chasing 
                       -- Eccl. 12:12    |  nebulae till 3 am?  |-(
-----------------------------------------------------------------------
Xref: sparky rec.photo:14996 alt.cd-rom:2802 gnu.misc.discuss:2782 misc.int-property:878
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo,alt.cd-rom,gnu.misc.discuss,misc.int-property
Subject: Re: Time to boycott Photo CD
Date: 27 Aug 92 23:39:03 GMT
Article-I.D.: clark.1992Aug27.233903.8586
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Aug27.153941.24826@lmpsbbs.comm.mot.com> dougb@ecs.comm.mot.com writes:
>
>Instead of griping and complaining to everybody, why don't you document
>your source.  I was under the impression that Kodak was supplying an
>interface to Adobe Photoshop for free.  I used a PhotoCD at the Consumer
>Electronics show, and it sure looked easy to use and valuable.  My only
>gripe is: What they hell do I do with an edited image?  Do I have to get 
>a bernoulli drive just to get the image to a printer?

Welcome to the world of image setting. We often get print jobs into our
shop stored on 44 and 88 meg removable cartriges....:-)

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
Newsgroups: rec.photo
From: lhdowney@eos.ncsu.edu (LEWIS HENRY DOWNEY)
Subject: need help fast -- making chrome of oil painting
Originator: lhdowney@c00084-100lez.eos.ncsu.edu
Reply-To: lhdowney@eos.ncsu.edu (LEWIS HENRY DOWNEY)
Organization: North Carolina State University, Project Eos
Date: Thu, 3 Sep 1992 02:43:45 GMT


 A colleague/client is having me photograph some of his oil paintings. 

I've double polarized the light source and camera to eliminate
glare and have been forced to pre-expose the Ektachrome 64T to help 
with the extremely subtle shadow detail. 

The problem is that the polarizers (I guess) seem to have cut through the
top layer of paint. The underpainting, which is reddish brown, is next to 
invisible to the eye but has come blazing through in the chrome. He needs 
to use the chrome in his portfolio to show prospective clients the kind of 
work does.

Kodak said to try daylight film and strobes and otherwise to try the thing 
without the lens polarizer (I'm almost positive the glare will not be 
reduced sufficiently without the lens polarizer) and that
otherwise everything had been done that could be done.

I am optimistically hoping that there is a more definitive solution. 
Filtering would not seem to be the answer -- the other colors are fine
and the problem does not seem to be one of color balance.

The painting is being framed and sent to a gallery on friday, so this is the
last chance to make the photograph. All reasoned suggestions appreciated.

-- 

Lewis Downey              | P.O. Box 33263
lhdowney@eos.ncsu.edu     | Raleigh, NC 27636
                          |   
Photography Instructor    | 919 833-4490 (home)
Meredith College          | 919 829-8415 (work)
Raleigh, NC 27607         |  

Newsgroups: rec.photo
From: feldman@hal9k.cxo.dec.com (james feldman)
Subject: Re: Unsticking photos
Reply-To: feldman@hal9k.cxo.dec.com (james feldman)
Organization: Digital Equipment Corporation
Distribution: ne
Date: Thu, 27 Aug 1992 19:49:16 GMT

In article <1992Aug27.181536.21233@cs.brown.edu>, cmg@cs.brown.edu (Cindy Grimm) writes:
|>I've got a collection of old photos that got damp at some point in time,
|>and are now all stuck together. Is there a recommended way for unsticking
|>them with as little damage as possible? 
You can try the following, provided that no water soluable retouching was done.

PLace the whole bunch of prints in room temp water and let soak (distilled
would be best and it may take a few hours to soak all the way through).  Once
the papers have become resaturated, you MAY be able to gently separate the
prints.  You could then redry the prints on a horiz. window screen.  Most
likely there will be some emulsion damage, either from the contact with the
other prints or mold damage.  Warmer water may soften the emulsion a bit more,
but you do run the risk of pulling the emulsion off the paper backing.

good luck!
jimf

You could take the more damaged, important prints to a place that does
restoration work.
From: eugene@briar.lle.rochester.edu (Eugene Kowaluk)
Newsgroups: rec.photo
Subject: Photo-CD - THE WEATHER FACTS
Date: 4 Sep 92 14:17:20 GMT
Organization: UofR Laboratory for Laser Energetics


 
William M Barnick writes:
> In article <1992Sep1.173748.28224@kodak.kodak.com> axman@acadia.Kodak.COM (Mik
e Axman) writes:
> >  We can't compete with that Tampa
> >weather, but Rochester has it's charm.
> >
>               ^^^^
>               ||||
>               RAINchester, it looks like Rochester, but you would have to
>               blow dry it for about a month.
> Sorry, Mike.  I just had to correct ya on that one.
> 
> See Ya ...
> WMB
 
 
Don't be swayed by this comment.  With all that this town has going for it,
somebody has to bring up the weather.  Geez!
 
If it wasn't for the weather, we wouldn't have a chance to visit all the
museums or attend the various photography seminars.
 
Just yesterday, Kodak entertained the local pros with their Portraits of
Success and Visions in View seminars and fed us in style while displaying
their digital products.
 
As always, Kodak coordinated their presentations with the weather, and the
weather cooperated by keeping everybody indoors :).
 

eugene kowaluk
From: ajayshah@almaak.usc.edu (Ajay Shah)
Newsgroups: rec.photo
Subject: Here is some info on new Sigma lenses:
Date: 31 Aug 1992 11:33:39 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: almaak.usc.edu

I just got off the phone with Sigma (516-585-1144).

70-210 AF
---------

They used to have two lenses here: a UC and a APO.  The UC is cheap
and considered a bad lens.  The APO has been discontinued.

Instead they have two new lenses: a "APUC" f4-5.6 which is a compact
lens with good optics, and a f2.8 APO which costs the moon.

The new APUC is $190.  I'd like to know any information you may have
about it's optics.  The price and size+weight are good, though you
do take a hit on speed.

The discontinued APO used to have 12 elements in 9 groups.  The new
APUC is 14 elements in 11 groups.  Does that mean anything?


70-300 AF
---------

Here the two interesting options are the APO and the (new) DL.
DL stands for "deluxe" which is a bunch of features a Nikon lens
may not have.  The DL is $170, the APO is $270.  Many net.folks
have told me this APO is an excellent lens.  Again, if you know
something about the optics of the DL please let me know.


400 AF
------

This lens is $370.  It is 2.5 pounds, 8.3 inches long and 3.3 inches
wide.


1.4x teleconverter AF
---------------------

Sigma has no other teleconverter.  For a while they did a 2x manual
but that has been discontinued.  This is .7 inches long and weighs
6 ounces (how much is that?).

        -ans.
-- 
Ajay Shah, (213)749-8133, ajayshah@usc.edu
From: bercov@bevsun.bev.lbl.gov (John Bercovitz)
Newsgroups: rec.photo
Subject: Re: Proper lubricants for fixing a camera and other hints.
Date: 1 Sep 1992 21:54:43 GMT
Organization: Lawrence Berkeley Laboratory, California
NNTP-Posting-Host: 131.243.192.10

In article <1992Sep1.183700.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au 
(Paul Repacholi) writes:

>A 6B lead pencil :-) Or hunt arround your auto shops for a plastic bottle of
>powdered graphite. Used for locks, and putting into tires to reduce RFI. A 6B
>pencil is MUCH less mess, and easier to control where it goes.

Fascinating post but you're kidding on this suggestion for using a 6B pencil,
right?  Pencil "lead" is made of graphite, clay, and binders, the clay being 
quite abrasive.  The clay is in there to help abrade the graphite and lay it 
on the paper.  Maybe it's a fine enough abrasive that it doesn't matter?

John Bercovitz     (JHBercovitz@lbl.gov)

Newsgroups: rec.photo
From: usenet@adobe.com (USENET NEWS)
Subject: Re: The quality of Nikon "E" lenses?
Originator: asanders@sparta
Organization: Adobe Systems Incorporated
Date: Tue, 25 Aug 1992 20:08:16 GMT

| ...the mechanics leave something to be desired. It is a one-touch 
| zoom, and the zoom control is very loose. It tends to slide if I 
| point the lens up or down.
				-Doug Bank

This is a problem inherent to one-touch (push/pull) zooms. If the zoom 
ring is tight enough to prevent this kind of movement, then it's too tight 
for smooth zooming. A two-touch zoom, with a zoom ring that rotates, is 
much better if preventing "zoom creep" is important. I owned a 75-150
for several years and thought it was a wonderful lens. I certainly
wouldn't call the zoom control "very loose," at least not on mine.

						_Alan

Newsgroups: rec.photo
From: cmg@cs.brown.edu (Cindy Grimm)
Subject: Unsticking photos
Organization: Brown University Department of Computer Science
Distribution: ne
Date: Thu, 27 Aug 1992 18:15:36 GMT


I've got a collection of old photos that got damp at some point in time,
and are now all stuck together. Is there a recommended way for unsticking
them with as little damage as possible? 

Thanks,
Cindy
cmg@cs.brown.edu

Newsgroups: rec.photo
From: txn@sirius.larc.nasa.gov (Troung Nguyen)
Subject: Looking for low cost flash for Elan 
Organization: NASA Langley Research Center, Hampton, VA  USA
Date: Thu, 27 Aug 1992 14:46:41 GMT

I am looking for a flash for my Elan.  Any recommendation 
on any flash that would be fully compatible with the Elan 
is appreciated. I don't want to spend over $150 for a flash, 
but I would if it's worth it.  The Canon 300EZ's guide number 
is not a whole lot better than the built-in, and the 430EZ 
costs a little too much.

A local dealer recommended a Sunpak 433AF (labeled "for Canon
650-43C" on the box) or a Vivitar 636AF(the only 2 he had for
Canon).  Both have automatic TTL (I disagreed with the 
salesperson when he said A-TTL flash is the same as automatic 
TTL flash, what do you think?), and Vivitar also has manual mode.  
Neither have Zoom nor Red-eye-reduction. I don't know if they can 
do flash exposure compensation or auto-fill-in or second-curtain 
sync.  Any experience with either would be very helpful.

Thank you very much.

Truong Nguyen
txn@sirius.larc.nasa.gov
From: leonglaw@hpsgm2.sgp.hp.com (Lawrence Leong)
Date: Wed, 26 Aug 1992 11:49:34 GMT
Subject: Re: Flash & Lens for Nikon FM2
Organization: HP Singapore
Newsgroups: rec.photo

In rec.photo, jay@metran.UUCP (Jay Ts) writes:

|memsthd@prism.gatech.EDU (MIKE WILEMAN) writes:
|: honna@cs.concordia.ca (SEGEL honna) writes:
|: >I suggest that you also consider the Viv285.
|:
|: This sounds like a good flash for my FM, but is there a flash which has all
|: (or, at least, most) of these feature, particularly the fully variable
|: manual power setting, which I can also occasionally use as a TTL flash
|: with my 6006 body.
|
|I asked about this on the net a few weeks ago, and it seems that the only
|other camera-mounted flashes with a power reduction feature are made by
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
|Sunpak.  Sunpak's power reduction has settings for 1, 1/2, 1/4, 1/8 and 1/16,
|whereas the Vivitar does not have the 1/8 setting.  (I wonder why not?)

You can try out the Metz 36CT4.

lawrence

|
|I think that certain higher-priced (and bulkier) Sunpak units have modules
|to adapt to Nikon.  You might look into those.
|
|Jay Ts
From: dbernard@thewho.Central.Sun.COM (Dave Bernard)
Newsgroups: rec.photo
Subject: Re: Which Prof.  35mm camera had plastic body parts.
Date: 28 Aug 92 11:46:14 GMT
Reply-To: dbernard@thewho.Central.Sun.COM
Organization: Sun Microsystems

>BTW, the A-1 had Plastic ( not even polycarbonate ) Body pieces.  Was it ever a 
>problem with them???  I don't think so - at least it was never mentioned in any
>of the Photo Mags.

I'm confused... isn't "polycarbonate" just another polymer derivative?  IE, isn't
"polycarbonate" used by camera marketeers to avoid saying "plastic?"

	Dave
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.photo
Subject: Re: Bogus Olympus Add
Date: 28 Aug 92 20:11:29 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

clcp16@ccsun.strath.ac.uk ("S.C.Russell") wrote:
> barryg@hplsla.hp.com (Barry Gunn) writes:
>|> Has anyone seen the new add for the Olympus Stylus that shows a
>|> baseball player hugging a little boy? I don't think they could've
>|> been taken with the Stylus.
> Does an advertisement for a camera have to be taken with the camera
> advertised?
> Nice as the mju-1's lens may be (The Infinity Stylus is called mju
> here, which caused a bit of friction) I don't think it could have
> taken that picture either.

This doesn't bother me a lot with camera advertising - within the same
general category (e.g. 35mm zoom lenses) there are no differences you're
going to see in one reproduced picture anyway.

What *does* bother me is when the same policy is applied to film.
Apparently almost *no* film adverts are taken with the stuff being
advertised; colour print film ads are shot on slow slide films (and
now, I suspect, the images also get computer-processed).  With film
there really *are* visibly different characteristics that would show
up in any picture.

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
Newsgroups: rec.photo
From: smcguire@eagle.mit.edu (Scott McGuire)
Subject: Recommend slide labelling program?
Organization: Sloan School, MIT
Date: Tue, 1 Sep 1992 17:26:34 GMT

Can anyone recommend a program for labelling/cataloging slides that runs on
the Macintosh?

Several of my computer literate photography-minded relatives (I only
qualify as computer literate, I'm working on my photography) have asked me
about this, and I haven't been able to find any info.  I've looked around
and haven't been able to find any information (well, one ad in a
photography magazine).  Any hints would be appreciated!

--Scott McGuire / smcguire@mit.edu
From: strong@tc.fluke.COM (Norm Strong)
Newsgroups: rec.photo
Subject: Variable output slave flash
Date: 2 Sep 92 16:24:09 GMT
Organization: John Fluke Mfg. Co., Inc., Everett, WA

Does anyone know of a slave flash unit with an adjustable ouput.  All
the ones I've come across work at full output only; you have to cover
them partially to regulate their light output.  I'd like one that has a
3 stop range of adjustment, and doesn't consume more power than
necessary when used at low output.  

Thanks muchly,
-- 

Norm Strong  (strong@tc.fluke.com)
2528 31st S.   Seattle WA 98144   USA
From: andyc@hplsla.hp.com (Andy Cassino)
Date: Thu, 3 Sep 1992 16:42:27 GMT
Subject: Re: Recommend slide labelling program?
Organization: HP Lake Stevens, WA
Newsgroups: rec.photo

Can anyone recommend a program for labelling/cataloging slides that runs on
the Macintosh?

--Scott McGuire / smcguire@mit.edu
----------

An alternative to a dedicated software package is a more general database. 
These usually have flexible printing capabilities. Many even have dedicated
label-printing functions (since data bases are often used to generate address
labels). Among the advantages of using a database are, you may already have
one and you can configure it just the way you want it. You might want to have
the label-printing be just a small part of a larger database for tracking
image information including sales, printing notes, and maybe even a digitized
version of the image if you have a database that can track image files. If
you have many sales, this could be linked to another database for summarizing
financial information for tax purposes.

The disadvantage of using a database is that all this flexibility might leave
you flummoxed and you'll spend all your time futzing with the set-up instead
of printing slide labels and getting on with real work.

    %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
    % Andy Cassino                                       %
    % Hewlett-Packard - Lake Stevens Instrument Division %
    %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Newsgroups: rec.photo
From: gold@imp.sim.es.com (Bruce Gold)
Subject: Re: Why do photofinishers crop so much?
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Distribution: usa
Date: Thu, 27 Aug 1992 22:40:04 GMT

I suddenly discovered massive cropping from a photofinisher when they changed to
a new improved automagic developing/enlarging/printing box with COMPUTER control.
The people using it were trained to leave it set for 4x6 prints at all times,
even when doing 3x5 prints.  When I first complained to the brain-dead
operator I felt like I was trying to communicate with a tree stump.  When
I managed to get to the technical expert in charge of all sites, she gave me the 
song and dance about 35mm aspect ratio being different from 3x5.  I didn't get
the straight story until I drew a scale diagram of the magnitude and location of
the cropping.  Then she confessed to the fixed 4x6 setting.  Then she patiently 
explained that "none of her other customers complained about that."  

So I humbly learned my lesson and took my business elsewhere.
-- 
				Bruce Gold
				   Utah
From: ilsa@netcom.com (Ilsa VanHook)
Newsgroups: rec.photo
Subject: Re: Photograping Whales [8008s autofocus problem]
Date: 2 Sep 92 17:04:24 GMT
Article-I.D.: netcom.3vknw3j.ilsa
Organization: Shonen Knife Fan Club

In article <PHILG.92Sep1181633@zug.ai.mit.edu> philg@martigny.ai.mit.edu writes:
>
>What Minolta has is true autofocus.  The camera analyzes the scene,
>taking into account data from multiple sensors, and always (in my
>limited experience) picks some sensible collection of things to make
>sharp.

what Minolta has is matrix autofocus, whereas Nikon uses spot autofocus, 
if i can make an analogy with exposure metering systems.

i've started using Nikon stuff after using manual-focus minolta cameras
since i was a teenager, in part because Nikon's AF system suits me better.
preferences vary, eh?


>take advantage of their latest technology.  If we all designed
>software with this degree of shortsightedness...  we'd be really rich!
>(MS DOS, MacOS, etc.)

i'll try to refrain from saying anything about Bill Gates...
Newsgroups: rec.photo,misc.wanted,misc.forsale.wanted,tor.forsale,ont.forsale
From: ash@iron.sni.ca (Ashwin Palekar)
Subject: wanted: 220V enlarger & photo equipment wanted
Organization: Siemens Nixdorf, Sietec Open Systems, Toronto, Canada
Date: Mon, 31 Aug 1992 18:19:01 GMT

I am looking for the following equipment (new or used).

-----------------------------------------------------
Equipment : 		: Preferance 
-----------------------------------------------------
Enlarger  : 6x7,220 V 	: Omega C760-XL 6x7 Dichroic 
Lens      : 50mm Lens 	: Nikkor or RodenStock
Carriers  : standard sizes.
Color Analyser : 220V 	: No Specific Preferance.
-----------------------------------------------------

Please reply with details and prices to 
Ashwin Palekar 
email : ash@sni.ca
From: jkk@aiai.uucp (John Kingston)
Newsgroups: rec.photo
Subject: Mail Order US to UK, and Prices -- info please
Date: 28 Aug 92 08:26:20 GMT
Reply-To: jkk@aiai.uucp (John Kingston)
Organization: AIAI, University of Edinburgh, Scotland


I'm looking to buy my first auto-focus, now that my old (some would say museum
piece) Minolta XG-1 has finally given up the ghost. I have a fairly good idea
of what I want (see below), but my budget is tight. Given that camera
equipment is considerably cheaper in the USA than in the UK, and that the
sterling-dollar exchange rate is good news for the British right now, I
wondered if there's anywhere in the USA where I could order my equipment and
pay by credit card. I'm prepared to wait a few weeks for shipping by sea, if
necessary. 

Does anyone know of a store/warehouse that stocks the following items, and
would be prepared to mail them across the Atlantic? Could you send me their
address or phone number?

Thanks,
JK

Desired Equipment:

First choice: Minolta 5000i + Sigma f4 AF 28-200 lens 

[Before I get flamed for putting this as first choice and the Canon as second,
I should point out that I am definitely an amateur, and photography is rarely
the first priority on my time. I therefore prefer to sacrifice some quality
and auto-features in order to have everything I need in one unit - I HATE
changing lenses halfway up a mountain when I'm already at the back of the
group! The combination above provides the only lens I'm likely to need, and a
built-in flash too. If anyone knows stores which have any other *AF* lenses
with a range of at least 35-200, I'm interested; I have heard of one other,
which is also a Minolta AF fit. I'm also interested in any horror stories about
the Sigma lens]

Alternate first choice: Nikon F401 + Sigma f4 AF 28-200 lens

[The Nikon is more expensive but reputedly more robust than the Minolta]


Second choice: Canon EOS1000FN (supplied with Canon 35-80 USM) + Canon 75-300
USM 

[Canon's USM lenses are reputedly the best around, and silent photography is a
minor advantage to me. The EOS1000's focussing system, which *will not* take
pictures if the subject is out of focus, is actually a minor disadvantage from
my point of view]

Any one of these combinations would cost me between 400 and 500 pounds in the
UK, which at current exchange rates is somewhere between $800 and $1,000. So
if anyone knows any good stockists, particularly ones who have the Sigma lens,
I'd be veryu grateful to hear from you.

John Kingston,                               | 
Knowledge Engineering Methods Group,         | The heart of every problem
AIAI, University of Edinburgh                | is the problem of every heart
E-mail jkk@aiai.ed.ac.uk, phone 031-650 2736 |   
Newsgroups: rec.photo,alt.cd-rom,gnu.misc.discuss,misc.int-property