HDTenEightyP/NetNews huggingface dataset:
From: axman@acadia.Kodak.COM (Mike Axman)
Newsgroups: rec.photo
Subject: Re: Photo-CD and HDTV 'standards'
Date: 14 Sep 92 12:05:39 GMT
Organization: Eastman Kodak Co., Rochester, NY

In article <1992Sep12.175325.1@cc.curtin.edu.au>, zrepachol@cc.curtin.edu.au (Paul Repacholi) writes:
>In article <1992Sep11.125437.4167@kodak.kodak.com>, axman@acadia.Kodak.COM (Mike Axman) writes:
>...
>> Although the current player is engineered for current television standards,
>> the data recorded on the Photo CD is "HDTV ready" when those devices 
>                                        ^^^^^^^^^^
>could you explain this a bit more Mike? Given the state of HDTV 'standards'
>and NTSC vs PAL ect...
>

Since the Photo CD format is a pyramidal hierarchy of increasing resolution 
in digital form, it is not directly linked/limited by existing television
standards.  As you know, current video tape standards are directly linked 
with a particular player/TV configuration.  For example, a friend recently 
asked about the ability to send one of her VHS tapes overseas to a friend 
in England.  Unless she sends a VCR and a "NTSC" TV as well, the tape will 
be useless in England (not to mention a voltage converter will be needed for 
the TV).  With the Photo CD, the same CD could be played on a variety of 
devices and is NOT linked with any particular analog display.
In addition, since the current consumer Photo CD systems are capturing 
2kx3k data, there is a good deal more resolution available beyond the 
limited capability of PAL and NTSC.  In fact, all of the currently discussed
HDTV standards are still much less than the 2kx3k resolution available on 
Photo CD.  This would allow a user to "zoom in" quite a bit and still have 
1:1 data without interpolation.

Of course the disadvantages of increased processing (convert digital to analog, 
etc...) are always considerations, but these issues become less important in
the world of ever-decreasing electronics costs :-)

mike

>~Paul
>

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



DISCLAIMER:
Kodak gives me this Net access for free, but they aren't responsible for my postings.
Newsgroups: rec.photo
From: andpph@ritvax.isc.rit.edu
Subject: Re: B&W Slide film
Reply-To: andpph@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Mon, 14 Sep 1992 03:08:52 GMT

In article <10SEP199221255105@vax2.concordia.ca>, shizgal@vax2.concordia.ca (PETER SHIZGAL) writes:
>In article <cicero.1ehp@hotcity.COM>, cicero@hotcity.COM (Andreas Locicero)
>writes...
>
>>As far as I know, no one makes a black and white slide film anymore.  
>
>Polaroid makes an instant 35 mm B&W slide film caled PolaPan.  I dimly recall
>that they also make a higher contrast B&W slide film (intended primarily for
>copying line drawings and the like).

The "other" Polaroid instant B&W positive film is called Polagraph and is the
basis for the Phoenix Process which will be published soon.

BTW, there is also a Kodak Direct Positive Copy film that has a speed of about
.1 or so.... not too practical for action photography but maybe useable for
still, very still, lives. On the other hand, T-Max, Tech Pan, and Ilford Pan f
and Agfapan can all be developed to a positive which is what B&W slide film is
after all.

andy
From: sog@craycos.com (Steve Gombosi)
Newsgroups: rec.photo
Subject: Re: High speed useful ? (was Re: Nikon N90 technobabble)
Date: 10 Sep 92 23:11:29 GMT
Organization: Cray Computer Corporation

In article <b4cM03bT7e3G00@amdahl.uts.amdahl.com> bjs@uts.amdahl.com (Barry Sherman) writes:
>
>I also notice that one of the thrusts of 35mm wunderkameras is toward
>more silent operation, another area in which they may someday catch up
>to the cameras of 100 years ago (or todays view cameras and Hasselblads, for 
>that matter).

Hasselblad? Quiet???

KER-PLOP!

Oh, you pre-released the mirror:
KER-PLOP!
.
.
.
.
click.

;-)

Steve
Xref: sparky rec.photo:15899 rec.backcountry:6983
From: johno@sdd.hp.com (John Ongtooguk)
Newsgroups: rec.photo,rec.backcountry
Subject: Re: What tripod do you use when backpacking?
Date: 10 Sep 1992 05:08:12 GMT
Organization: Hewlett-Packard, San Diego Division
Distribution: world
NNTP-Posting-Host: hpsdlg10.sdd.hp.com

In article <1992Sep9.141109.19044@sys.sweden.dg.com>, robert@sys.sweden.dg.com (Robert Claeson) writes:
|> In article <ptse.715999405@bcars65b>, ptse@bcars65b.bnr.ca (Paul Tse) writes:
|> 
|> > I use a Manfrotto tripod which is kind of heavy and therefore
|> > often left at home.  However, the Benbo tripod, with its odd
|> > single-lever design, looks like it was made for use out in the
|> > woods and the like.  The little clamp-on units look like they
|> > could be useful too if there are plenty of branches around to 
|> > clamp it on.
|> 
|> Yes, the Benbo tripods are very rugged and works great, but they are
|> somewhat heavy, too. The Trekker is a smaller tripod, but I wouldn't
|> say it can hold a 400mm lens steady. It has problems with my 80-200/2.8
|> zoom. I'd use the Benbo Mk. 1 tripod instead.

   The 80-200 f2.8 doesn't have a tripod collar as I recall, which the
   400 may have. My small tripod, the Titall jr., seems happier with
   my 1 kg spotting scope or 300mm lens than with the 180 for the same
   reason. Although the jr isn't a full size tripod and it has tedious
   leg locks, it does have a full 3 way head and seems to be stable        
   for it's size. I'll carry it, while my larger one is never far
   from the car and is usually used with the projector. 

   John Ongtooguk (johno@sdd.hp.com)
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Mineapolous photo stores... and thank you
Organization: Curtin University of Technology
Date: Tue, 8 Sep 1992 20:18:23 GMT

Ah, its remote control shopping time again...
First of all though, thanks to all of you who replied with Samy's new
phone no and address.

In conversation, a point about credit cards came to light. They can only ship
to the address of the card holder unless special arangments are made with the
the card issuer. This may explain some of the 'funny' experiences people have
reported over the last few weeks on this.

The next bit, Can any one provide recomendations for photo places in Mineapol-
ous. my wife leaves on Fri for 3 weeks over there. How does it go for shipping
stuff into?

Many thanks in advance all.

~Paul

Newsgroups: rec.photo
From: markm@wri.com
Subject: Re: Can someone derive this term?
Reply-To: markm@wri.com
Organization: Wolfram Research, Inc.
Date: Mon, 7 Sep 1992 15:11:34 GMT

In article <1992Sep7.035007.29214@ultb.isc.rit.edu> fjcppr@ritvax.isc.rit.edu  
writes:
> In Popular Photography, they use the term "tyro" a lot. It appears to
> mean someone who is very inexperienced with photography, or someone 
> who is gadget-oriented in a bad sort of way. Can someone explain
> the derivation and real meaning of this strange term? 

Webster's Ninth New Collegiate Dictionary and Thesaurus on my NeXT
gives this:

ty ro \'t  -(,)ro \
[M, fr. L tiro young soldier, tyro]
(1611)
:a beginner in learning: NOVICE
syn see AMATEUR 

  Thesaurus:

tyro  n
1  syn    AMATEUR 2, abecedarian, dabbler, dilettante, nonprofessional,  
smatterer, uninitiate
2  syn    NOVICE, apprentice, beginner, colt, freshman, neophyte, newcomer,  
novitiate, rookie, tenderfoot
From: cf043@cleveland.Freenet.Edu (Lance K. Chun)
Newsgroups: rec.photo
Subject: KODAK's e-mail address please!
Date: 11 Sep 1992 03:37:16 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: cf043@cleveland.Freenet.Edu (Lance K. Chun)
NNTP-Posting-Host: hela.ins.cwru.edu



For one of my assignments at Brooks, I am to write about digital imaging
and I'd like to get in touch with Kodak. So if you are an Kodak employee or
know of their e-mail addres, please send me e-mail! Thanks.
 
Lance
-- 
Lance K. Chun - cf043@cleveland.freenet.edu             | Live  |
Photography Major - Fashion/Illustration/Advertising    | Long  |
Brooks Institute of Photography, Santa Barbara, CA      |   &   |
Paul Tsongas '96! Paul Tsongas '96! Paul Tsongas '96!   |Prosper|
From: paulf@tiamat.hacks.arizona.edu (Paul Frankenstein, Bs.D.)
Newsgroups: rec.photo
Subject: Re: Cheap "Leica" (Re: another all mechnical camera)
Date: 11 Sep 92 16:24:06 GMT
Reply-To: paulf@tiamat.hacks.arizona.edu
Distribution: world,local
Organization: x=x^2+C
News-Software: VAX/VMS VNEWS 1.4-a4

In article <1992Sep11.084037.5777@fy.chalmers.se>, f88mattb@fy.chalmers.se (Mattias Bryntesson) writes...
>In article <10SEP199214453382@venus.tamu.edu> s0l3906@venus.tamu.edu (LIN, SHYH-HORNG) writes:
>....
>>For a beginner who want a mechnical camera, it seems to me that
>>Yachica FX3 super 2000 is a better buy than Pente x.
>....

But the Pentax is rather more rugged, and has a better meter (and wider
ISO range as well). Also, Pentax lenses are easier to find than Yashica ones.

>Another feature of Yashica is that you can use Leica lenses, making
>the bodies interesting for others than beginners. I don't think they
>come with such a lens, at least not for $119.   ;-(
> 
>Mattias

Actually, the Yashica mount fits _CONTAX_ lenses, not Leica ones....

-----
paulf@hacks.arizona.edu
paulf%hacks.decnet@telcom.arizona.edu
To sit in solitude, to think in solitude with only the music of the stream and
the cedar to break the flow of silence, here lies the value of wilderness.
						-- John Muir
From: bc@Apple.COM (bill coderre)
Newsgroups: rec.photo
Subject: Re: NoviceQuestion: Danger of really old film
Date: 8 Sep 92 20:19:30 GMT
Organization: Apple Computer Inc, Cupertino, CA

bn112@cleveland.Freenet.Edu (Chris Katopis) writes:
|My friend has some old film that he never developed.  I mean
|really old, twenty years.  Even if the photographs were
|developable, is there a threat of combustion, explosion, etc
|from the storage of old film?

Almost certainly not.

Keep old unused film in the freezer, in moisture-proof containers
(ziploc freezer bags work well).

Dispose of old film by calling your local garbagemen and asking what
to do with it. If it's just a coupla rolls, just chuck it.

bill coderre
Organization: Business Systems, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.photo
Date: Wed,  9 Sep 1992 14:04:45 -0400 
From: Diane Gibson <dg0q+@andrew.cmu.edu>
Subject: Help Novice Find Zoom Lens

Hello,

I , and have taken one short course.  I have a Canon AE-1, am learning
to use it in "non-automatic" mode, and would like to purchase a zoom
lens.  I talked with someone in a camera store, and he was really
pushing a Tamron 70-210.  I liked it because it was small and light
weight, both the zoom and the focus were on the same ring, it could be
mounted on several different cameras (in case I decide to splurge on a
better camera someday) and the price was reasonable.  BUT, I have never
heard of the company, and it was the only small lens the store had.

Can anyone give me information either about this Tamron lens or about
other good zoom lenses for a Canon AE-1?  Please respond with E-mail, as
I don't have alot of time to read this Bboard regularly.

Thanks,
Diane Gibson
Carnegie Mellon University
From: sdm@pyramid.Corp.Sun.COM (Scott Mann)
Newsgroups: rec.photo
Subject: Western Academy of Photography, reputation?
Date: 15 Sep 1992 17:34:15 GMT
Organization: Sun Microsystems, Inc.  Mt. View, Ca.
Distribution: na
Reply-To: sdm@pyramid.Corp.Sun.COM (Scott Mann)
NNTP-Posting-Host: pyramid.corp.sun.com


Has anyone had any experience with the Western Academy of
Photography in Victoria, BC?  I'd like any comments regarding
their program.  Is it a good program?  Do they have a quality
reputation?  How does it compare to others?

Thanks in advance!

...Scott
Newsgroups: rec.photo
From: CCGM000 <CCGM@MUSICM.MCGILL.CA>
Subject: RE: Slave Flash Photography?
Organization: McGill University Systems Inc (MUSIC/SP)
Date: Wed, 9 Sep 1992 14:04:38 GMT

In article <1992Sep8.190131.27471@jarvis.csri.toronto.edu> acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
>I'm interested in getting an optically-trigged slave flash in the hopes
>of eliminating the nasty behind-the-subject shadow associated with direct
>flash (in those situations where bounce flash won't work).  Would I just
>place the optically-trigged slave behind the subject, facing the wall?

   Easy ways of eliminating those shadows are:  (a) raise your flash
above the subject (45 deg left or right way above the head will give
something close to rembrandt lighting) so that the shadow falls low
(b) move your subject farther away from the wall (maybe 6 feet or so)
so that the shadow falls on the floor.
   Try it with a light first to pre-visualize the effect.

>
>I was thinking of getting one of those "Morris Mini Wide" slaves, but I
>hear that it doesn't have variable output.  How would I balance the light
>against my main flash?
>
    By moving it closer or farther away. To be sure of what you're
doing, you'll need a flash meter. However, you can use the inverse
square law and the flash's guide number. Set it down at the correct
distance for full exposure. Now if you move it back by about 1.4 times
the distance, you've reduced the amount of light reaching the subject
by 1/2 - twice the distance and the amount of light is now 1/4 of the
original amount, or by 2 stops. (This is a good reason for a large
loft studio, btw!) This presumes that the flash points directly to the
subject - if it points away, then the distance that you have to
consider is the total light path - not really simple.
    Another approach is to put neutral density on the slave flash,
but again, to be sure of what you are doing, you'd have to have a
flash meter to test it.

>Any other recommendations for slave flashes?  Any experiences to relate?
>Speed of setup?  Final results?  Thanks.

   Instead of getting a slave flash with no variable output control,
why not invest in a slave trigger hooked up with a pc cord to the
extra flash? Basically, with the flash that you're considering, you're
paying for someone to insert a slave trigger into a flash that isn't
as flexible as you'd like it to be. I have one - it cost about $25 CAN,
and works well.
   I'm not familiar with the model you mentioned, though, so perhaps
it has compensating features.

Glen Matthews
MUSIC Product Group, McGill University
550 Sherbrooke St. West, Montreal, Quebec, Canada H3A 3C5
Phone: (514) 398-4477 Fax: (514) 398-4488 BitNet: CCGM@MCGILLM
Internet: ccgm@musicm.mcgill.ca   Anonymous FTP: vm.mpg.mcgill.ca
Newsgroups: rec.photo
From: yen@epcot.spdc.ti.com (Tony Yen)
Subject: Multiple exposures and color developer and printer
Organization: TI Semiconductor Process and Design Center
Date: Tue, 15 Sep 1992 23:07:09 GMT

Someone asked me the following two questions. I don't know the answers
to them, so I'm posting them here. Thanks in advance.

1) Which currently available cameras provide multiple exposures 
   on the same film frame?

2) What are the costs for a color developer and printer?

Newsgroups: rec.photo
From: fanelli@gagme (michael fanelli)
Subject: Re: Camera World
Organization: GAGME - Public Access UNIX of Chicago, Illinois, USA, Earth
X-Newsreader: Tin 1.1 PL4
Date: Sat, 5 Sep 1992 17:25:08 GMT

Camera World of Oregon is my first choice when buying new from mail order.
I have never had a problem at the service is fast and honest. They are a bit more
expensive, but worth it.

		mike
From: bjs@uts.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: 4x5 T-Max: your experiences
Date: 8 Sep 92 20:36:48 GMT
Followup-To: rec.photo
Organization: Amdahl Corporation, Sunnyvale CA

james feldman writes:

>problem.  I've used Kodak TMAX developer (not my favorite, too much silver
>solvent), 
> [ ... ]
>formulated for the TMY and TMZ (3200) films to make grain less obvious.  I like
>to use it for roll film portraits where a softer image is nicer and the image
>will be enlarged more.  It's too soft for my landscapes.

This was my experience with Tmax 100 in TMAX developer.  The images were
1)  Not as sharp as I expected and 2) when grain became visible, it didn't
look "crisp", thereby decreasing perceived sharpness.  I switched to D-76
1:1 in tanks (4x5) and was much happier.  Happier yet with HC110 dil b. in
my JOBO.

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.                                                        |
|----------------------------------------------------------------------------|
Newsgroups: rec.photo
From: swanger@ducvax.auburn.edu
Subject: Displaying slides on a TV ??
Organization: Auburn University, AL
Date: Thu, 10 Sep 1992 21:03:25 GMT

Is there a cheap, easy way to display slides on a television set (besides
using the TV as a screen for a slide projector).

Thanks in advance,
-- 
David Swanger,   Auburn University, Alabama,   swanger@ducvax.auburn.edu 
Newsgroups: rec.photo
From: denny@view (Denny Page)
Subject: View camera shades and filter holders
Organization: Views.
Distribution: rec
Date: Thu, 10 Sep 1992 16:56:46 GMT

Now that I have my camera, I am in the market for a shade/filter holder.

Would anyone like to comment on what they use?

Denny
Newsgroups: rec.photo
From: gsm@mendelson.com (Geoffrey S. Mendelson)
Subject: Re:  Thagee Dresden EXA
Organization: Mendelson Computer Consulting
Date: Tue, 15 Sep 92 01:57:31 GMT

forman@fraser.sfu.ca (Pamela Catherine Forman) asks:

>This weeks challange:  Thagee Dresden EXA camera.  Made in USSR
>occupied Germany (194?).  Lens is unremovable E. Ludwig, Meritar
>1:2.9, f=50mm.
>It has a really STRANGE viewfinder pop-up-box (for lack of a better
>description!).  It is a 35mm and is presently residing in yet another
>junk/antique shop.  At $100 I doubt that it will join my Zenit and 
>Canon but I said that I would see if I could find anyone who knew 
>anything about it.
>Thanks.

The camera is an EXA made by Ihagee (in Dresden of course) It was the cheaper
version of the venerable Exacta. The viewfinder is a pop up waist level finder
popular with the slr's of that era. 

About 5 years ago I gave away all of my Exacta stuff to a friend. It has
appreciated some since them, but there are almost no repair parts.

Many exelcent lenes were made in the exacta mount including the first
"macro" lens. However, I would expect that the one on the exa is not.
I am surprised that it is not removable. The Exa's I have seen (all 
later models) used the exacta bayonet mount.

The camera probably has a trapzioidal shaped body. Does  it have the 
film wind on the left (ala the exacta) or on the right.

The current line of 6x6 slr's sold under the Exacta name are of
no relation. 

Geoff.
-- 
Copyright (C) 1992, Geoffrey S. Mendelson.              All Rights Reserved.
Except for usenet followups, may not be reproduced without permsission.
----------------------------------------------------------------------------
|                   |  Computer Software Consulting    |                   |
----------------------------------------------------------------------------
Geoffrey S. Mendelson        Ask me about UNIX(tm) based imaging systems.
geoffrey@mendelson.com            
(215) 242-8712
From: jspirer@rain.next.com (Jeff Spirer)
Newsgroups: rec.photo
Subject: Re: High speed useful ? (was Re: Nikon N90 technobabble)
Date: 10 Sep 92 19:11:00 GMT

In article <BuCGGo.Bxw@world.std.com> dp@world.std.com (Jeff DelPapa)  
writes:
> As to the long duration flashes - I declined to buy the Olympus one
> (despite having a compatible camera) - in long duration mode it is
> pretty wimpy, tho the bigger problem was their particular
> implementation - the flash they made didn't tilt or swivel, and you
> couldn't use it off camera in the super duration mode - the off camera
> cables only allowed regular ttl autoflash. 

This last comment is not true.  There is an extension cord, sits in the  
shoe, that allows the Olympus F280 to operate in the long duration mode.   
I have one and have used it, it works fine.  There may be some confusion  
here because it does not put the special contacts on the separate flash  
socket on the front of the camera - that still uses only the standard TTL  
contacts. 

If anyone is interested, the cord is the TTL Autocord F, the F being the  
designator for the one with the long duration contacts.

The output in this mode is low, but for most daylight fill flash, it is  
adequate.

jspirer@next.com  All opinions my own.
From: shizgal@vax2.concordia.ca (PETER SHIZGAL)
Newsgroups: rec.photo
Subject: Re: B&W Slide film
Date: 11 Sep 92 02:25:00 GMT
Organization: Concordia University
News-Software: VAX/VMS VNEWS 1.41

In article <cicero.1ehp@hotcity.COM>, cicero@hotcity.COM (Andreas Locicero)
writes...

>As far as I know, no one makes a black and white slide film anymore.  

Polaroid makes an instant 35 mm B&W slide film caled PolaPan.  I dimly recall
that they also make a higher contrast B&W slide film (intended primarily for
copying line drawings and the like).

==============================================================================
| Peter Shizgal			       | CSBN, Concordia University          |
| Shizgal@CSBN1.Concordia.CA           | Montreal, Quebec, Canada H3G 1M8    |
==============================================================================
From: bjs@uts.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: High speed useful ? (was Re: Nikon N90 technobabble)
Date: 10 Sep 92 18:40:04 GMT
Followup-To: rec.photo
Organization: Amdahl Corporation, Sunnyvale CA

John P. Gloria writes:

>The key phrase or intent is that "most" 35mm SLR cameras fall within a
>certain flash sync speed.  With the advent of newer technology, I am
>certain the flash speed will increase.  It is funny though (to me) that
>the old leaf shutter lenses have always had flash sync equating to the highest
>shutter speed of the lenses, typically 1/500. :-)  The newer AF cameras
>are just now catching up to late 1800 and early 1900 flash sync speed.

I also notice that one of the thrusts of 35mm wunderkameras is toward
more silent operation, another area in which they may someday catch up
to the cameras of 100 years ago (or todays view cameras and Hasselblads, for 
that matter).

But I must admit that after spending 30 minutes setting up a difficult
shot with the view camera, to squeeze the cable release and hear that 
tiny, discreet, refined 'click' from the leaf shutter is just a little
of an anit-climax.  There's this dim, dark recess of my mind that thinks that 
so much effort should be rewarded with a big loud noise and lots of commotion.
Hmmmm.  Perhaps I could start using flash powder?

:-) :-) :-)

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.                                                        |
|----------------------------------------------------------------------------|