HDTenEightyP/NetNews huggingface dataset:
From: hisashi@lpd.sj.nec.com (Hisashi Naganuma)
Subject: Robert Frank 'The Americans'
Organization: NEC Technologies. San Jose.
Date: Tue, 17 Nov 1992 19:33:14 GMT

Keywords


I like Robert Frank.

More than 20 years ago, when I was in my 10's, I have tried to import 
his book 'The Americans' from US but failed because the book store 
in Numazu-city in Japan was not accustomed with foreign books at the period.
Since then, I have been trying to get it in Japan and have got his other books 
but not successful on 'The Americans' so far.

I would appreciate if I get the info.(How, Where I can get) about this book.
Any information wold be appreciated.

Thanks in advance.

Hisashi Naganuma
hisashi@lpd.sj.nec.com

Newsgroups: rec.photo
From: mandayrv@ucunix.san.uc.edu (Prince of Wales)
Subject: Re: exposure compensation with extention, how?
Organization: University of Cincinnati
Date: Thu, 19 Nov 1992 16:32:27 GMT

In article <1eemjsINNb8@koh_samui.solbourne.com> tls@solbourne.com (Tom Schreur) writes:
>
>OK netters, I need some help.
>
[Deleted stuff about compensation calculation]

There are two (IMO) ways of figuring out exposure compensation. One, by
working with the magnification ratios and the other with the bellows
extension. I found the latter to be easier to work it. And besides, for the
sole lens that I have, I got myself a small chart that lets me know
instantaneously what the compensation should be.  So here it goes:

Exposure Increase =  (Bellows Length ^ 2) / ( Focal length ^2).

For a 135mm lens with 235mm of Bellows length, the exposure increase will
be:

	(235 x 235 ) / (135 x 135) which is roughly 3. 

This means that the exposure must me increased about 3 times to get a proper
image density on the film. In terms of f-stop this converts to a little 
more than 1-2/3. Normally the latitude of the film will be large enough for
one to approximate this to  1-2/3. Hence, you open up the apperture or slow
down the shutter so that you get an effective increase in the exposure by
about 1-2/3 stops.

>This would then be the f-stop I would use in flash calculations.
>

The f-stop determined above will be the desired f-stop.

>Any input would be welcomed.


-- 
ramanand@pumpkin.ece.uc.edu
From: bruceb@mpd.tandem.com (Bruce Burden)
Newsgroups: rec.photo
Subject: Re: rec.photo FAQ and answers
Date: 16 Nov 92 19:09:15 GMT
Organization: Tandem Computers (MPD) Austin, TX

In article <102096@bu.edu> dtang@bass.bu.edu writes:
>> Do I need a 'circular' polarizer, and what is one, anyway?

			[stuff deleted]
>> 
>The above is what I just read from the rec.photo FAQ.  Frankly, I
>don't think it is well written.  The only thing I learned from 
>above is that a "regular" polarizer may confuse the auto-focus
>machanism, but I still do not understand why.
>

	The reason you need a circular polarizer is due to the exposure
   system, not the AF system. Auto-focus cameras carry the sensors in
   the pentaprism, the exposure system below the mirror (this is necessary
   for OTF/TTL metering).

	The mirror has a half-silvered section in it for the exposure
   sensors, and this imposes polarization of its' own. Thus, if you used
   a linear polarizer, the sensors would not see the result of the
   polarizer, but the interaction of the polarizer and the half-silver
   mirror.



								Bruce



-------------------------------------------------------------------------------
  Bruce Burden
  bruceb@mpd.tandem.com
  Tandem Computers Inc.
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: DX-coded info in EOS
Organization: Curtin University of Technology
Date: Mon, 23 Nov 1992 18:28:45 GMT

In article <1992Nov17.083446@scoayr.enet.dec.com>, abelsey@scoayr.enet.dec.com (Andy Belsey) writes:
...
>  Does anybody know of any other EOS having the full 
> range of DX contacts (12)?
> 

Not the EOS-1, thats for sure. It has only 2 length contacts and no exposure
latitude contacts. I seem to recall that a Canon ( the T-90?? ) is the only
one that reads EL info...

~Paul

Newsgroups: rec.photo
From: bongers@gto389.NoSubdomain.NoDomain (Hans L. Bongers)
Subject: Re: Aux power for 283?
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Distribution: usa
Date: Tue, 24 Nov 1992 02:10:10 GMT

In article <By0ytv.K8E@cup.hp.com>, markt@cup.hp.com (Mark Thompson) writes:
|> Does any one know what connections are used for running external power packs
|> for a Vivitar 283.  I see that there is a connector just below the battery
|> back.  Is this where a 6v supply would plug in or is it where a HV supply
|> goes.  I got my hands on some 5wh 2v batteries with a charger and thought
|> that three of them would make a good aux. pack.  Any thoughts?
|> 
|> Mark

When I used a 283 wayyy back in college, I also used it with a 510V external
source.  This gave mucho short recycle times.  The flash was borrowed so I
am not sure if the same set of terminals supported less than 510V ext source.

--- hans
Newsgroups: rec.photo
From: wedman@ucsu.Colorado.EDU (WEDMAN DOUGLAS EDWARD)
Subject: Floating Blinds -- any suggestions?
Organization: University of Colorado, Boulder
Date: Mon, 16 Nov 1992 19:59:27 GMT

Dear Netters:
  I am a freelance photographer in the Denver/Boulder Co. area.  I have found
myself taking a lot of photos of waterfowl of recent and therefore want to 
purchase a floating blind.  The problem is, I haven't ever (to my knowledge)
seen one advertised.  Who makes comercial floating blinds ? L.L.Rue III? Gusto?
Can someone help me here?  Also, if you have one, what could you reccomend?

Thanks in advance.
Doug.
(wedman@ucsu.colorado.edu)
Newsgroups: rec.photo
From: supplies@sklib.usask.ca
Subject: Seeking advice for F4 cleanining/maintainance
Organization: University of Saskatchewan
Date: Mon, 23 Nov 1992 18:52:14 GMT

I've had my F4s for about three years and its been in the Rockies in
winter and Death Valley in mid summer and I've yet to have it cleaned
or any maintainance done to it. There is some dust on some of the
internal mechanisms.

What can I do myself, and with what tools; and what do I have to have
serviced (if anything) at a camera shop. The cameras functioning fine,
but Ijust wanted to know if there is any preventative maintainance
that it should be recieveing. I am a bit concerned about the bits of
dust inside. Is compressed air a big no no?

David Bindle
Saskatoon, Sask.
Newsgroups: rec.photo
From: asmall2@mach1.wlu.ca (alastair small 9209 G)
Subject: Medium Format Questions
X-Newsreader: TIN [version 1.1 PL6]
Summary: Medium Format questions
Organization: Wilfrid Laurier University
Date: Fri, 20 Nov 1992 14:23:35 GMT
Keywords: Medium Format, Film types

I would appreciate any tips on my following questions. I am interested in
getting into medium format and managed to borrow an RB67 ProS with 50mm and
140mm lenses, and 120 back. 

Having never done any m-format before I was hoping for some info regarding whichfilms to use. What I'm really after is the types of processing that are avaiablei.e. if I use negative film will the processor make contact prints, no
prints, or regular size prints (I realize that this is probably
lab-dependant, but what seems to be the norm). If I use transparency film,
do they mount the slides at request only, or is this part of the processing
fee? What range of prices should I expect to pay (Toronto Labs)

Also, I'm used to using Kodachrome with 35mm, but it doesn't seem to be
available in the 120 format (correct me if I'm wrong). If it isn't, what
would be good slide film to start with, for shooting outdoors with snow on
the ground. I've used Fujichrome before (35mm), but never any of the
Ektachromes - any comments?

Obviously a lot of what I have asked is personal preference/lab dependant,
but any general ideas or comments would be much appreciated.

Cheers,

+--------------------------------------------------------------------------+
|	Alastair J. Small						   |
|	Department of Geography		Tel: (519) 884-1970 Ext. 2040      |
|	Wilfrid Laurier University	Fax: (519) 884-8853		   |
|	Waterloo, Ontario, N2L 3C5	Email:	asmall2@mach1.wlu.ca	   |
|	CANADA								   |
+--------------------------------------------------------------------------+
Newsgroups: rec.photo
From: dougb@comm.mot.com (Doug Bank)
Subject: Re: candids
Reply-To: dougb@ecs.comm.mot.com
Organization: Motorola Land Mobile Products Sector
Date: Wed, 18 Nov 1992 13:54:38 GMT

In article <1992Nov17.154543.23535@PacBell.COM>, jpglori@srv.PacBell.COM (John P. Gloria) writes:

|> IMHO, why does it necessiate purchasing a long lens for candids?
|> You state you are part of the yearbook staff, which should give you
|> some type of "license" to freely take pictures. I personally find
|> the regular, standard, 35mm lens ideal for candids. You not only
|> will get superb depth-of-field, but you can use the lens in
|> tighter quarters. The 300mm lens will require a tripod, so it
|> seems, plus you lose depth-of-field. If you want "nice close-ups",
|> then I would opt for a plain old 100-135mm range lens, and
|> preferrably a zoom lens at that.

Actually, in my experience as a yearbook photographer, many candids
look better when there is little depth of field.  It makes the picture
and the subject stand out from the page.  Often times candids taken with
a wide angle (35mm is wide angle, not normal) lens will suffer becuase
the viewer can't always figure out what the subject was.

-- 
Doug Bank                       Private Systems Division
dougb@ecs.comm.mot.com          Motorola Communications Sector
dougb@nwu.edu                   Schaumburg, Illinois
dougb@casbah.acns.nwu.edu       708-576-8207
From: goldberg@oasys.dt.navy.mil (Mark Goldberg)
Newsgroups: rec.photo
Subject: Re: Medium Format Questions
Date: 23 Nov 92 15:44:27 GMT
Reply-To: goldberg@oasys.dt.navy.mil (Mark Goldberg)
Organization: Naval Surface Warfare Center, Annapolis, MD

[Deleted description of equipment and question on which films, etc.
to use.]

I recommend color negative films for your initial work.  That's becuase
you need a special projector to handle the large 6x7 transparencies.
Transparency film is often used when going to color separations for
brochures and advertising shots, which I assume you are not doing yet.

The Vericolor films are very widely used in medium format, since this
type of equipement is almost standard among portrait photographers.
Here's a rundown on those films:

VPS - sold at ASA160, rated at ASA 100 by most labs and photographers.
The most popular portrait film.

VPH - sold and accurately rated at ASA 400.  Popular for wedding candids
and portraits.  Allows you to to work more in the sahde and later in
the day.  I use it a lot.

VPL - tungsten-balanced, long-exposure.  Popular for existing light
interiors and night exteriors.  In my experience, it is almost totally
unresponsive to flash.  It likes LOOOOONNNNNNNGGGG exposures like a
1 second or more.  Rate between 50 and 100 ASA.

VHC - Vericolor hi-contrast.  Similar to VPS.  Rated ASA 100.  Good
for food and clothing shots where you want the flesh tones to look good
too.

Kodacolor and Ektar are also available in the 120 size.  VPS and VHS
also come in 200 (twice the length of 120) but you may need a special
film magazine to handle it.

As far as vewing the images, the most popular route is paper proofs
- 4x5" in this format.  You can also get 35mm size transparency proofs
from some wedding and portrait labs.  I like that option, since I can
use my 35mm slide projectors to view the images in large size.

   /|/| /||)|/  /~ /\| |\|)[~|)/~   |   Everyone's entitled to MY opinion.
  / | |/ ||\|\  \_|\/|_|/|)[_|\\_|  |      goldberg@oasys.dt.navy.mil
========Imagination is more important than knowledge. - Albert Einstein=======
Newsgroups: rec.photo
From: beaty@zirkel.lance.colostate.edu (steve beaty)
Subject: Re: bulk loading 35mm questions
Date: Mon, 23 Nov 1992 06:50:16 GMT
Organization: Colorado State University
X-Newsreader: Tin 1.1 PL3

jk0j@ns1.cc.lehigh.edu (JOHN KISH) writes:
: I am considering bulk loading 35mm film for the first time...

	i've got a related question: how much does one save when bulk
	loading?  the following prices come from a recent B&H add on
	two films i'm interested in:

-----------------------------------------------------------------------------
           Film    36 Exp  100 Feet   20 Cas.     Total Savings %
           ----    ------  --------   -------     ----- ---------
  Kodachrome 64      6.45     85.99     10.00      4.80     25.59
         Velvia      6.39     87.95     10.00      4.90     23.36
-----------------------------------------------------------------------------

	so i can save about 25% doing it myself.  on the downside, the
	cassettes are not DX labeled.  i have PostScript to do this, so
	it's not a biggy, it's just another hassle i can live without.
	then i must find a lab who trusts me about what i've loaded,
	gives me back my cassettes, and is willing to do the work. i know
	i can develop it myself, again saving about 25%.  is this worth
	it?  i'm all for doing it yourself to gain experience and all,
	but i don't want the experience doing this and if i only save 25%
	and spend a non-trivial amount of time, i don't know...

	thanks for any input,

		steve beaty@longs.lance.colostate.edu

disk-claimer: n. a small computer program that removes all traces of my
employer's responsibility from all media containing these lines.
From: rdb1@cbnewsj.cb.att.com (ronald.j.deblock..jr)
Newsgroups: rec.photo
Subject: Re: Major advances in camera technology (was Re: Camera Feature Wars - Photo Getting Like Video)
Date: 23 Nov 92 20:04:30 GMT
Distribution: usa
Organization: AT&T

In article <98631@netnews.upenn.edu> liang@saul.cis.upenn.edu (Chuck Liang) writes:
>
>1985.  The Minolt Maxxum 7000 popularized autofocusing, which first
>appeared in 1982 with the Pentax Me-F.
>

The December, 1992, Shutterbug has an interesting article on the history of
Auto Focus.  I recommend reading it.  It explains the different types of 
AF, talks about early prototypes and production models, and explains why
the Maxxum 7000 was the first AF 35mm SLR that sold well.

The article is part of a series on Pentax cameras, so there is a bit of a
Pentax bent to it.


-- 
Ron DeBlock  rdb1@cbnewsj.att.com  (that's a number 1 in rdb1, not letter l)
AT&T Bell Labs   Somerset, NJ  USA
From: tommy@agog.Eng.Sun.COM ()
Newsgroups: rec.photo
Subject: Olympus OM4-T information needed.
Date: 16 Nov 1992 17:32:16 GMT
Organization: Sun Microsystems, Inc.  Mt. View, Ca.
Distribution: world
Reply-To: tommy@agog.Eng.Sun.COM ()
NNTP-Posting-Host: agog


Hi,

	Coulud anybody out there provide me some information about
Olympus OM4-T ?  Thanks in advance.

-tommy
From: 1k1mgm@kuhub.cc.ukans.edu (Christopher Gunn)
Newsgroups: rec.photo
Subject: _Consumer Reports_ believable on cameras?
Date: 17 Nov 92 15:46:23 CST
Organization: University of Kansas Academic Computing Services

Circumstances make it useful to solicit a mid-range 35mm SLR as a
Christmas present.  I am more than a little confused about the
current generation of equipment out there.  I was a newspaper
reporter for a while in the '60s and '70s, and took more than a
few pictures with old gray-market Ashai/Pentaxes, whose batteries
were always dead because the head photographer thought using the
match-pointer was a sign of weakness (or something...).  I got in
the habit of making a WHOLE LOT of bracketed exposures, and one
of the reasons I've never got my own 35mm camera is that such a
habit is expensive if you have to pay for film and developing.

One obvious solution is to acquire something of the K-1000 flavor
and *put in a battery.*  But people other than I will probably be
using this, and some of the automated goodies available now look
attractive.

_Consumer Reports_ likes, among the autofocus models it's tested,
a Yashica with a name something like 280SF (270?).  Comparable
models in its tests run a couple of hundred dollars more.  I've
found _Consumer Reports_ reliable about some things but absolutely
brain-dead about others (their ratings of bicycles, for example,
are exercises in cretinism).  Do people with real knowledge of
cameras think _CU_ does a good job?  Is an autofocus Yashica a
good idea?

Appreciate any help people can provide....

Christopher Gunn	Molecular Graphics and Modeling Lab
SPAN--KUPHSX::GUNN	Department of Medicinal Chemistry, Malott Hall
913-864-4428 or -4495	University of Kansas, Lawrence, KS  66045
From: schumann@msus1.msus.edu
Newsgroups: rec.photo
Subject: Re: film plane flatness
Date: 15 Nov 92 15:40:55 -0600
Distribution: rec
Organization: Minnesota State University System

In article <1992Nov8.4228.27422@dosgate>,
"martin tai" <martin.tai@canrem.com> writes (in part):
> 
>    There is from time to time discussion of picture sharpness
> and  film plane  flatness.  Is it  exagerated ?

Since I haven't seen a followup to this (but our news machine here has 
been quirky recently, so I may have missed something), I'll throw my
two cents worth in. 

Film plane flatness is important.

It's been my experience that most 35mm cameras do a pretty decent job 
with this.  At least, I haven't noticed any problems with my Nikon F3.
And I inspect my Kodachromes with an 8x loupe and project them to
70x70 inches. 

I have some friends who shoot 120/220 roll film and who report more 
significant problems with keeping the film absolutely flat.  They 
inform me that some medium format cameras have a problem keeping the 
film flat when the film has been left in the camera for several days.  
Apparently, the film develops "bends" in it when it is left in the 
camera; then, when advanced to the next frame, the slight bend does 
not lay perfectly flat.  They tell me that this seems to be somewhat 
more severe with cameras that run the film through reverse loops than 
with cameras that pull the film straight out and wind it straight in 
(as most 35mm cameras do).

Have any other medium format users noticed this problem?  Since I 
shoot 35mm exclusively, I can't report any first-hand experience.
--
   Paul L. Schumann, Ph.D.           |  VAX:  IN%"schumann@MSUS1.MSUS.EDU"
   Professor of Management           |  Office Phone:       (507) 389-5349
   Mankato State University          |  Secretary's Phone:  (507) 389-2966
   Mankato, MN   56002-8400          |  Fax Number:         (507) 389-5497
From: sm@cel.co.uk (salim mehta)
Newsgroups: rec.photo
Subject: Re: Opinions about Olympus IS-3000
Date: 19 Nov 92 12:23:45 GMT
Organization: Crosfield Electronics Ltd.
In-reply-to: jylitalo@klaava.Helsinki.FI's message of 18 Nov 92 16:10:50 GMT


The original IS-1000 (a bridge camera ie. between SLR and P+S) had a lot
of features and a very good lens. The AF however was slow compared to
EOS etc.

The IS-2000 fixed the AF problems. The IS-3000 recently got a *very* good
review in a UK photo magazine. This latest model is expensive but seems
to offer a lot of functions.

I too dislike carrying a lot of equipment when travelling, I nearly bought
the IS-1000 when it was introduced. I didn't trust the AF so I ended up
with an EOS10 and a 35-135USM zoom.

The IS-3000 is probably worth investigating, anyone got one?

--
-------------------------------------------------------------------------
Salim Mehta                             Phone :  +44 442 230000  x3450
Crosfield Electronics Ltd               Fax   :  +44 442 232301
Hemel Hempstead  HERTS HP2 7RH  UK      Email :  sm@crosfield.co.uk
-------------------------------------------------------------------------
     Alt email :  sm@cel.uucp     ...!{mcsun,uknet,uunet}!cel!sm
-------------------------------------------------------------------------
Newsgroups: rec.photo
From: usenet@adobe.com (USENET NEWS)
Subject: Re: Changing N8008 for the new Canon?
Originator: asanders@sparta
Organization: Adobe Systems Incorporated
Date: Thu, 19 Nov 1992 22:58:48 GMT

| I was under the impression that with non-D lenses, you'd just get
| "classic" matrix metering--which was pretty good.

				-Alvin C. Shih

For that matter, good old center-weighted metering was pretty good!
At least 95% of the color slides I shot with my venerable FE were
beautifully exposed, and I was a beginner (more or less) when I
bought that camera. The matrix metering in my 8008s is a little
better in difficult lighting situations, but I *still* have to
use spotmetering and *think* a little to arrive at the optimum
exposure in these situations. The "new improved" matrix metering
in the N90 may be yet a little better, but still not good enough
to eliminate the *thinking* part of the process.

Advertising could be defined as the art of making otherwise
intelligent people think irrationally about the subject being
advertised.
		-Alan
From: huw@castle.ed.ac.uk (H G J Evans)
Newsgroups: rec.photo
Subject: Re: 127mm lens Mamiya RZ67
Date: 16 Nov 92 11:46:22 GMT
Organization: Edinburgh University

In article <1992Nov13.123643.1@fnalo.fnal.gov> munger@fnalo.fnal.gov writes:
>I wish a slightly longer focal length standard lens for the Mamiya 
>RZ67 that is comparable to my 100mm Sonnar on my old Hasselblad 500C/M.
>
>Is the 127mm closest in angle of view?


I think the 110mm would be much closer. A quick calculation suggests an
angle of view of about 43deg. for the 100 on the Hasselblad, and about
44 for the 110 on the Mamiya. That assumes no cropping of either image.
If you habitually cropped the Hasselblad neg. to a rectangle, or the
Mamiya neg. to a square, the answers would be different.



%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%Huw Evans          huw@castle.ed.ac.uk     %
%                   huw@maths.ed.ac.uk      %
%                   Tel.  +44 (0)31-650-5067%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
From: goldberg@oasys.dt.navy.mil (Mark Goldberg)
Newsgroups: rec.photo
Subject: Re: Nikon 20mm f2.8 AF--is it worth the price?
Date: 20 Nov 92 18:36:50 GMT
Reply-To: goldberg@oasys.dt.navy.mil (Mark Goldberg)
Organization: Naval Surface Warfare Center, Annapolis, MD

I now own that 20mm AF lens with my Nikon AF system.  I used to own
a 24mm when I had a non-AF system (now sold).

The 20mm is certainly more dramatic lens, particular for interesting
architectural interiors and expansive scenics.  It does a great job
at close range, too.  I cuncur with the other postings on the depth
of this lens.

I do miss my 24mm in situations involving group photography and special
events.  My SB-24 would cover the 24mm, but not the 20mm.  My old SB-16
would cover most of the 24mm's field when the 28mm diffuser was attached.
It is very tricky to light for the 20mm.
   /|/| /||)|/  /~ /\| |\|)[~|)/~   |   Everyone's entitled to MY opinion.
  / | |/ ||\|\  \_|\/|_|/|)[_|\\_|  |      goldberg@oasys.dt.navy.mil
========Imagination is more important than knowledge. - Albert Einstein=======