HDTenEightyP/NetNews huggingface dataset:
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Newsgroups: rec.photo
Subject: Re: More than 37 exposures/roll with 8008s?
Date: 30 Sep 92 19:11:41 GMT
Organization: Curtin University of Technology

In article <3830318@hpldsla.sid.hp.com>, tonya@hpldsla.sid.hp.com (Tony Arnerich) writes:
> mas@mipl8.jpl.nasa.gov (Marc Sarrel) writes:
> 
> [deletions...]
> 
>> Also, what's a good solution to the "I have 37 exposures and my neg
>> file holds 35 exposures and I can only fit 35 exposures on an 8x10
>> proofsheet anyway" problem.
> 
> Your problem restated: "What's so sacred about 36 frames anyway?"
> 
Get a Proofing frame that only prints one edge. You can fit 40 exps on an 8x10.
The bad news is the company that made them hase been out of bussiness 15 or so
years. Anyone interested in the plans? BTW, you don't have to cut your negs.

~Paul
Newsgroups: rec.photo
From: sylve_ge@jhunix.hcf.jhu.edu (Gerald Sylvester)
Subject: Developing Tanks
Organization: HAC - Johns Hopkins University, Baltimore
Date: Fri, 2 Oct 1992 05:11:26 GMT


I posted a message a few months ago about what kind of plastic
developing tank I should get.  Well, I got a 2-(auto-load)-reel
Patterson tank.  It's nice.  If you like plastic I recommend it.
Recently I joined my school newspaper staff and had the chance
of using metal tanks.  I don't see why people bitch and complain
that they are so *EXTREMELY* hard to load.  The reason I got a new
tank in the first place was because my father's 40+ year old FR
(thats the brand, are they still in businss?) took too long
to pour out the chemicals and not that it was hard to load (NOTE:
the FR tank loads like a metal tank but is made out of plastic).  Now
have used a true metal tank, I would like to dish off my plastic tank
to my friend and buy a new metal tank (again 2 reel).  What
brands do you recommend?  I would like this tank will hopefully last as
long as my father's.  Thanks in advance.  


***************************************************
*   Gerald Sylvester                              *
*   The Johns Hopkins University, Baltimore, MD   *
*   BITNET:  SYLVE_GE@JHUNIX.HCF.JHU.BITNET       *
*   INTERNET:  SYLVE_GE@JHUNIX.HCF.JHU.EDU        *
***************************************************
From: reuel@blivet.houst.sgi.com (Reuel Nash)
Newsgroups: rec.photo
Subject: Re: Let's say you were in Houston...
Date: 2 Oct 1992 16:34:06 GMT
Organization: Silicon Graphics Inc., Mountain View, CA
Distribution: world
Reply-To: reuel@blivet.houst.sgi.com (Reuel Nash)
NNTP-Posting-Host: blivet.houst.sgi.com


In article <1992Oct1.221719.16151@pmafire.inel.gov>,
geoff@pmafire.inel.gov (Geoff Allen) writes:
|> 
|> Let's say you found yourself in Houston, TX 

Happens all the time!

Last night I found myself looking at a house entirely covered with beer cans.
I'm not talking about inside the house, but outside -- walls, fences, mailbox,
driveway gate -- all made from or covered with beer cans.

It's a private residence at 222 Malone about 2 blocks north of Memorial
in between Shepherd and Memorial Park.  You might need to go by during 
the daytime.

Other than that, it's pretty boring here :-}

If you're into landscapes, the only decision you have to make is where to 
put the horizon.

As you may know, there are no zoning regulations in Houston so you
might be able to find interesting concatenations of buildings, etc.


Reuel Nash	(713)293-9292	FAX (713)293-0503
Silicon Graphics, 11490 Westheimer Suite 100, Houston, TX  77077

Visualize Whirled Peas
Newsgroups: rec.photo
From: accwai@math.uwaterloo.ca (Andy Wai)
Subject: Re: Zone System & Gossen Ultra Spot
Organization: Math Faculty Computing Facility, University of Waterloo
Distribution: na
Date: Mon, 5 Oct 1992 02:41:25 GMT

In article <1992Oct2.011020.12367@odin.corp.sgi.com> donl@glass.esd.sgi.com (donl mathis) writes:
>
>There is one possible alternative that I'm aware of, but I've never
>used it, so I can't say for sure.  There is a new meter from Sekonic
>that apparently has some zone system capability.  I know Andy Wai was
>looking at them, but I can't remember if he ended up getting one.

Yes I did.  The zone system part is just an analog f stop scale
along which memorized readings are displayed.  There is a group of
three zone marks designating shadow, midgray and highlight you can
shift around on the scale.  This is essentially a fancy electronic
implementation of the placement dial on the Pentax digital.  Simple
but extremely effective.

>My reservations are primarily due to my experience with the older
>Sekonic L-488 digital, which I found to be [...]
>very poor in accuracy and flare control.

The new meter does not have any flare problem.  When I first got
mine, I tested it against the Pentax digital and they pretty much
track each other to within 1/3 stop.  If anything else, I would
tend to trust the Sekonic more because the Pentax viewfinder flares
up a lot more under adverse conditions (the reading seems to be
Ok though).

Andy Wai
Newsgroups: rec.photo
From: smustopo@nyx.cs.du.edu (sofjan mustopoh)
Subject: Re: invisible flash?
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Distribution: usa
Date: Sat, 3 Oct 92 03:53:13 GMT

In article <1992Oct02.054708.17717@microsoft.com> peterwu@microsoft.com (
eter Wu) writes:
>Is it possible to use infrared flash and a correponding film such that t
e
>resulting picture looks almost like it was shot with normal flash on
>normal film?
>
>This would be of great use when shooting in no-flash zones (e.g. wedding
>ceremony, opera) and when fine gain (low speed film) is desirable.


It will be the strangest wedding photo ever come out.
   i might try. but don't think the bride and groom will pay for
 it.


Muskie
From: HO@kcgl1.eng.ohio-state.edu (Francis Ho)
Newsgroups: rec.photo
Subject: Pentax H1 (screw mount)
Date: 5 Oct 92 22:28:34 GMT
Organization: The Ohio State University

PENTAX H1 SLR (Screw Mount)
Asashi Opt. Co. Japan
- Al body (Serial #1528631)
- Super-Takamar 1:2/55mm lens (Serial #2439653)
- Sutter 1 - 1/500 sec.,B,T, f2-f16
- MINT COND. with original packaging
- No on-camera metering (available)
- $85. (priced for quick sale)

- Vivitar 2800 flash
- Automatic/Manual (fits any cameras with hotshoes)
- Best Offer.

ho@kcgl1.eng.ohio-state.edu
From: paul@eye.com (Paul B. Booth)
Newsgroups: rec.photo
Subject: Re: Next Nikon camera: An AF interchangeable lens rangefinder?
Date: Wed, 30 Sep 92 20:53:25 GMT
Distribution: usa
Organization: 3D/EYE, Inc.  Ithaca, NY

In article <1992Sep28.212947.7294@cerritos.edu> jacobs@cerritos.edu writes:
>	The reason Nikon would introduce a rangefinder camera with
>interchangeable lenses is to provide a quieter camera. There is quite obviously
>a demand for a less noisy 35mm camera for instance Canon's EOS Elan and RT.
>There is also a demand for a professional RF camera,for photojounalists
>example, Leica keeps pumping out M-6s at $3000 or so a pop with lens and Konica 
>just introduced a high quality AF rangefinder with a fixed 35mm f2.0 lens
>called the Hexar. If Nikon does produce such a camera it makes sense to use SLR
>lenses to provide some autoexposure functions (like a program or shutter
>prefered automatic functions) as well as the cost effectiveness of producing
>one lens line. THINK BEFORE YOU TYPE!!!

Can't resist.  _Think_ about this.  Why are SLR lenses sooo much bigger and
heavier than RF lenses of the same fl/aperture?  The main reason is to allow
focusing with the diaphragm wide open.   Takes quite a bit of heavy, noisy
baggage to keep the diaphragm open for focusing and then snap it down to the
proper stop in a fraction of a second.  A rangefinder doesn't _need_ any of
this baggage.  Why carry it around?  And what exactly is 'quiet' about AF?
Assuming that Nikon has to keep the aperture open for the AF system, you'll get
motor whine plus diaphragm noise.  I don't see how this camera would be any
quieter than an SLR with the mirror locked.

This may be a cost-effective way for Nikon to get back into the RF business,
but it sounds like a bonehead way to do it.  With SLR lenses, these things will
end up weighing just as much as a couple of excellent 120-format RF's that are
already out there, without matching them in quietness or image quality.

If they want back into the RF market so bad, they ought to bring back a
slightly updated version of the S!  Sell them for 1/2 the $$ of an M6 with a
few beautiful RF-specific lenses, and they'd _jump_ off the shelves.

IMHO, as always..


Assuming Nikon will need to keep the diaphagm open before thecare about If Nikon Given that a rangefinder doesn't need any of this baggage, why would I saddle myself with
w
the extra weight and size?

-- 
Paul B. Booth  (paul@eye.com)
-------------------------------------------------------------------------------
3D/EYE, Inc., 2359 N. Triphammer Rd., Ithaca, NY  14850    voice: (607)257-1381
                                                             fax: (607)257-7335
From: honna@cs.concordia.ca (SEGEL honna)
Newsgroups: rec.photo
Subject: Re: How Does a Streak Camera Work? (Here's my guess)
Date: 28 Sep 92 19:47:50 GMT
Organization: Computer Science, Concordia University, Montreal, Quebec


The principle of the *mechanics* of a slit camera is that the film 
-plane aperture holds a slitted, fitted piece of opaque material and
the film is exposed, using the Bulb setting, while the film itself
is 'advanced' past the above-mentioned slit.  The width of the slit can
be varied, but within limits i.e. the limits are a function of the
film speed, the wavelengths of light that you would like to record,
and, finally, the rate at which the film is 'advanced' past the slit.

The slit must be perpendicular to the direction of travel of the film 
i.e. is *not* parallel to it.  I don't SEE why the slit can't be at
an angle intermediate to these two positions, though...I'll cipher it...

Because most camera bodies weren't designed to make slit photographs,
they don't allow you to 'advance' film continuously across the slit
at a constant speed, as a tape player advances tape over the play head.
Instead, what you have to do is - somehow - arrange for the film to 
be Rewound past the slit at as constant a speed as possible.  Ideally,
you would use some method other than hand-cranking; hand-cranking, though,
may be your first recourse.

I've come across references to very early focal plane shutters which allowed
the user to vary exposure by varying the width of the Shutter's slit *and*
the speed at which the shutter slit traversed the film-plane.  (This, it seems
to me, would be a wonderful candidate for a software refit on my current
electronic camera...) Anyway, the effect of the combination of these two
variables can be quite interesting, as always, with the right subject.

For more complete info, I suggest a good library.  Go to the TR section
and browse...

HS/ Michael



.
-- 
***************************************************************
honna segel
department of computer science
concordia university  *****************************************
From: sdpage@andersen.co.uk (Stephen Page)
Newsgroups: rec.photo
Subject: Exposure shifts with tungsten correction filters
Date: 2 Oct 92 14:46:28 GMT
Organization: Andersen Consulting (UK Practice)

I've been playing around for the first time with filters to correct
yellow casts from interior lighting. I took a number of series of
test shots: flash-vanilla-80A-80B.

The colour corrections were OK - that bit was fine. What was a surprise
was that my EOS-1's TTL exposure metering seems to have been fooled into
underexposing the filtered shots.

The shots were of various angles of a room with off-white walls, and one
of a person wearing a white shirt. It seems that the 80A and 80B filters
have made the exposure metering more sensitive to the reflected light
and it has consequently chosen an underexposure setting.

Can anyone shed any light (ouch - sorry about the pun) on this phenonema?
I was using Velvia film, BTW.
Newsgroups: rec.photo
From: g8@cbnews.cb.att.com (k.d.tentarelli)
Subject: Re: EPP vs EPX
Organization: AT&T
Distribution: usa
Date: Mon, 28 Sep 1992 11:46:00 GMT

In article <1a52h1INN2td@almaak.usc.edu> ajayshah@almaak.usc.edu (Ajay Shah) writes:
>
>So if I've been using vanilla Ektachrome 100 I could safely
>standardise on EPX?  Apart from higher cost, there is nothing
>to lose? 
>
There are subtle variations between all the Ektachromes, but
EPX differs quite a bit from the rest of the family by having
slightly higher saturation and a warmer palette.   Actually, there
are two new Ektachrome family members:  64 speed EPX and 100 speed EPZ.
They are very similar so I suggest opting for the extra 1/3 stop
of EPZ.

Now a word of endorsement--  In my opinion these new Ektachromes have
the most ideal performance (color rendition, sharpness, etc.) of any
slide films available.  They are ideal for location shooting as they
give beautiful skin tones yet handle high contrast exceedingly well.
[So you can calibrate my opinion, my previous favorite slide film was
Fuji 50.]

The only thing you lose with these Ektachromes is $ as they are pricey.

Ken

Newsgroups: rec.photo
From: cgates@mitre.org (Curt Gates)
Subject: Re: Basement Darkroom
Organization: The MITRE Corporation
Distribution: usa
Date: Mon, 28 Sep 1992 15:51:32 GMT

In article <y+_pwl-.rpaul@netcom.com> rpaul@netcom.com (Raymond E. Paul) 
writes:
> The pipe which delivers waste water to the main pipe in the street exits 
my 
> house about 1/2 way up my basement wall. In order to have running water 
in 
> my basement, I'm going to need to pump the waste uphill somehow or have 
a 
> darkroom that doubles as a toxic swimming pool.
> 
> Anyone out there solved this problem?
I do the processing in the basement and the washing upstairs.  To get rid 
of the used solutions, I dump them into a bucket and carry them out for 
disposal.  Only takes a couple of trips, even for large trays.  A pump is 
not a big problem, just install a trap at the main pipe. My basement has a 
door out to the back yard, and for a while I tossed the dilute solutions 
out onto the lawn, and the grass loved it, responding with dark streaks of 
tall blades.  I didnt notice it at first (too close to see the patterns) 
but it drove my neighbor nuts.
From: fag2@cunixb.cc.columbia.edu (Farul A Ghazali)
Newsgroups: rec.photo
Subject: How do you pronounce Leica?
Date: 30 Sep 92 13:42:24 GMT
Reply-To: fag2@cunixb.cc.columbia.edu (Farul A Ghazali)
Organization: Columbia University


Like the subject line says, how do you pronounce Leica? Is is 'lay
car' or 'lee car' or what? I'm having a bet with my friend and we need
some expert advice to settle this thing.

---
Farul Ghazali. (Columbia University, Class of '95)
206 Ruggles Hall, 1116 Amsterdam Ave. New York, NY 10027.
"... then you die, she dies, everybody dies!"  - Heavy Metal the Movie.
From: ez006212@hamlet.ucdavis.edu ( )
Newsgroups: rec.photo
Subject: Re: Sigma MF zoom lens recommendations?
Date: 4 Oct 92 09:20:09 GMT
Organization: Computing Services, UC Davis

In article <168748361.S0001@vmcms.csuohio.edu> S0001@vmcms.csuohio.edu writes:
>I've always thought that 35mm was not wide enough, you should get more
>use out of the 28-35mm range then you will at the 70-80mm range.  My
>choice would be a 28-70 and a 70-200.  Just these 2 lenses will cover most
                   ^^^^^
For a little more you can go for a 24-50.  The extra 4mm is worth it. 
Also, I've found that 210mm isn't telephoto enough.  I kinda wish I
bought a 75-300 instead. 

regards,
  tuan n.
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Newsgroups: rec.photo
Subject: Re: Why analyze color on each frame?
Date: 27 Sep 92 18:05:35 GMT
Organization: Curtin University of Technology

In article <1992Sep27.030134.18172@umr.edu>, tonyp@cs.umr.edu (Tony Phillips) writes:
> As an amateur photographer with no room (or money) to build a color darkroom,
> I'm forced to take my film to a processor.  One thing I've noticed that
> happens to my prints really peaves me.  I'd like to know why it happens.
> The problem is color balance.  Why is it necessary to adjust color filtration
> on every frame?  Use a neutral negative to adjust the printer to that roll 
> of film's color differences and also adjust for the batch of paper, but then
> it seems like the lab should just leave the color alone.

It can be done on some printers. Ask. If they don't know, you then know how
much they want too be able to get all the performance possible out of their
equipment, and your neg... :-{

> 	Case in point:  I recently took some photographs at the Great Forrest
> Park Balloon race in St. Louis over the weekend.   My prints came back with
> white skies and yellow trees on the pictures where the sky was predominant.
> Other pictures were of friends standing in a field of green grass that was
> printed dull, and the skin tones had an ugly magenta color in them.  I asked
> the lab tech why this occurred and he told me that it was the printer adjusting
> out the over-saturated green.  

It is called "subject failure". The printer analyses the neg and computes
exposure and colour balance ASSUMING the scene sums to 18% grey. The only
other ways to do it are: print it and have an operator evaluate the result
( this is the final step in a pro lab ), scan the neg and ASSUME that you can
find and calibrate for black and white ( expensive printer, but not imposable
now with CCDs and a good CPU ), put the neg through a video system and have an
operator eval/adjust the result ( this is the VCNA variation of the first
method, or what you do with a 'Print-it' processor ), or, use a colour analyser
on a 'known' ( often flesh tone ) colour.

> 	Well, I don't WANT this.  I'm gonna start shooting slides (since 
> what's in front of you is basically what you get).  Why should prints be
> any different?
> 

Try changing labs, or asking for what you want. My 1hr lab gives me 20% off
if I ask for a roll locked in on a grey card. check one frame for sanity, then
rip the lot through. BUT, if you change your shooting angle, of the lighting
changes, you should not complain to the lab if you don't shoot another grey
card. At dusk/dawn this means you have to have the card in each shot, as the
light conditions change so fast.

Colour negs have two great advantages over slides; 1 the negs are masked to
correct the imperfections in the dyes, hence you can get much more acurate
colours, 2 you can correct errors in exposure and colour balance in producing
the final result, which can be a print or a slide.

~Paul
Newsgroups: rec.photo
From: sala8864@hgc.edu (gustavo salas)
Subject: Test. Please ignore....
Originator: sala8864@hgc.edu
Reply-To: sala8864@hgc.edu (gustavo salas)
Organization: The Hartford Graduate Center
Distribution: usa
Date: Sun, 4 Oct 1992 00:43:00 GMT

signature......
From: tim@deakin.OZ.AU (Tim Cook)
Newsgroups: rec.photo
Subject: Re: How do you pronounce Leica? [Actually, Nikon]
Date: 6 Oct 92 01:04:52 GMT
Organization: Deakin University
NNTP-Posting-Host: mimas.cc.deakin.oz.au

schooler@apollo.hp.com (Richard Schooler) writes:
>  This reminds me of my pet peeve: how does one pronounce 'Nikon'?  My
>formative camera years were spent in Tokyo, and there I learned to say
>Nee-kon, which is consistent with everything I know about the Japanese
>language, not to mention that Nikon is a contraction of Nippon Kogaku.
>Many westerners seem to think it is Nie-kon, however, which the
      ----------
>Japanese would tend to romanize as Naikon, I believe.

They just can't help doing it, can they?  This reminds me of one of my
pet peeves.

For those of us in the western world but not in the US, insignificant
though we are, I think he meant to say "Americans" where he said
"westerners" above.

It is well known that Americans, and to a lesser extent Canadians,
tend to stress the first syllable of words of foreign origin.  They
even do it a lot with English.  However, I would be so bold as to
suggest that very few other "western" people, especially those who
have English as a first language, would pronounce it "NIGH kon".

I think the preference in my part of the western world is pretty much
how it is spelled, which would make it similar to the correct Japanese
shown above, but with a short "i", as in "fit" or "tick".  I would
imagine that the same would be found in Britain and New Zealand.

>  And yet another pet peeve, the spelling of 'Canon'.  Even in
>Shutterbug Ads one often sees 'Cannon'!  Don't people even look at the
>equipment they're selling?

Perhaps there is a critical mass of people using "Cannon".  That is,
they continue to convince each other that that is the correct
spelling.  Sometimes this seems plausible, anyway :-)
From: howie@ivory.cc.columbia.edu (Howie Kaye)
Newsgroups: rec.photo
Subject: Stieglitz collection
Date: 30 Sep 92 00:32:42 GMT
Reply-To: howie@cunixf.cc.columbia.edu
Organization: Columbia University

I recently saw a great collection of work by Alfred Stieglitz, and was 
wondering if anyone could recommend any good collections of his work?

------------------------------------------------------------
Howie Kaye                              howie@columbia.edu
Columbia University                     hlkcu@cuvma.bitnet
UNIX Systems Group                      ...!rutgers!columbia!howie
Newsgroups: rec.photo
From: sofharti@tnclus.tele.nokia.fi
Subject: Tokina 28-70/2.8 and Sigma 28-70/2.8 ?
Organization: Nokia Telecommunications.
Date: Fri, 2 Oct 1992 08:20:41 GMT

Hi!
Does anyone have any experience or opinions of the new Sigma 28-70/2.8 and/or
Tokina 28-70/2.8 AF zoom lenses for Canon EOS ? I just saw them mentioned
in ads in the latest issue of Practical Photography, but I haven't heard of
them before. At first clange they seem to pretty interesting for me.
How do these lenses compare with Canon EF 28-70/3.5-4.5 II, for example ?

In the same issue of PP was also mentioned Tokina 20-35/3.5-4.5 AF lens.
Any opinions of that ?

Thank You.
Juha
+-----------------------------------------------------------------------+
! In Real Life: Juha Hartikainen  ! Phone: +358 31 2407 111             !
! Organization: NCS/SS/NMS        ! Fax:   +358 31 2407 222             !
! TNCLUS::SOFHARTI                ! Inet: sofharti@tnclus.tele.nokia.fi !
!                                 ! X.400: c=FI,a=ELISA,p=NOKIA TELECOM !
! Also known as "H{rski"          !        s=HARTIKAINEN,g=JUHA         !
+-----------------------------------------------------------------------+
Newsgroups: rec.photo
From: pdn@fc.hp.com (Paul Nuber)
Subject: Tom Thumb
Date: Mon, 5 Oct 1992 20:23:46 GMT
Organization: Hewlett-Packard Fort Collins Site
X-Newsreader: TIN [version 1.1.3 PL6]


I may not understand your request.  Could you just use a regular 35mm camera,
but hold the camera 2 inches off the ground?  Use a wide-angle lens, and tilt
the camera up to add perspective distortion.
--
Paul Nuber
pdn@fc.hp.com
Hewlett-Packard Co.
Fort Collins, CO