HDTenEightyP/NetNews huggingface dataset:
From: sgccpgs@citec.oz.au (Paul Salanitri)
Subject: Re: Slightly overexposed FujiChrome 100.
Organization: CITEC
Date: Thu, 20 Aug 1992 01:05:06 GMT

mahatme@icaen.uiowa.edu (Chandrashehar Vasant Mahatme) writes:
: In article <92232.155034SPW103@psuvm.psu.edu> <SPW103@psuvm.psu.edu> writes:
: >Okay, small question.  I just shot my first roll of FujiChrome 100.  I usually
: >                         <stuff deleted>
: >realized that I exposed the whole roll with my meter set at 125 ASA (I had just
: >                         <stuff deleted>
: >                                    -Stephen Walker spw103@psuvm.psu.edu
: 
:  Exposing 100 ASA film with meter set at 125 ASA is overexposing the film or
: underexposing. Just wondering. :-(
: 
: Shekhar Mahatme
: ------- -------
: mahatme@icaen.uiowa.edu

Actually, just commenting, he infact "under-exposed" his film. 
BTW 
Does anyone have a stupid meter which says 
"Hey, this is a perfect setting..." and then, once developed they all turn
out from 5 stops under to five stops over.   I have a needle Praktica.
NOW, it starts flipping around all over the place ARGHHHHHH!
Some days it just doesn't work!
A WANT A NEW CAMERA!    So tell me what is a good 2nd hand camera say
up to $300 OZIBUCKS.  Of course, there is only one answer, isn't there?

BTWBTW
Infrared Film:  I'm abour to purchase some, I want to know 
  A)  What are some interesting tricks
  b)  Does IR leak past change bags????????
  c)  does ir leak through the camera back itself - just joking (i think)
  d)  If I had HIGH ASA IR Film, could I take a picture through a wooden
      wall - am I being silly?
I will be using B&W and I want to develop in TMAX 

--

==========================================================================
 Paul Salanitri                               sgccpgs@citec.oz.au
  P.O. Box 12702, Elizabeth Street, Brisbane QLD 4002, AUSTRALIA
   Committee for the Liberation and Intergration of Terrifying 
         Organisms and their Rehabilitation Into Society
             E quindi uscimmo a riveder le stelle.  
==========================================================================
From: fsjfz@acad3.alaska.edu
Newsgroups: rec.photo
Subject: Re: Pentax Z1 battery life
Date: 20 Aug 92 21:57:17 GMT
Organization: University of Alaska Fairbanks

In article <1992Aug20.155107@cs.utwente.nl>, belinfan@cs.utwente.nl (Axel Belinfante) writes:
> I just started to use my third battery, so my experience is still a bit
> limited. Are there other Z1 owners/users that can confirm this
> power-hungryness? Or (hopefully) have better experience?

i think Nikon had a similar problem with their cameras:  
 The batteries would die after only a few rolls, and people would get angry
about the power-hungry design making them buy more batteries.
 
 However, the problem is not in the camera, but rather the battery.  Not all
2CR5 batteries are created equally.  If you carefully read your manual, you
will notice that it tells you to buy 2CR5(c) batteries (or some such, i don't
have the manual here...).  Now look at the batteries you've been buying.
They probably say something like 2CR5(b).
 
 What's the difference? Not a lot, exepting battery life in a PZ1 camera.  In
fact, the salespeople where you buy your batteries probably can't tell the
difference either - the specs on both batteries are technically the same
(voltage, etc.).  If i were you, i would make sure that you're actually using
the correct battery, as Nikon owners have to do for their N6006's. (and are EOS
cameras as picky? i've heard some stories to make me think so...)

James Zuelow
FSJFZ@acad3.alaska.edu
Newsgroups: rec.photo
From: ray@anaconda.cis.ohio-state.edu (william c ray)
Subject: Re: photo-dev...nudes, (well sort of)
Organization: The Ohio State University, Department of Computer and Information Science
Date: Wed, 12 Aug 1992 13:11:28 GMT

B/W vs color:  now wait just a minute... While I agree that color
detail is mostly annoying, and generaly detracts from the viewers
ability to notice tonality and texture, there are times where
_some_ color is what makes an image _work_.  I have seen some 
absolutely fantastic, nearly monochromatic landscape/environmental
nudes, where the fact there was a contrasting _color_ made the
image work.  Case in point, environmental nudes in the Washington/
Oregon rainforests.  If the images had been in B/W, they would have
been stunning photos of a rainforest, but no-one would ever have
noticed the nude.  The fact that there was this one spot of
"non-green" in the image lead the viewers eye, and made the image.

Verushka:  Does anyone know where I can get a copy of that book?
I saw a copy of it in our fine arts library here at OSU, but 
I'd love to have a copy myself.  I've been meaning to try some
shots using that technique ever since I saw those images. 
(anyone have any idea what type of paint/pigment/base was used?
I vaguely remember the book saying something about the method
being similar to greco-roman wet fresco painting, but no more
specifice.)

Will Ray
ray@cis.ohio-state.edu
From: liang@saul.cis.upenn.edu (Chuck Liang)
Newsgroups: rec.photo
Subject: Re: Sigma 600mm f/8 Reflex on AF cameras?
Date: 15 Aug 92 02:03:43 GMT
Distribution: na
Organization: University of Pennsylvania

In article <1992Aug15.001439.2926@cbnewsm.cb.att.com> ka1gt@cbnewsm.cb.att.com (robert.m.atkins) writes:
>In article <1992Aug14.202133.24614@ninja.zso.dec.com>, stoppani@ninja.zso.dec.com (Pete Stoppani) writes:
>> 
>> 
>> Has anyone used Sigma's 600mm reflex lens with an AF camera?
>> What limitations are there in addition to the fixed aperature and
>> manual focus?  Does the camera's AF sensor still work? In other words,
>> does that 'in focus' indicator light up when the picture is in focus?
>
>I haven't used the Sigma, but I have used a Tamron 500/f8 on an EOS 10s
>and 630. You do NOT get any "in focus" signal, but focussing on the screen
>isn't too hard. You can't use multipliers without playing some tricks - but
>you probably wouldn't want to anyway given the poor results that mirror lenses
>give with multipliers. On EOS cameras I set the mode to Av, set the aperture
>to f1 and exposures are correct.


  Are you using the Tamron lens with an FD-EOS mount adapter?  It
sounds like that's case.  But Sigma has a version of their 600mm lens
in EOS mount, but it only permits manual focusing.  If it has the
electrical contacts, you should be able to use regular metering and
the in-focus signal.
From: koolish@BBN.COM (Richard M. Koolish)
Newsgroups: rec.photo
Subject: 8 exposure rolls
Date: 18 Aug 1992 17:20:20 GMT
Organization: Bolt Beranek and Newman Inc., Cambridge MA
Distribution: world
Reply-To: koolish@BBN.COM (Richard M. Koolish)
NNTP-Posting-Host: bbn.com


My local Kodak dealer had some 8 exposure rolls of Ektacolor GPF-160
Professional film.  Can the 4, 2, and 1 exposure rolls of 35mm film
be far behind?  :-)
Newsgroups: rec.photo
From: shyam@cbnewsh.cb.att.com (shyam.p.parekh)
Subject: Advice for Buying a Nikon 8008s "Package"
Organization: AT&T
Distribution: usa
Date: Wed, 12 Aug 1992 15:25:15 GMT


Hi Everybody:

After reading a number of very informative articles on this news
group as well as other reviews, I am getting ready to buy the
following:

Nikon 8008s
Nikor AF 28-85 Zoom
SB-23 or SB-24 Flash

Please let me know your positive or negative experieces with
these equipments.

I am currently torn between the flash models. I know that SB-24
is a very versatile model.  But it is also relatively bulky.
Since I am off to a trip in Himalayas next month, portability
convenience is very desirable.  Also, I usually use flash only
for either fill-in or indoor group pictures.  From Nikon
brochures it appears that SB-23 is a very compact flash that
is also auto-focus compatible.  Does anybody have any experience
with SB-23 that can help me decide whether it can fulfill my
needs?

Thanks.

shyam@buckaroo.att.com
Newsgroups: rec.photo
Subject: Re: Printing from Slides at home
From: ar12@quads.uchicago.edu (Richard Nixon)
Date: Tue, 18 Aug 1992 16:11:42 GMT
Reply-To: ar12@midway.uchicago.edu
Organization: University of Chicago Computing Organizations

I'm curious about the slide printer-
Is it possible to make larger prints than 3x5- does Vivitar make an 8x10
printer? How much do these machines cost? This sounds like a great way
of making polaroid transfer prints from 35mm slides!
Andre

C

Newsgroups: rec.photo
From: ka1gt@cbnewsm.cb.att.com (robert.m.atkins)
Subject: Re: Flourencent light question
Organization: AT&T
Distribution: na
Date: Thu, 13 Aug 1992 13:33:22 GMT

In article <robinson.20@odie.ee.wits.ac.za>, robinson@odie.ee.wits.ac.za (Michael Robinson) writes:
> If I am shooting on daylight balanced film is there any filter available for 
> use under flourescent light?  What other alternatives are there to avoiding 
            ^^^^^
> green photos?
> 

No, but there are filters for FLUORESCENT lighting (sorry, but I do a lot of
fluoresecnce spectroscopy and the constant mis-spelling, even in reputable
publications, gets to me!). Fluorescent lights come in many types, but there
is an F-D (Fluorescent - Daylight) type filter (actually there are probably
several - each manufacturer may have slightly different filters). It is
basically magenta. It will correct a lot, and the rest can be corrected in
printing. Alternatively, Fuji Reala (sp?) is, I think, supposed to give
good rendition of fluorescent lighting without additional filtering - or am
I thinking of something else here? This assumes you are using print film.
I doubt there is any good way to correct slide film for fluorescent lights
(the F-D filter tries it's best, but isn't perfect).

===============================================================
Bob Atkins  AT&T Bell Labs  email (direct)  att!clockwise!rma
===============================================================

Newsgroups: rec.photo
From: glp@fig.citib.com (Greg Parkinson)
Subject: Re: Racial remarks (was: Cambridge)
Originator: glp@merlin
Organization: Citibank IBISM
Date: Tue, 18 Aug 1992 16:11:10 GMT


In article <1992Aug17.210235.16930@adobe.com>, usenet@adobe.com (USENET NEWS) writes:
|> | As a matter of fact, they are Jewish...
|> 
|> 		-Gustavo Salas
|> 
|> There are scum-bags as well as honorable people in every culture.
|> To deliberately point out the nationality or religion of a
|> particular scum-bag is, in my opinion, racially motivated and
|> should have no place in civilized discussion.

I'd like to assume that this comment was in response to
someone mentioning the "eastern european" accent.

Almost *all* the photo stores in NYC are owned and
run by Jews, often Hassidim.  I think there is a cultural
element in what some people perceive as rudeness, but
it's important to point out that all the people who have
waited on me at B&H have been Hassidim and they have been
helpful and friendly.
-- 
Greg Parkinson                  Phone: 212-657-7814  Fax: 212-825-8607
Citibank,111 Wall Street        E-Mail: glp@fig.citib.com
New York, New York  10043
The opinions expressed are my own and not those of the big 'ol bank.
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: Techniques for taking swimsuit models?
Date: 20 Aug 92 21:26:47 GMT
Article-I.D.: clark.1992Aug20.212647.27332
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Aug20.135808.1@ntuvax.ntu.ac.sg> sc6803998@ntuvax.ntu.ac.sg writes:
>
>Hi all photo gurus,
>
>	I some how have gotten a friend to model for me in a swimsuit! 8)
>Can you guys(girls) out there suggest some good techniques for taking
>girls in swimsuits? 

Do you mean take them, or take pictures of them....sorry I couldn't
resist....:-)

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
Newsgroups: rec.photo
From: ptse@bwdls49.bnr.ca (Paul Tse)
Subject: Re: polycarbonate camera bodies
Organization: Bell-Northern Research, Ottawa, Canada
Date: Wed, 12 Aug 1992 17:17:49 GMT

jake@bony1.bony.com (Jake Livni) writes:
>Why is it that people are so concerned with the body of the camera?
>If my camera were to fall (something I am careful to avoid), I 
>would be concerned with a mechanical linkage falling apart, or
>an electrical contact loosening or a glass element moving out 
>of place.  Overall, these things will hurt me more than a scratch 
>on the body.

I think the principal concern regarding body construction is the
body's rigidity.  You want to keep the lens mount in perfect
alignment with the film plane.  This is where a metal frame structure
is desirable.  I think the plastic stuff is fine around the remainder
of the camera (arguably better than metal).

People should also be concerned with the lens construction.  The AF
lenses generally feel "cheaper" than the manual focus ones.  

Newsgroups: rec.photo
From: donl@glass.esd.sgi.com (donl mathis)
Subject: Re: Me and E6
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Date: Thu, 13 Aug 1992 03:04:20 GMT


In article <1526@sousa.ltn.dec.com>, madler@vssad.enet.dec.com (Michael
C. Adler) writes:
|> 
|> You win mixing a fraction of a powdered chemical only if the crystals
|> are evenly distributed.  There is a reasonable chance that they are not.
|>
|> Most instructions I've read for powders specifically discourage mixing
|> anything but the full package.

There are no powders in the E6 kit.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com
From: ka1gt@cbnewsm.cb.att.com (robert.m.atkins)
Newsgroups: rec.photo
Subject: Re: 300 mm/f2.8 - Which is the BEST for the ELAN?
Date: 13 Aug 92 22:26:13 GMT
Article-I.D.: cbnewsm.1992Aug13.222613.20172
Distribution: na
Organization: AT&T

In article <1992Aug13.135653.865@lmpsbbs.comm.mot.com>, chucksi@stc.comm.mot.com (Charlie) writes:
> 
> Subject line says it all - I need some help. Who makes this lens for the ELAN?
> I know Sigma does, does anyone else? What's the general quality of third party
> lenses of this size (and expense). I was appalled at the price difference 
> between the Canon ($2700) and Sigma (~$2000) ----
> 

No contest. The Canon is the better lens - indeed the best 300/2.8 out there
if you believe George Lepp. $2700 is dirt cheap for the EF300/2.8. I think
you will find it will cost you closer to $3300. The FD (non AF) lens is 
closer to $2700, so perhaps you were looking at the wrong lens.

===============================================================
Bob Atkins  AT&T Bell Labs  email (direct)  att!clockwise!rma
===============================================================
From: wright@lims01.lerc.nasa.gov (Ted Wright)
Newsgroups: rec.photo
Subject: Re: Automatic Flash
Date: 19 Aug 92 18:56:28 GMT
Organization: NASA Lewis Research Center

In article <wright.23.0@lims01.lerc.nasa.gov> wright@lims01.lerc.nasa.gov (Ted Wright) writes:
>From: wright@lims01.lerc.nasa.gov (Ted Wright)
>Subject: Automatic Flash
>Date: Wed, 19 Aug 1992 18:53:55 GMT

>I am looking for a flash unit for my (fully manual) Nikon F1.
>Since the F1 is completely non-computerized, and I don't want a
>flash with a lot of features that I can't use, most of the ones
>I have looked at seem inappropriate.

>I have used a Vivatar 285 quite a bit, and I like it except for its
>size and weight. I am considering a Sunpak 383, since it is similar
>to the Vivatar but doesn't require messing with the zoom head. (I 
>usually use a 35-135 zoom lens). Are there other flashes I should
>see? Is there a reason to avoid the Sunpak?

>Thanks in advance, Ted Wright
>  

Sorry about the temporary brain fade, my camera is really a Nikon F.
Ted Wright
From: d8linha@dtek.chalmers.se (Haakan Lindh)
Newsgroups: rec.photo
Subject: FILM / PAPER ?
Date: 17 Aug 92 18:25:39 GMT
Organization: Chalmers University of Technology

Hi,

Is there anyone out there who knows what the best combinations are regarding
films/papers?
For example, if you use:

Paper: Kodak Fiber Diamond Surface          	Film: ?

Paper: Illford Fiber Multigrade	(Glossy)	Film: ?

Paper: Orwo Fiber				Film: ?

Film: Kodak Technical Pan			Paper: ?

Film: T-MAX 100, 400				Paper: ?

Film: TRI-X 400					Paper: ?

Film: Illford-DELTA 400 			Paper: ?


I'll summarize.....

--
d8linha@dtek.chalmers.se
                                  Chalmers Univerity of Technology, Sweden
                               Department of Computer Science and Engineering
From: lihan@ccwf.cc.utexas.edu (Bruce G. Bostwick)
Newsgroups: rec.photo
Subject: Ricoh problems
Date: 17 Aug 92 17:48:21 GMT
Distribution: usa
Organization: The University of Texas at Austin, Austin TX

I'd like to thank Ron Speirs for his detailed description of how a
focal plane shutter works which I was unable to reply to having
already replied to another guy who was correcting me on the same
subject.

To summarize:

YES, I KNOW that NORMALLY the flash sync speed IS AND EVER SHALL BE
1/60.  However, the exception to this holy rule is for
vertical-shutter cameras, of which my Ricoh is a steadfast example,
most of which have a full aperture open up to 1/125 at least, and some
of which almost manage this up to 1/250.  The shutter doesn't have to
travel as far and the leaves are of a much lighter mass, so the actual
shutter leaf velocity is much higher.

I wouldn't have mentioned the 1/125 speed except that
1) it mentions it in the manual;
2) '125' is marked in contrasting red on the speed dial;
3) with a dedicated flash (which I have) the camera automatically sets
   the shutter speed to '125' if the speed is 'automatic' (green A)
   and the flash is ready to fire.

These I consider sufficient clues.

Sorry if this sounds like a flame -- it wasn't intended to be.  I
realize there are people out there who don't know the normal rules of
thumb and occasionally need to be told these things, but I did already
-- 
<BGB>
lihan@ccwf.cc.utexas.edu        /     "I can't complain,
(really Bruce Bostwick)        /   but sometimes I still do"
from the great state of TEXAS /         --Joe Walsh--
From: browner@rm1.interlan.com (Michael Browner)
Newsgroups: rec.photo
Subject: Re: Suppliers of Square Frames
Date: 18 Aug 92 13:00:42 GMT
Distribution: usa
Organization: Racal-Milgo, Sunrise, Florida

In article <18985@nntp_server.ems.cdc.com>, mtoms@ems.cdc.com (Mark Toms) writes:
|> I was wondering if anyone knows of a supplier that sells square frames
|> from stock.  I shoot 120 format (Hasselblad) and often want my shots
|> enlarged without cropping to a rectangular format.  I am trying to avoid
|> the expense of using a custom framing shop.
|> 
|> Thanks,
|> 

There is a company in Flushing, New York called Graphic Dimensions (sorry 
don't have the phone number handy).  They sell all styles of wood and metal
frames in dimensions that you want.  You order the frames by pairs of sides
so a 12" x 12" would be ordered as two 12" pairs.

I have used their frames for years, via mail order and have never had any 
problem.

Michael B.
|> ==========================================================================
|> J. Mark Toms                                email: mtoms@ems.cdc.com
|> Baltimore Gas & Electric, Company
|> C/O Empros Systems International            Phone: (612) 553-4423
|> 2300 Berkshire Lane North                     FAX: (612) 553-4018
|> Plymouth, Minnesota  55441-3694 USA      Mailstop: PLY060
|> ==========================================================================

-- 
Michael Browner     		browner@sun1.interlan.com or
(305) 846-6848                  browner@rd1.interlan.com
Racal-Milgo, MS E-112, 
P.O.Box 407044, Ft Lauderdale, FL 33340
From: alix@indetech.com (Alexandria North)
Newsgroups: rec.photo
Subject: Improvising with Photo Equipment -- books?
Date: 17 Aug 92 23:04:31 GMT
Organization: Independence Technologies, Inc. Fremont, CA

Here's an odd question...

I've heard a lot of little tricks here and there about how photographers 
find ways to "get by" with less than ideal equipment. You know, how to 
make your own inexpensive reflectors, using different items for light 
stands, etc.

Does anyone know of a book that covers this kind of topic? With photo 
equipment being as expensive as it is, I'd like to find ways to fill in 
the gaps in my equipment without spending a fortune. It seems like a 
ripe topic for a book, which usually means someone has done it...

Alexandria
the gaps in my equipment without spending a fortune. It seems like a 
ripe topic for a book, which usually means someone has done it...

Alexandria
-- 
-----------------------------------------------------------
"Babies, babies, babies. Why did God make so many babies?
 But no, God didn't make them. Stupid people made them."
      -- Margaret Mitchell, Gone With The Wind
From: fsjfz@acad3.alaska.edu
Newsgroups: rec.photo
Subject: Re: Photography in low light?
Date: 19 Aug 92 20:45:40 GMT
Organization: University of Alaska Fairbanks

In article <1992Aug19.075759.27997@jarvis.csri.toronto.edu>, acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
> I'm interested in trying out some shots in *really* low light--the kind
> of levels where the colour receptors of the human eye no longer work....

> ...Indeed, is there any film that can handle this?  It doesn't have to be
> colour.  (I guess there's always IR flash photography...)
> 
If the light is so low that the human eye can't see color, i'd say your only
choice would be a high speed B&W.  THis summer, either Pop. Photo or Petersens
Photo. had an article that mentioned T-MAX P3200 rated at EI25000 for
surveillance work.  Try some T-MAX at 6400 or 12500 (and a hand-held meter
that can handle the low light!).

James Zuelow
FSJFZ@acad3.alaska.edu
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Newsgroups: rec.photo
Subject: Re: Stereo Realist manual service repair help
Date: 17 Aug 92 18:32:45 GMT
Organization: Curtin University of Technology

In article <1992Aug15.061532.3085@uniwa.uwa.edu.au>, clare@uniwa.uwa.edu.au (Clare Johnstone - UCS) writes:
...
> I am hoping to find a technician who knows how to fix it, does
> anyone know of one?
> 

Sorry for posting, no mail... Claire, contact Dave Emeric @ the Uni Computer
Club, and ask if his dad will have a look at it for you.
~Paul
Newsgroups: rec.photo
Subject: Re: Heat-resistant long-life film
From: fred-mckenzie@ksc.nasa.gov (Fred McKenzie)
Date: 18 Aug 92 15:23:36 EST
Followup-To: rec.photo
Distribution: world
Organization: NASA/Kennedy Space Center, Florida

In article <1992Aug14.084509.20831@bernina.ethz.ch>, hegarty@iis.ethz.ch
(Christopher Hegarty) wrote:
> I want to leave a camera in my car so that if I am involved in a car
> accident I can take some photos of the accident scene, which may be
> helpful if any legal problems arise.
> One problem is that inside my car tends to get very hot in
> summer; I'm concerned about film lifetime.  Can anyone tell me 
> how often I might need to replace the film, or recommend film with a
> relatively long lifetime under these conditions?

Chris-

While your idea has merit, I feel the degradation of film in the heat will
negate most of the desired benefits.  Most films have some infra-red (heat)
sensitivity.  It is only a matter of time until hot film will be fogged to
the point where it is no longer useful.

To find out how serious the problem might be, I suggest you run a test. 
Either put some film in an existing camera, or get one of those
"throw-away" cameras.  Leave it in your car (hidden from view!) for about a
month in the summer.  Then, expose about half the roll on scenes comparable
to those at an accident.  When it is developed, it should be apparent
whether my prediction is right or wrong.  If the exposures look OK, you can
look for fogging on the unexposed section of the film, to judge how it
might react to a longer term in the heat.  Lower speed film will probably
survive longer than the higher speed, although ASA/ISO is only a rough
indicator of infra-red sensitivity.

A more expensive solution would be to to use a video camera.  Most
electronics will hold up fairly well as long as they are not powered-on
during storage.  Be sure to change the batteries every year or two.

fred-mckenzie@ksc.nasa.gov