HDTenEightyP/NetNews huggingface dataset:
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Re: Film "FAQ"
Organization: Curtin University of Technology
Date: Fri, 16 Oct 1992 20:16:39 GMT

In article <1992Oct15.191444.167@clark.edu>, gsnow@clark.edu (Gary Snow) writes:
> In article <1992Oct15.051424.5821@jarvis.csri.toronto.edu> acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
>>In <1bha8oINN6hi@roche.csl.sri.com> abochann@cisco.com (Alex Bochannek) writes:
>>
>>Sounds good.  One idea (might not be good) is to have a list of films and
>>a list of columns.  The columns would contain the number of "points" for a
>>particular film in a particular category.  For example, if someone thinks
>>NHG is great for wedding photography, they could rate it a "10" on that
>>column.  If they think Ektapress 1600 is too grainy, they could give it
>>a "0" (actually Ektapress 1600 isn't bad for ISO1600.  No flames please!
>>:-).
>>

Yeh, all we have to do is descide how long a piece of string is, and how much
is 'too much'...

>>This makes it easier to summarize.  It's hard to summarize a bunch of
>>qualitative comments.
>>
>>Every so often, film tests come out in the popular photo rags.  If one of
>>them is deemed reliable, some of that data could be useful too.  At the
>>very least, the full name, and the abbreviated name should be in a table
>>so people don't get lost when other people start throwing code designations
>>around.
> 
> A good place to start with your chart is on the Centerfold of Photographer
> International (please no flames about this mag, I only got this issue for
> this chart) Summer 1992 Pages 40-41. It lists just about every film that
> you can think of, along with some technical specs like its RMS Grain value,
> and its lines per mm resolving power. Heres a short list of the columns it
> has on the chart.
> 
> Film/Brand

Process

> User Profile (Rates the film as either Amateur, Am/PRO, or PRO)

What do they mean by this? Amateur or Pro normaly means storage condition!!

> Type of Film (Like B/W Negative, Color Print, Color Slide, B/W Print,
>              Color Reversal, Color Negative, or Color Transparency)

Uh hum, what is the difference between Colour Print and Colour negative? I
suspect they don't mean 4111, Vericolor Print or Duratrans RA etc...

> ISO Speed

Or other 'standard' EI. Quoting a contrast index/gamma to go with it.

> RMS Grain
> Res Power
> Sizes        (Like 135-36, 120, Bulk, Sheet, etc)

This would have to be by country I suspect. Good idea actualy, as we could them
see where the hell to start looking.

> Comments     (we could stick our own in here, like the rating system mentioned
>              above)
> 

It would be a HUGE plus if we could include graphics, and other special purpose
films and plates in this list, as it would them be a pointer to people as to
where to start looking.

Any one out there with good Agfa or Fugi tech data?

~Paul
From: ken@racerx.bridge.COM (Ken Hardy)
Newsgroups: rec.photo
Subject: Re: Pentax H1 (screw mount)
Date: 8 Oct 92 03:36:34 GMT
Organization: Planet Earth

In article <1992Oct7.012655.19800@cello.hpl.hp.com> jacobson@cello.hpl.hp.com (David Jacobson) writes:
>In article <1992Oct5.222834.22545@magnus.acs.ohio-state.edu> HO@kcgl1.eng.ohio-state.edu (Francis Ho) writes:
>>PENTAX H1 SLR (Screw Mount)
...
>It should be mentioned that this camera does not have an
>"instant-return" mirror, to the best of my recollection.  Thus the
>finder goes black when you press the shutter release.  I think the H-2
>was the first Pentax with instant-return mirror, but the diaphragm
>stayed small.  The H-3 (which I own--I bought it in 1962) was the
>first Pentax that behaved the way we commonly expect of an SLR, with
>both the mirror and aperture returning to their original positions
>after the exposure.

[Obviously Francis Ho can tell anyone interested about the camera he
wants to sell.]  I have a Pentax H1a which has an instant-return mirror
and a fully automatic diaphram.  I'm not familiar with the chronology
of the various models, though the county library here has a c. 20 year
old book called "Photography the Pentax Way" (or some such) that gives
a pretty good history of the line and the various models' features.

I like my H1a a lot (as do the folks here who keep selling me used
screw-mount lenses ;)  It takes great pictures (as far as I can tell),
especially with the 50mm f/2 Super Takumar lens I got with it.  I'd
recommend it, or one like it, for anyone on a budget who wants to get
into fully manual 35mm photography (pretty well describes me at the
time I bought it.)  The main drawback is the slowness of changing
lenses with the screw mount.  The advantage is that there are a lot of
screw-mount lenses available at good prices.

BTW, I paid $60 for it in a pawn shop a year or so ago, less than being
asked for the H1 in the original posting in this thread, though I did
not get a case or cover with it.

-- 

Ken Hardy
ken@bridge.com  (racerx!ken)
Newsgroups: rec.photo
From: RSPEIRS@130.187.170.178 (RON SPEIRS)
Subject: Index for Darkroom & Creative Camera Techniques
Organization: Evans & Sutherland Computer Corp.
Date: Wed, 7 Oct 1992 19:51:12 GMT
X-News-Reader: VMS NEWS 1.11

Like many of you, I have found Darkroom & Creative Techniques magazine
very useful and informative.  I started subscribing many years ago, and
also bought all back issues so that I have all issues from 1989 to
present.  I found myself going thru the issues trying to find certain
articles, so I made an index.  It basically contains the information on
the Table of Contents page of each issue:
	Title of the Article
	Subtitle of Article
	Category
	Author
	Issue Date
	Page Number

There are two files.  The first is sorted chronologically by Issue and
page number.  The second is alphabetically sorted under each category.

This project started many years ago, first on a Wang word processor, then
when that went away it was transferred via ASCII file to a DEC, then to a
PC where it was converted to Word Perfect 5.1.  It is not in a Database
format.  It prints in landscape mode with a small (8 pt) font.

Here's the offer:  I would be happy to share it with anyone who would 
want it.  Just send a blank diskette (3.5 or 5.25, DD is ok) with a self-
addressed envelope with return postage.  Alternatively, you could just
send a couple of dollars and I'll take care of the diskette and postage
(but I would prefer the first way).  If you are interested, send the
blank diskette to:
	Ron Speirs
	Evans & Sutherland
	600 Komas Drive
	Salt Lake City, Utah 84108

Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Re: Safelight for TMAX film
Organization: Curtin University of Technology
Date: Wed, 14 Oct 1992 15:39:23 GMT

In article <1992Oct13.161634.3156@cs.UAlberta.CA>, rodney@cs.UAlberta.CA (Rodney Gitzel) writes:
> In article <1992Oct12.214107.1@cc.curtin.edu.au> zrepachol@cc.curtin.edu.au (Paul Repacholi) writes:
>>
>>What do you mean by "extreme" BTW?
> 
> Well, how about pushing TMZ to 51200?  I tried 25600 at the
>  recommended times and got nice blank negs.  It would be nice
>  to not have to guess, agitate for days, and discover the guess
>  was still off -- if I can see how the developing is going, then
>  I just agitate as long as needed.
> 
> I would also like to try pushing TMX five or six stops, just to see
>  if I can make it go grainy.  (Yeah, right...)

I have pushed TMZ to 50K, from the data sheet fine. I would wonder about your
meter in this case. Many meters will lie if you go below their range, with
no warning!! They just feed you the 'min' exposure info no mater how far the
light level drops.

For reference, the stuff I shot ws metered with an EOS-1 and a Gossen Luna Six,
~1/3 sec, f1.8. The meters agreed, so I shot all of it from the EOSs metering.
This is well below the claimed range, but seemed fine. The AF definatly did not
want to know about it though. Its hard to focus if you can hardly see!!

~Paul

Newsgroups: rec.photo
From: news@walter.bellcore.com
Subject: Re: Looking for Photography Trip recommendations
Reply-To: jchen@wind.UUCP (Jason Chen)
Organization: Bellcore, Morristown, NJ
Distribution: na
Date: Thu, 8 Oct 92 17:55:58 GMT

I would recommend southern Utah. There are a number of national parks
such as Zion, Bryce Canyon, Capital Riff, North Rim of the Grand Canyon 
(and possibly a couple other), all with a few hours of driving. It
is an area populated with National Parks, not people.

C. Jason Chen 
jchen@wind.bellcore.com
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Re: Index for Darkroom & Creative Camera Techniques
Organization: Curtin University of Technology
Date: Fri, 9 Oct 1992 11:31:30 GMT

In article <1992Oct7.195112.16691@javelin.sim.es.com>, RSPEIRS@130.187.170.178 (RON SPEIRS) writes:
...
> 
> Here's the offer:  I would be happy to share it with anyone who would 
> want it.  Just send a blank diskette (3.5 or 5.25, DD is ok) with a self-
> addressed envelope with return postage.  Alternatively, you could just
> send a couple of dollars and I'll take care of the diskette and postage
> (but I would prefer the first way).  If you are interested, send the
> blank diskette to:

Could you post the ASCII versions? I would love a copy, but the distance...
~Paul
From: mpc@biosys.apldbio.COM (Morgan Conrad)
Newsgroups: rec.photo
Subject: Re: Beginning Interests
Keywords: books
Date: 15 Oct 92 22:07:58 GMT
Reply-To: mpc@apldbio.com (Morgan Conrad)
Organization: Applied Biosystems Inc, Foster City, CA

slambert@AFIT.AF.MIL (Steve Lambert) asks:


>Simply put -- What are some recommendations on the books, magazines, etc.,
>that will inform a very basic beginner in this field.  I'm looking for
>pleasure mostly, landscape etc.


Maybe this should be in the FAQ (apologies if it is!).

For outdoor/nature photography, I heartily recommend

any of John Shaw's books
Guide to Nature & Outdoor Photography Techniques (this may not be the right 
title)  fairly technical, a good overview of technique, and composition
Closeups in Nature - very technical, but great if you want to do close up work
Nature in Focus (?) (gee - I'm really spacing out on these titles)
non-technical, covers the creative & compositional aspects.

I also recommend
Freeman Patterson's books - Photography for the Joy of It, P and the
Art of Seeing, and another P and something...
Outdoor Photographer magazine.  It's fun for a year or two, then you
start seeing the same articles over and over again.

My bottom line, executive suggestion:
Buy Guide to Nature & Outdoor Photography Techniques (whatever the title)
Look for Patterson's books in the library.  While you are there, look at
some of the hundreds of other photography books.  Find some with pictures
you like, and take them home too.  Develop your own tastes, not mine!


Morgan Conrad              Cthulu for President!
Applied Biosystems
mpc@apldbio.com            Why settle for
415-570-6667               the lesser evil?


Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Agfa/Ansco (was Re: AGFA, Fuji, Kodak or ?)
Date: Thu, 8 Oct 1992 19:33:47 GMT
Organization: Hewlett-Packard Laboratories

In article <1992Oct8.171255.27892@javelin.sim.es.com> rspeirs@javelin.sim.es.com (Ron Speirs) writes:
>The Agfa films are C-41 and E-6 now, but it wasn't always so.  My earliest
>experience with Agfachrome was in 1963.  The film was sold with a prepaid
>processing envelope in the box, and it was sent to New Jersey (I think).  Agfa
>films were advertised as having a "softer" look, ideal for people (very
>different from the saturated, bright colors of Fuji and Kodak.)  I remember
>shooting some Agfachrome in Canyonlands National Park in the mid 1970's;
>wrong film for the locale, very disappointing.  
>
>Maybe a little history is in order.  Prior to the invention of Kodachrome in
>the late 1930's, there wasn't any practical color film for the amateur.  
>During
>this same time, the Agfa scientists were developing the "chromogenic" color
>process, where the dyes are formed IN the film rather than being put in the
>film during development (Kodachrome).  At the close of World War II, the Agfa
>patents were siezed as war reparations and that technology became public.
>Then followed Kodacolor, Ektachrome, Anscochrome and many others.

This seems to imply that Ansco was a competitor of Agfa, and Ansco and
everyone else got access to Agfa's technology as a war reparation.
Yet I have a tripod at home (that technically belongs to my
mother---and from various pieces of evidence it must have been
purchased between 1940 and 1946) that is labeled Agfa/Ansco (or mabye
it is Ansco/Agfa).  So there was apparently some period of
co-operation between these companies.

  -- David Jacobson
Newsgroups: rec.photo
From: geoff@pmafire.inel.gov (Geoff Allen)
Date: Tue, 13 Oct 92 16:04:25 GMT
Organization: Roller Coaster fanatic with no hope for a cure
Subject: Re: 8x10, Christopher Burkett, light sources
Summary: 
Followup-To: 
Organization: Roller Coaster fanatic with no hope for a cure
Keywords: 

monson@hobo.ECE.ORST.EDU (Ty Monson) writes:
>  I asked Burkett how he transported 8x10 equipment to the photo sites.
>  He said that he just worked off the back of his car. "If you can't
>  drive to it, it isn't worth photographing" is what he told the
>  photo group. From my car, I never see the beautiful things he has
>  in his photographs. Sigh.

Here in Idaho, I see wonderful things from my car, but there's usually a
power line in the way!

Most of my photographs with my 4x5 have been taken within a few hundred
yards of the car, some as much as a mile away.  I wouldn't be afraid to
take it several miles.  But if I were shooting 8x10, I'd probably shoot
flowers on the edge of the parking lot, too!

Geoff, not as young as I used to be, but still younger than many. ;^)

-- 
Geoff Allen          \  That's the problem with nature. Something's always
uunet!pmafire!geoff   \  stinging you or oozing mucous on you.  Let's go
geoff@pmafire.inel.gov \  watch TV. -- Calvin, speaking to Hobbes
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Subject: Re: Macbeth Color Chart
Organization: Curtin University of Technology
Date: Thu, 8 Oct 1992 19:54:50 GMT

In article <1992Oct6.201710.29878@galileo.cc.rochester.edu>, eugene@briar.lle.rochester.edu (Eugene Kowaluk) writes:
> 
> Paul Repacholi writes:
> 
>> The first image I would like too see is the wonderfull, dynamic, exciting...
>> McBeth colour chart...
> 
> 
> It would be difficult to carry your terminal to on-site photography. :)
> 

True...

> As to scanning it, since the chart's colors are so quantified, you might
> find a correlation between those numbers and your computer's standard,
> such as rgb (available colors by name for coloredit) which runs on
> sun sparcs.
>  
Thats the idea, COMPUTE the correct values, then use them to create a file
of 'Synthetic McBeth'. god, it sound like Old Will's worst nightmares run
riot...

~Paul

Newsgroups: rec.photo
From: glp@tfs.com (Gregory Pease)
Subject: Re: Agfa Multicontrast
Organization: TRW Financial Systems
Date: Tue, 13 Oct 1992 21:39:36 GMT

In article <1992Oct13.161242.17342@sys.sweden.dg.com> robert@sys.sweden.dg.com (Robert Claeson) writes:
>Has anyone tried these products? A dealer I visited today said that
>the Multicontrast developer performed better for most RC papers
>than other developers. The paper is also very good and significantly
>better than Ilford's Multigrade paper. The new Kodak polycontrast
>paper should be something extra, he also said.

At the risk of starting a "whose is better" battle...

Ilford's Multigrade paper was a standard, but not terribly good.
Multigrade Deluxe, however (available for at least the last 4 years)
is *very* good, with deep blacks, good, clean whites, nice processing
characteristics and grades from 00 to 5.  It's a very fine product.
(I have exhibited prints on this paper, to positive reviews.)  It also
selenium tones beautifully, if you want a cold tone.  (1:64 with
PermaWash for 6-7 minutes is a good starting point.)

Agfa's paper is also very good.  The blacks are a bit cooler than
Ilford's, and, grade for grade, it is a bit contrastier, by about 
1/2 grade, making it more like Oriental's grades.  The paper doesn't
tone as predictably as Ilford's, and seems more sensitive to developer
dillution with respect to tone.

I got some samples of the Kodak stuff.  It's good, too.  The scale
seems a bit more abrupt than I like, so I'll likely stick to Ilford.

I like Agfa's Neutol for developing variable contrast papers, but its half
life is too short, so I use Ilford's Universal Paper developer or the 
Lauder Chemical Dektol equivalent.  There are subtle differences in the
highlight separation with each developer, so try them and see for
yourself.

There are very few *bad* products on the market these days, though the
Talbot RC that Sammy's was selling was pretty poor with respect to Dmax.
It is pretty safe to buy a film or paper from a known manufacturer and
give it a try; a 25 sheet pack of 10x8 paper costs less than supper out.
It's fun to experiment, and you'll get to know the differences between 
different company's approach to photochemical processes.  
-- 
Gregory Pease    | "Is that a real poncho, 
glp@tfs.com      | I mean is that a Mexican poncho,
510/704-3133     | or is that a Sears poncho?"  -Zappa
From: ray@anaconda.cis.ohio-state.edu (william c ray)
Newsgroups: rec.photo
Subject: Re: film for 35mm portraiture?
Date: 13 Oct 92 18:37:50 GMT
Article-I.D.: cis.1992Oct13.183750.2703
Organization: The Ohio State University Dept. of Computer and Info. Science

In article <26290@oasys.dt.navy.mil> goldberg@oasys.dt.navy.mil (Mark Goldberg) writes:

>Personally, I charge $2,000 - $3,000 per wedding - and
>I get it with no hassle.  It is my opinion that cheap wedding photography
>is not always worth its price and is often a waste of money.  In other
>words, the dedicated friend or relative can often beat the $600 or under
>so-called "pro" in qulity and content.
>   /|/| /||)|/  /~ /\| |\|)[~|)/~   |   Everyone's entitled to MY opinion.
>  / | |/ ||\|\  \_|\/|_|/|)[_|\\_|  |      goldberg@oasys.dt.navy.mil
>========Imagination is more important than knowledge. - Albert Einstein=======

Why Mark, I'm _amazed_ to hear you say that... I thought it went something
like "Amateurs shouldn't even be _allowed_ to bring cameras to wedding type
events, since no-matter how good they are, they can't compete with even
the worst "pro" photographer" :-)  as usual, I must interject that just
because someone charges $2000+, doesn't guarantee that they can beat out
a working-for-free relative, and just because someone charges under $600
does not guarantee that their work will be trash.  The only semi-consistent
measure of the protographers quality will be their previous work, and
then only if they are confident enough to show you things like complete
sets of proofs, etc.  since anyone can get lucky and get 1 or 2 good
shots, but a wedding photographer needs consistency.

(BTW Mark, if there ever exists another photo-swap, I'd absolutely
love to see some of your work... From your postings I'd like to think
that it would be spectacular.)

Will Ray
ray@cis.ohio-state.edu
wcr@rsch.oclc.org
From: peterd@hpgrla.gr.hp.com (Peter Davidoff)
Date: Thu, 8 Oct 1992 20:34:10 GMT
Subject: Re: Basement Darkroom
Organization: Hewlett-Packard, Greeley, CO
Newsgroups: rec.photo


Basement Sump Pump 
^^^^^^^^^^^^^^^^^^ 

I purchased a Rubber Maid Tub, 'bout 10 to 12gals (same
as Andy's size).  I've got the pvc tubing entering into
the side of the tub.  It was easy to hand-tool the hole
with a hole-cutter from my drill press (the variable
diameter type).  The pvc was 'clamped' in place by cutting
a small piece that would pass through the hole, then two
coupling pieces as the 'bread' part of the sandwich:

    ----+|+----  coupling piece        
       ^^^^^small pice
       ^^^^^
    ----+|+----

I used some bathtub sealer around the edges.  The sump
pump is a 1/3hrs, cost me about $50.  I use 3/4" pvc
up to the septic line.  I've been able to run the film
washer and the sink w/o overloading the system.

  Peter
Newsgroups: rec.photo
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: 430EZ Question
Keywords: EOS10s, 430EZ
Date: 15 Oct 92 20:15:55 GMT
Article-I.D.: clark.1992Oct15.201555.999
Distribution: world,local
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Oct14.184656@ece.arizona.edu> pardede@ece.arizona.edu (Ferdinand M. Pardede) writes:
>I bought a Canon 430EZ Speedlite (Meter Scale) a week ago from B&H. 
>Everything was alright, as far as the shipping and handling are
>concerned.
>
>I do have questions, however, about the Speedlite itself.
>I used it several times with my EOS 10s camera.  When I used it in
>Aperture Priority (Av) to give myself flexibility to choose my own
>aperture, the speed indicator (i.e. the number telling me the speed the
>camera is taking) was blinking.  Similar thing happened when I used it
>in Speed Priority (Tv), the aperture indicator was blinking.  I have
>read the manual page to page carefully, but no explanation found. 
>(There ARE some information about this blinking problem, but the manual
>only gives explanations for other EOS cameras, excluding the EOS 10s.)

The explanation is the same as it is for the newest of the cameras listed.
If the Speed Blinks in Av mode, the background will be under exposed, but
the subject will be exposed ok.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: 8x10, Christopher Burkett, light sources
Date: Wed, 14 Oct 1992 17:42:55 GMT
Organization: Hewlett-Packard Laboratories

In article <1992Oct14.143408.10507@craycos.com> sog@craycos.com (Steve Gombosi) writes:
>In article <n0c05t@ofa123.fidonet.org> Rick.Ellis@ofa123.fidonet.org writes:
>>On <Oct 13 16:43> Steve Gombosi writes:
>>
>>>  Never mind the upcoming layoffs, Barry. Go ahead, buy an 8x10
>>>  system. You should be able to get started with used equipment for
>>>  under a thousand. And I'll bet that you already own a lens or two
>>>  that can cover 8x10. Of course, film holders will cost nearly $50
>>>  each - and they won't be nice, compact mido's. But after shopping
>>>  for enlargers, you may want to consider buying a 20x24 camera
>>>  and just sticking to contact prints. :-)
>>
>> SG> They don't make Velvia in 20x24 ;-).
>>
>>Did you ask?
>
>The largest size imported to the States is 11x14. The largest size commonly
>available is 8x10. I suppose if you showed up at the factory with enough
>money you might be able to persuade them to make something larger.
>"Enough" is likely to be a *very* large quantity ;-).
>
>I suppose you could just shoot directly on Cibachrome...it might kind of
>interesting. How long would you have to expose Ciba in bright sunshine
>at f/64? Talk about "limited edition" prints! ;-)
>
>Steve

I saw the smiley faces, but decided to reply seriously anyway.  One
problem with direct exposure on a print paper would be that you would
get a mirror image.  You would have to rig up some kind of rigid
mirror in front of the camera to add a compensating reversal.

  -- David Jacobson
From: kgonsal@eng.clemson.edu (Spooky)
Newsgroups: rec.photo
Subject: WANTED: Eyepiece for MINOLTA HIMATIC -C
Keywords: wanted looking help
Date: 11 Oct 92 22:38:41 GMT
Reply-To: kgonsal@eng.clemson.edu
Organization: College of Engineering, Clemson Univ.



Hi,
	I am looking for a replacement eyepiece for a MINOLTA HIMATIC -C camera. I would appreciate it if anyone could tell me how I could obtain one.

Alternatively does any of you have a dead camera from which this piece could be cannibalized ?  I would appreciate it if you can mail me at

kgonsal@eng.clemson.edu

thanks

ken.

Had to repost this since the earlier one got truncated.....