HDTenEightyP/NetNews huggingface dataset:
From: troyb@oz.plymouth.edu (Troy Bennet)
Subject: Re: grad programs in NE
Reply-To: troyb@oz.plymouth.edu (Troy Bennet)
Organization: Plymouth State College - Plymouth, N.H.
Date: Thu, 30 Jul 92 19:11:37 GMT

In article <92212.113913JSN3@psuvm.psu.edu> <JSN3@psuvm.psu.edu> writes:
>Since photography has always been my true love I'm considering going back to
>school.  Since I work and have a family I'd have to work on the degree part
>time.  I'm in Allentown, PA which is about 90 miles from New York and 60
>miles from Phila.  I tend to doubt whether most grad programs are set up for
>the "non-traditional" student.  Has anyone on the net had any experience in
>going back to school in Photography?  (I'm assuming an MFA or MA Fine Arts
>program)
>
>


The Milton Avery School of Art has a grad school named "Bard College"

They offer MFA's in photography, film, dance, writing, painting etc.~
They are located in Annendale on the Hudson NY.  They offer an MFA
program based on summer study.  8 weeks each summer for three summers
in a row.  There is also an option for taking one of the summer
sessions during the normal school year as an independant study.  Very
competative though.  When I applied there, they had five photo
openings and 85 photo applicants!  Tuition now must be somewhere
around 5k per session.

This school looked ideal for me because I could get the 8 weeks off
from work as a leave of absesnce.~

I can dig out the catalog with the numbers and details if prompted to.


troyb~
Newsgroups: rec.photo
From: peter629@Armstrong.EDU (James Peterson)
Subject: FOR SALE: Canon EF 35-105 lens
Summary: selling Canon lens
Organization: Armstrong State College, Savannah, GA
Distribution: usa
Date: Sun, 26 Jul 1992 01:45:58 GMT

Canon EF 35-105 f4.5-5.6 autofocus lens 99% condition.  Almost new still in box

I'll consider all offers or may trade for a Nikon lens (can work out details)

James Peterson
peter629@Armstrong.EDU
From: howard@hasse.hal.com (Howard Gayle)
Newsgroups: rec.photo
Subject: Hasselblad F to TCC lens conversion
Summary: ~$300 conversion for newer F lenses, they're already wired.
Date: 28 Jul 92 17:42:00 GMT
Reply-To: howard@hal.com (Howard Gayle)
Organization: HaL Computer Systems, Inc., Campbell, California
NNTP-Posting-Host: hasse.hal.com

According to the local Hasselblad rep., for the last couple of
years the F lenses were built with aperture sensors and wiring
harnesses.  The only thing required to convert them to TCC
lenses is to install the electrical contacts, which costs about
$300.  With the 350mm F, it's possible to see the wiring harness
by looking inside from the rear.  (I looked in one 350 F and did
see wires.)  With the other F lenses it's necessary to remove
the rear plate to check for a wiring harness.  I definitely do
not recommend this; if you damage a lens, I am not responsible.
Presumably, Hasselblad can also tell from the serial number if
an F lens can be converted.  However, F lens serial numbers are
all numeric, so the old VHPICTURES cipher doesn't apply.
--
Howard Gayle
HAL Computer Systems, Inc.
1315 Dell Avenue
Campbell, California 95008
USA
howard@hal.com
Phone: +1 408 379 7000 extension 1080
FAX  : +1 408 379 5022
From: donl@glass.esd.sgi.com (donl mathis)
Newsgroups: rec.photo
Subject: Re: 4"x5" enlarger or 6x7 enlarger : questions (Jobo, De Vere)
Date: 30 Jul 92 17:16:31 GMT
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Distribution: rec
Organization: Silicon Graphics, Inc., Mountain View, CA, USA


In article <MOREAUX.92Jul29175024@litsun24.epfl.ch>,
moreaux@litsun24.epfl.ch (Michel Moreaux) writes:

|>   In Black and White, is there any significant difference for the
|>   sharpness between diffused light and condensed (I mean with
|>   condenser) light ? I mean is there any unacceptable loss of quality ?

There is no "loss" of quality, though the characteristics are
different, but it is a personal opinion whether one is better than the
other.  It's true what they say about scratches and dust being more of
a problem with condenser light, as well as the increase in contrast.

Many of what I consider to be the best prints, including consideration
of sharpness, have been made with diffuse light.  For example, almost
all of Ansel Adams prints, and those made by everyone who came after
him, were made with diffuse light.  Personally, I would not use a
condenser light on a regular basis, because of the nonlinear treatment
of negative densities (i.e. the contrast increase in the highlights)
and the difficulty with scratches and dust.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com
From: farkas@wrl.dec.com (Keith Farkas)
Newsgroups: rec.photo
Subject: advice wanted on the Pentax PZ1 vs the Canon EOS 10s
Date: 21 Jul 92 14:35:17 GMT
Organization: DEC Western Research Lab

I am considering buying a SLR automatic/manual camera and have
narrowed the field down to either the Pentax PZ1 or the Canon EOS
10s -- I would also consider the Nikon 8008s if it had a built-in
flash. 

As has been frequenly mentioned in this newsgroup, deciding between
the various models is not an easy task. I would therefore appreciate
any comments on the these or other issues.

A general (novice) question: 

	Most manufacturers seem to offer a XXX model and a XXXs model; 
	to what does the 's' refer?

As far as I can tell, the 10s and the PZ1 offer similar features
although the PZ1's features can be customized. One feature offered by
the 10s that I particularly like is the reporgramable depth of field
program -- you specify an area that you want to be in focus and the
camera figures out the f# etc. to ensure that only that area is in
focus. Anyone have any experience with this feature? How well does it
work?

Two features that the Canon does not have is a backlit display and
spot metering. Assuming that I don't intend to take pictures in
absolute darkness, are these features useful?

I have had for 10+ years a Pentax K1000 which has proven to be almost
indistructable and has never required any repairs. With such a track
record, I am inclined to go with Pentax as their cameras have proven
to be very reliable and well made.  Is such a feeling justified or is
the quality and reliability of Nikon/Pentax/Canon cameras very
similar. I am currently leaning towards the Canon and will probably go
with it if it is as reliable as the Pentax.

Again, any comments would be greatly appreciated.

	-keith

p.s. Please respond via e-mail and I will post a summary. Thanks
From: liang@saul.cis.upenn.edu (Chuck Liang)
Newsgroups: rec.photo
Subject: Contaminated fixer
Date: 24 Jul 92 18:15:25 GMT
Organization: University of Pennsylvania


  Last time I was developing film I accidentally used Hypo-clearing
agent as fixer.  I poured it out when I realized my mistake and put in
the fixer and went on as usual.  The results are acceptable.  The
fixer (kodak) has thus been contaminated by traces of hypo-clear.  Should I 
use it again?  On film?  On paper?

  Many thanks for informed responses.
Newsgroups: rec.photo
From: goldis@news.weeg.uiowa.edu (Al Goldis)
Subject: Re: Leaving the film leader outside the cassette (was Re: EOS Elan)
Organization: University of Iowa, Iowa City, IA, USA
Date: Mon, 27 Jul 1992 03:05:07 GMT

In <52330004@hpsgm2.sgp.hp.com> leonglaw@hpsgm2.sgp.hp.com (Lawrence Leong) writes:

>In rec.photo, chuck@drutx.ATT.COM (LucianoC) writes:
>    Is there a way to do this with a T-90?

>Not directly, and not dealer fixable.  Watch your LCD display while rewinding,
>and listen to the sound.  Now, twist the battery pack lever to the "disengage"
>position, but hold the battery pack in place with your hand.  
[etc.]

>Give the tongue a bit of time to reach about the front of the shutter, then 
>yank out the battery pack.  Open the back and there you have it.

>Cautions:  Be sure to reload the battery pack and turn on the camera and allow
>	   it to reset BEFORE loading the next roll, otherwise the camera will
>	   continue the rewinding operation on the fresh roll!

>Disclaimer:  I don't know what are side-effects of yanking out the battery 
>	     pack.  Proceed with caution!

It's a bit easier to just open the back instead of taking out the
battery pack.  Then there's no need to worry about the next roll being
rewound.
--
Al Goldis           alan-goldis@uiowa.edu
"Pictures are moments truth, touched by light, that show character."
                          --Annie Griffiths-Belt
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: Amateur vs. Pro (was Re: International Photographer)
Date: 27 Jul 92 18:36:34 GMT
Article-I.D.: clark.1992Jul27.183634.4539
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Jul27.022247.4294@athena.cs.uga.edu> mcovingt@athena.cs.uga.edu (Michael A. Covington) writes:
>
>You don't become a professional by buying ID cards from IFPO.  You become
>one by actually selling your photographs, and proving that you have done so
>regularly.

One of the things that I am trying to get across here is the elitist type
attitude that some places and/or people show towards what they regard as a
non-pro.  If you can't get in to a certain event to take pictures, then
how are you ever going to sell what you don't have, or can't get, simply
because of stupid rules that try and separate some photographers from
others. Its the old catch 22 syndrome.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: SPORTS ILLUSTRATED SWIMSUIT ISSUE: What Camera/lens?
Date: 30 Jul 92 20:46:18 GMT
Article-I.D.: clark.1992Jul30.204618.20171
Organization: Clark College, Vancouver, Wa.  USA

In article <n2pmqs=.hchong@netcom.com> hchong@netcom.com (Hoi Chong) writes:
>> 
>> You see, the world doesn't always belong to Nikon.
>
>Oh yeah?  I got one for you.  Canon cameras are made of plastic (so I was
>told). 

So are bullet proof windows....:-)

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
From: mingos@vax.oxford.ac.uk
Newsgroups: rec.photo
Subject: Re: 8008s = F801s
Date: 23 Jul 92 15:35:38 GMT
Distribution: rec.photo
Organization: Oxford University VAXcluster

In article <Jul21.234128.14679@yuma.ACNS.ColoState.EDU>, ntetsuya@lamar.ColoState.EDU (Nishimura) writes:
> In article <1992Jul21.143015.8394@Informatik.TU-Muenchen.DE> hofmann@Informatik.TU-Muenchen.DE (Jenns Hofmann) writes:
>>
>>Here in Germany there is no 'Nikon 8008s',but I suppose it's exactly the
>>same like the 'Nikon F801s' that is sold in Europe.
>>Am I right ?
>> 
> 
> Yes, you are right.  Besides in the home country of Nikon, there is no 8008s butF801S.  I don't know the reason but here is a quote from my friend's husband who is a Spanish: "American people must like big numbers."
> 	(Please don't flame me!  I have no particular intention...)
> 
> 	Tetsuya Nishimura

The reason for the different numbering is to deter, or rather stop, the 
marketing of cameras destined for the American market in, say, the UK
(transpose names of countries as applicable).  I'm not certain of the 
intricacies of all this, but I gather they're referred to as 'grey
imports'.  I also suspect that it would aid customs officers to identify
and charge import duties on the F8008s which you bought on holiday in 
the US but claim to have bought in Britain (because it's cheaper there 
than the F801s in the UK, anyone know why? This goes for just about all makes
of camera)

  Gavin
From: kjm@cnmss.tredydev.unisys.com (Ken J. McFadden)
Newsgroups: rec.photo
Subject: Re: Lens shading (Re: Schneider and Rodenstock lenses)
Keywords: lens quality
Date: 27 Jul 92 16:52:55 GMT
Distribution: na
Organization: Unisys Corporation, Tredyffrin

In article <1992Jul22.015546.18486@odin.corp.sgi.com> donl@glass.esd.sgi.com (donl mathis) writes:
>In article <1992Jul21.181954.3578@pmafire.inel.gov>,
>geoff@pmafire.inel.gov (Geoff Allen) writes:
>|> C'mon!  Ansel wore a hat; I wear a hat.  What more evidence do you all
>|> need? ;^)
>
>And this Geoff guy forced *me* to buy a hat, too.  Unbelievable.  "You
>need a hat," he says.
>
>Well, anyway, I guess he was right.
>
>- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
>donl@sgi.com

Alright, but what do you guys do with your hair after you take the hat off?
Whenever I wear a hat for a while, I suffer from "hat hair".  I can't comb the
effect away and people can tell I was wearing a hat until I wash my hair the
next morning.  You're just trying to scare me away from ever trying large format
aren't you?  8^)

>
>"We're seeing Buicks the size of prominences!"
                                  ^^^^^^^^^^^

Is that as in definition 3:  "a mass of gas resembling a cloud that arises from
the chromosphere of the sun"?

--------------------------------------------------------------------------------
Ken McFadden        kjm@cnmss.tredydev.unisys.com
Unisys Corporation  kjm@cnmsa.tredydev.unisys.com
P.O. Box 203        work: (215) 648-3742
Paoli, PA 19301     home: (215) 675-0382
Newsgroups: rec.photo
From: sparks@col.hp.com (John Sparks)
Subject: Re: Amateur vs. Pro (was Re: International Photographer)
Date: Fri, 24 Jul 1992 20:21:11 GMT
Organization: HP Colorado Springs Division

In article <PHR.92Jul24092307@soda.berkeley.edu> phr@soda.berkeley.edu (Paul Rubin) writes:
>Oh yes, we were the only college age people in the press area.

Well you weren't quite the only college age people there.  I was there with
a writer from Ga. Tech (Tech gratuate commander of the shuttle, you know).
I also saw some other photographers and writers from college newspapers.  I
later really enjoyed reading an account of covering the shuttle launch in
American Photo including comments about watching Battlestar Glactica on the
NASA closed circuit tv while waiting for the launch.

>Everyone else was grizzled veteran reporters and photogs who were
>blase about the launch, but we were real space buffs and started
>jumping up and down and cheering when the shuttle finally went
>up---then suddenly noticed that dozens of photogs were taking pictures
>of *us*!  Some kind of human interest angle I guess.  I don't know if
>any of those shots ever got published.

I also noticed quite a few "grizzled veteran reporters" jumping up and
down at least around me.

John Sparks
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: Amateur vs. Pro (was Re: International Photographer)
Date: 27 Jul 92 22:19:58 GMT
Article-I.D.: clark.1992Jul27.221958.8903
Distribution: na
Organization: Clark College, Vancouver, Wa.  USA

In article <1992Jul27.190446.29677@athena.cs.uga.edu> mcovingt@athena.cs.uga.edu (Michael A. Covington) writes:
>In article <1992Jul27.184201.4729@clark.edu> gsnow@clark.edu (Gary Snow) writes:
>>In article <1992Jul27.024009.5134@athena.cs.uga.edu> mcovingt@athena.cs.uga.edu (Michael A. Covington) writes:
>>>
>>>...  Literally, 'professional' means
>>>one who does something for a living or in order to earn money.
>>
>>In your definition, I don't agree with the "for a living" part.  A Pro could
>>derive his/her living from something other then Photography. All the rest I
>>do agree with though:
>>
>>One who does something in order to earn money.
>
>That why I put in the word 'or'.

Yup, sorry, read it so fast I missed it, until I had already
replied...apologies.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
Newsgroups: rec.photo
From: donl@glass.esd.sgi.com (donl mathis)
Subject: Re: E-6 push/pull processing
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Date: Wed, 22 Jul 1992 23:47:29 GMT


In article <1992Jul21.144107.12426@sys.sweden.dg.com>,
robert@sys.sweden.dg.com (Robert Claeson) writes:
|> The E-6 kit I typically use gives times for normal processing
|> as well as one stop pull processing and one and two stops of
|> push processing. Is there anyone who has the times for the in-
|> between steps, like 1/3 and 2/3 stops?

Get (or make) yourself a piece of graph paper.  Put "minutes" across
the bottom, and "push/pull" (relative to normal in the middle) up
the side.  Plot the times you know, draw the curve, and be content
that the intermediate values will be plenty gosh-darn close for all
practical purposes.  (All these other folks are being a bit subjective
about their numbers, after all.)

|> Also, I recently had to send a few rolls of Velvia to a local
|> professional lab. I noted that those rolls were somewhat lighter
|> and had less contrast than what I get. I suspect that this is
|> because the professional lab uses a 6 bath process whereas I
|> use the 3 bath process for ease of use. Is there anything that
|> I can do to get lower contrast? Decreasing the time in the first
|> developer would help, but then I would get darker slides. Increasing
|> the time would certainly give me lighter slides, but the contrast
|> would also be increased. Any hints? Or is the 6 bath process the
|> way to go?

Hmm.  Your processing might be out of spec.  (Then again, theirs could
be also.)  I wonder if you could beg or buy a control strip from your
lab, take it home and process it, and then take it back and beg or pay
them to read it for you and tell you if your processing is right.  If
you're nice, they might even thing it would be *fun* to help with such
a thing -- who knows?

On the other hand, if you want to process it yourself and you're
getting dense slides, just increase the exposure.  The contrast will go
down a little.  You're absolutely right about decreasing the first
developer -- the highlights are the first to go, because they're the
inverse of the dense parts of the negative layer produced in the first
step.  Things start to look pretty dark when you reduce the first
developer.

I found that contrast didn't change nearly as much as I expected it
would when I altered the first developer drastically, in either
direction.  I believe (based on nothing other than empirical results)
that they've made an attempt at causing push and pull processing to
affect speed a lot and contrast a little, because that's what people
generally want.

The 6 bath process is certainly cheaper, if you shoot enough film to use
up the gallon quantity before it goes bad.  It's also a bit more work.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com

"We're seeing Buicks the size of prominences!"
Newsgroups: rec.photo
From: imprint@watserv1.waterloo.edu (IMPRINT -- UW's Student Newspaper)
Subject: fiberglass/wood sinks for home darkrooms
Organization: University of Waterloo
Date: Fri, 24 Jul 1992 20:22:36 GMT

Has anyone tried doing this? I don't imagine the chemicals would eat
away at fiberglassed wood, assuming one keeps the thing in a reasonable
state of cleanliness.
     My questions concern construction of the beast.

I was thinking of using 3/4 inch particleboard for the basic structure,
but I was also planning to build some sort of washing contraption on one
end of it (waterfall-style trays, or vertical washing, I don't know yet).
Anyhow, the one end is going to be holding a considerable amount of water
when I'm processing. Anyone tried this and have any problems with brackets or
supports for it? Perhaps some right angled steel for the corners? Suggestions?

And with regards to a temperature mixer, I want to avoid buying a professional
one that's gonna cost several hundred dollars. Are normal household tap or
shower one-shot deals consistent enough once you set them.

Email appreciated, unless you think the net would benefit from any of your
experiences.

Thanks in advance,

Dave T.

-- 

Newsgroups: rec.photo
From: phg+@CS.CMU.EDU (Paul Gleichauf)
Subject: Re: SB-24/wedding (Re: AF/AE vs. Manual aka All That Jazz)
Date: Thu, 23 Jul 92 19:43:44 GMT
Organization: Carnegie Mellon University

>>Now how do you use SB-24 for vertical shot?  Presumably, I would want
>>bounced flash *all the time*.  Does the SB-24 has a cardboard bounce accessory
>>like the old Vivitar 285?  Is there any (cheap) way I can enable ceiling
>>bounced flash even on vertical shot?

I hope that the original poster understands that the SB-24 has a swivel head that
can be twisted (when the camera is oriented horizontally) either up and down or
side to side.  This means that you can use the flash on the camera's hot shoe,
held vertically with the flash twisted side to side, to bounce light off the
ceiling without a softbox and bracket.  There is no bounce angled Nikon accessory
bracket for a white card, but if you really want to bounce off of a ceiling there
is no reason for one.  The softbox and Stroboframe solution is nearly $200, so 
it does not qualify as cheap, but I have used it extensively and can recommend
it when you have the room to maneuver.

							Paul
From: JesseWest@cup.portal.com (jesse c newcomb)
Newsgroups: rec.photo
Subject: Canon equip for sale
Date: Tue, 21 Jul 92 17:01:43 PDT
Organization: The Portal System (TM)
Distribution: ba
  <1992Jul21.005621.15990@odin.corp.sgi.com>

Various Canon equipment for sale:

(Posted for someone else. Please do not send e-mail. Contact party
directly.)

Body; Canon, AE-1 Program Black
	Manual body with auto exposure, condition good / very good
	with strap 180 $

Power winder; Canon, Winder A-2
	Fits body named above, apx 2.5 frames/sec. With single or 
	continuous mode. Condition very good 90 $.

Lens; Canon, 35-105 f3.5 FD
	Discontinued lens is hard to find and better than current
	versions. Maximum speed of f3.5 is maintained throughout the
	zoom range. Includes macro setting. A great lens. Condition 
	very good 230 $

Lens, Vivitar, tele-extender 2X FD/FL
	One of the older adaptors. All-steel body and hardware, with
	secure ring-lock mounting. Condition very good 40 $.

Flash; Vivitar, SMS 30D
	Autoexposure with thyristor, built-in flash guide rules (switched
	scales) and manual mode. With tilting head and two-pin dedication
	for body named above. Condition good 40 $

Aluminum Case; Hakuba
	Fat briefcase size, flat sides, metal latches, strap. 75 $

Please contact Mr Patel, 415 964-6100 x241 (Mountain View)
From: JesseWest@cup.portal.com (jesse c newcomb)
Newsgroups: rec.photo
Subject: CANON  stuff for sale
Date: Wed, 22 Jul 92 21:13:35 PDT
Organization: The Portal System (TM)
Distribution: usa

Various Canon equipment for sale:

(Posted for someone else. Please do not send e-mail. Contact party
directly.)

Body; Canon, AE-1 Program Black
	Manual body with auto exposure, condition good / very good
	with strap 180 $

Power winder; Canon, Winder A-2
	Fits body named above, apx 2.5 frames/sec. With single or 
	continuous mode. Condition very good 90 $.

Lens; Canon, 35-105 f3.5 FD
	Discontinued lens is hard to find and better than current
	versions. Maximum speed of f3.5 is maintained throughout the
	zoom range. Includes macro setting. A great lens. Condition 
	very good 230 $

Lens, Vivitar, tele-extender 2X FD/FL
	One of the older adaptors. All-steel body and hardware, with
	secure ring-lock mounting. Condition very good 40 $.

Flash; Vivitar, SMS 30D
	Autoexposure with thyristor, built-in flash guide rules (switched
	scales) and manual mode. With tilting head and two-pin dedication
	for body named above. Condition good 40 $

Aluminum Case; Hakuba
	Fat briefcase size, flat sides, metal latches, strap. 75 $

Please contact Mr Patel, 415 964-6100 x241 (Mountain View)
From: mcovingt@athena.cs.uga.edu (Michael A. Covington)
Newsgroups: rec.photo
Subject: Re: Amateur vs. Pro (was Re: International Photographer)
Date: 27 Jul 92 02:37:36 GMT
Organization: University of Georgia, Athens

> badges

Remember when the Moonies soliciting funds in airports suddenly acquired
badges that looked, from a distance, like those of airport employees?
-- 
==========================================================================
Michael A. Covington, Ph.D. |  mcovingt@uga.cc.uga.edu  |  ham radio N4TMI
Artificial Intelligence Programs | U of Georgia | Athens, GA 30602  U.S.A.
==========================================================================