HDTenEightyP/NetNews huggingface dataset:
From: sog@craycos.com (Steve Gombosi)
Newsgroups: rec.photo
Subject: Re: Vivitar 2x for Hasselblad
Date: 19 Dec 92 16:34:55 GMT
Distribution: usa
Organization: Cray Computer Corporation

In article <parsons1-171292183938@17.5.10.191> parsons1@applelink.apple.COM (Don Parsons) writes:
>In article <1gmishINN2bh@flop.ENGR.ORST.EDU>, monson@ece.orst.edu (Ty
>Monson) wrote:
>> 
>> 
>> I have noticed that B&H and a few other mail order places offer a 
>> Vivitar 2x teleconverter for Hasselblad cameras. It is relatively cheap.
>> Does anyone know anything about them? Like what range of lens focal lengths
>> is the converter suitable to use on? I haven't run across any Vivitar
>> advertisements in a long time (for Vivitar's address/phone number) or I
>> would have asked them directly.
>> Also, Vivitar made teleconverters with elements that could be removed so that
>> it could double as an extension tube. Is the model for Hasselblad set up
>> like that?

Actually, I don't believe Vivitar "makes" anything - they resell equipment
made by a number of small Japanese optical firms. The 2x converter you're
talking about is also sold under the "Kenko" and "Rokunar" brand names.

>For those people who have a Hasselblad and a Vivitar 2x teleconverter, I am
>curious about what sort of results you get with such a combo. Hasselblad is
>well known for outstanding quality, Vivitar is not. Has Vivitar put special
>effort (and optics) into this teleconverter to make it a worthwhile
>accessory for a Hasselblad shooter? It seems to me that anyone who has gone
>to the expense of getting a Hasselblad would not want to undo that by using
>a Vivitar teleconverter. Am I underestimating this Vivitar product?

As I said, I think the Vivitar products are made by a number of smaller
firms - if you happen to get a converter that was made in the right factory
on the right day, it's probably just fine. The price of the Mutar is just
outrageous - I've got one, but I got it for half-price (new) at a going-out-of
business sale. 

I wouldn't only be concerned about optical quality - the mechanical linkage
in the converter has to connect the shutter firing/cocking mechanism to
the camera. If the tolerances of this linkage are out of spec, jamming 
could easily result under hard use.

>PS: I do not have a Hasselblad, so I am not being a "Hasselblad Snoot". I
>just have heard great things about Hasselblad, and their quality...

You heard right ;-).

Steve
Newsgroups: rec.photo
From: feldman@hal9k.cxo.dec.com (james feldman)
Subject: Re: Red sensitivity; was: Re: T-MAX film, Neon night light
Reply-To: feldman@hal9k.cxo.dec.com (james feldman)
Organization: Digital Equipment Corporation
Date: Fri, 11 Dec 1992 21:54:36 GMT

In article <1992Dec11.015316.4991@athena.cs.uga.edu>, mcovingt@aisun3.ai.uga.edu (Michael Covington) writes:
|>It is panchromatic but does not have extended red sensitivity.  That means
|>it can't photograph hydrogen nebulae at ~640 nm wavelength (but then, the
|>eye doesn't see them, either; but color films and Technical Pan 2415 do).
True enough.  It IS more sensitve than panatomic/plus/tri/royal x emulsions
which is what I was refering to.  I've heard that the infamous tmax pink dye is
partly responsible for that (this may be darkroom myth however...), I've never
called Kodak to ask, and I'm not sure they'd tell me.

How did we get from a neon sign to transvisual wavelength's?

--
Jim Feldman                         || This space for lease, contact your
Digital Equipment Corp              || Digital Sales Rep.
CSC/Colorado Springs                || 

My opinions are my own and in no way reflect Digital's POV (unless they're
charging somebody for me to give them).
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.photo
Subject: Re: UK Source for Aperture Magazine?
Date: 16 Dec 92 17:05:43 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Distribution: uk
Organization: COMANDOS Project, Glesga Yoonie

LSDavis@cen.ex.ac.uk (L.S.Davis) wrote:
> Following the demise of Photography magazine, there is, IMHO, no decent UK
> magazine devoted to images rather than image-making equipment.  The only
> possible exception is Opticon.  If anyone knows any different I'd be glad
> to know.

There's Creative Camera (avant-garde oriented), The Black-and-White Art
Photographer (a one-man operation available in art galleries or by
subscription, he doesn't do a very good job of marketing it), and Portfolio
(a Scottish magazine not easily distinguishable from Creative Camera).
Some art magazines, like Variant (OK, some of the folks involved in that
are my friends...) publish the more experimental sort of photographic work.

I find Opticon a complete mystery.  For non-UK readers: it started a year
ago, publishes a lot of Greek work, has almost no ads, is priced similarly
to other newsstand photo magazines, and is predominantly an image magazine
rather like the French PHOTO (though the last few issues have had more
equipment stuff).  Its proofreading is the worst I have ever seen in
anything offered for public sale; in particular, the captions are assigned
almost randomly to the images (which makes articles illustrating the
comparative effects of various techniques rather hard to follow).  It must
be losing somebody a fortune.  Is it a tax dodge for a Greek millionaire?

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
From: laurap@neuro.duke.edu (Laura Poole)
Newsgroups: rec.photo
Subject: More Dumb Photographers
Date: 17 Dec 92 01:44:33 GMT

My aunt, who has been taking excellent photographs for years in her free time,
decided to get her 7 year old son, my cousin, a camera for christmas. Smart gal,
she got a disposable camera, so he could get the hang of it before getting a
*real* camera. The camera appeared under the tree, after "Santa" dropped by.

Jamie, my cousin, woke up in the wee early hours of the morning, sneaked down-
stairs and started playing with his toys. When my aunt got up later and found
him, he'd already taken all 24 exposures in the *dark* living room of the *unlit
* christmas tree *without* a flash. So much for learning how to use a camera
properly! 

News flash: Jamie is now 9 and has a Polaroid Instamatic. He loves it.

laura
Newsgroups: rec.photo
From: markt@cup.hp.com (Mark Thompson)
Subject: Polorid/Land cameras
Date: Mon, 14 Dec 1992 22:52:42 GMT
Organization: Hewlett-Packard
X-Newsreader: Tin 1.1scd1 PL4

Yesterday I was in my favorite photo supply store, The Looking Glass in BK,
buying some chemicals, when some guy comes in that either works there or 
knows the folks that works there and shows them this great buy that he just
got at the flea market.  It turns out that what he found was a old polorid
195/220/250/420 vintage camera.  I'm not sure which one he got, but he was
really excited about so I payed attention.  He only paid $5 for it, so if it
was a 195 he really made out.  Some other guy said that he saw some more 
there so I headed out and picked one up for myself. 
What I ended up with was a model 420.  It looks rather cool for what was
sort of a point and shoot. You do have to focus but it looks like it has
some sort of automatic exposure system that controls the shutter.  It runs
on a 3v battery.  I guess the lens is plastic, but most of the rest of the
construction is pretty good.  

What I'm wondering is; what do people know about this camera and the whole
line of cameras.  I called a pro camera store and they cary the film.  8 exp.
cost $9.47.  
 
I'm also wondering what anyone knows about the different features of the
cameras.  I had a choice of the 420 220 or 250 and didn't know what the
differences were.  Ofcourse if there was a 195 i would have taken it since
it has a glass lens and manual shutter and fstops, but what were the
different features between these other models.

 Mark

Newsgroups: rec.photo
From: robert@sys.sweden.dg.com (Robert Claeson)
Subject: Re: Color balance setups for specific films
Date: Fri, 11 Dec 1992 12:27:20 GMT
Organization: Data General AB, Akalla, Sweden

In article <1992Dec3.023046.21629@walter.bellcore.com>, hsong@ardour.bellcore.com (G. Hugh Song) writes:

> Here I have questions.
> I always enclose a special instruction sheet saying that I don't want
> color correction, but I ask them to reset the color balance for the
> film I am sending - Fuji Reala 120.   [Yeah, I know Reala is a daylight
> film, and I have used it accordingly.]
> 
> Don't those commercial lab have their own standard sets of color balance 
> setups for well-known negative films?

None are typically needed for different films.

> What kind of printing machines do those heavy-volume labs use for roll-film
> processing and printing?   Are they pretty much in the same class as Beselar
> 23 CX or Omega 45 enlargers?  Or are they much more sophisticated and
> automated?

More sophisticated and automated. Each neg is individually analysed by a
built-in color analyser and the filtration is adjusted accordingly. This
is why no individual settings for each film is needed. The analyser just
tries to get the average of the colors correspond to some calibration.
It does this by changing the filtration. The paper is on rolls, usually
150 or 300 meters long. I can't tell if this is true for the Fuji lab
that you use, but several professional labs around here uses this method.

I'm afraid that the "best" method is to order processing of the negatives
and a color contact sheet and then order larger prints from exactly the
frames that you want.

-- 
--------------------- This mass of gibberish came from ---------------------
         ____
        |    |               Robert Claeson
        |    |               Data General AB
 _______|____|_              Box 28
|    |    _    |_____        S-164 93 KISTA
|_/\ |   / \   |     |       Sweden
| \/ |   \_/   |   . |
|    |    |    |_____|       robert@sys.sweden.dg.com
|____|_________|-
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Newsgroups: rec.photo
Subject: Re: Vivitar 2x for Hasselblad
Date: 18 Dec 1992 12:16:09 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


As I mentioned before, I do own and use a Vivitar 2x for my Hasselblad.
First of all, Vivitar IS capable of making a decent lens - the series 1
lenses are, from what I have seen, quite good optically...I can't
vouch for their mechanical robustness.

The Vivitar 2x for Hasselblad is well built...metal housing and the
shutter link is rock solid..after all, they know that a Hasselblad
user is NOT going to marry junk with a lens worth in excess of
2000 bucks.. Optically I have had no complaints.  I typically shoot at
f8 of smaller aperture, and thus the only POTENTIAL problem with this
lens (not optimum at widest aperture is the most commonly expressed
possible problem) is not a factor for me.  The glass seems just fine.

Now, why did I get the Vivitar rather than spring another  $1600 Canadian
for  Mutar?? Well, I don't use the thing a whole lot as I prefer
shooting with wide angle to short telephoto (and put the savings
on the Vivitar over the Mutar towards my SWC/M), and, given the
quality of the Vivitar, why spend extra.

I guess that if I were a wildlife shooter and dragged a
250 and 350 around I would seriously consider the Mutar as it is, I believe,
supposed to be at its PRIMO best with the longer Hassy lenses.

Brian
Newsgroups: rec.photo
From: sfleisch@convex.com (Steve Fleischman)
Subject: medium format on the cheap
Summary: Anyone have experience with Kiev or Kowa cameras?
Keywords: medium format kiev kowa
Organization: CONVEX Computer Corporation, Richardson, Tx., USA
Distribution: rec
Date: Wed, 16 Dec 1992 18:06:46 GMT
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

I am considering working with medium format.
Does anyone have experience with the Kowa Super 66 or
Kiev 88 (the Hasselblad 1000F clone might be the 66).
Are the Kowa lenses multicoated?  What kind of results can you expect?

Thanks,

Stephen Fleischman
Newsgroups: rec.photo
From: mcovingt@aisun3.ai.uga.edu (Michael Covington)
Subject: Re: Astro-photography (sort of)
Summary: Instructions here...
Keywords: stars film ???
Organization: AI Programs, University of Georgia, Athens
Date: Sun, 13 Dec 1992 02:33:24 GMT

In article <7904@news.duke.edu> laurap@neuro.duke.edu (Laura Poole) writes:
>I am interested in taking some astrophotography-type pictures. I will not
>be using a telescope, I just wanted to point my camera at the sky and hold
>the shutter open to get images of the stars. I have a Bulb setting on my speed,
>so I can control the exposure time. 
>
>Question: What speed film should I use (my camera can go up to 1200, and I
>	  want to use B&W film..TMax 1200?)

Super-high-speed film is not a good idea because the stars tend to disappear
into the grain.  T-Max 400 is good; some push-processing (e.g., to 1200)
helps but is not essential.

>Question: How long should I hold the shutter open? I don't have the faintest
>	  clue, though I would guess several minutes. I don't care if it's long
>	  enough that the stars move and make lines, I think that's cool!

With your normal lens wide open, and a clear but moonless starry sky,
expose for 20 seconds.  You'll photograph somewhat more stars than your
eye can see (although to get the full effect you'll need to print carefully
on high-contrast paper).

Ektachrome 200 will show remarkable colors in the stars.  The colors are
genuine; the eye just doesn't see them because the light is not bright
enough.

If you expose much more than 30 seconds, you'll get streaks instead of
stars.

For details see my book, ASTROPHOTOGRAPHY FOR THE AMATEUR (Cambridge, 1991).

-- 
:-  Michael A. Covington     internet mcovingt@uga.cc.uga.edu :   Verbum caro
:-  Artificial Intelligence Programs       phone 706 542-0358 :    factum est
:-  The University of Georgia                fax 706 542-0349 :  et habitavit
:-  Athens, Georgia 30602-7415 U.S.A.     amateur radio N4TMI :   in nobis...
Newsgroups: rec.photo
From: robert@sys.sweden.dg.com (Robert Claeson)
Subject: Re: New papers; was: Re: Mail order paper problems?
Date: Thu, 17 Dec 1992 09:53:41 GMT
Organization: Data General AB, Akalla, Sweden

In article <1992Dec9.150837.26470@athena.cs.uga.edu>, mcovingt@aisun3.ai.uga.edu (Michael Covington) writes:

> Also, Kodak has introduced Polymax RC paper, with a higher contrast range
> than ever before seen in a variable-contrast paper.
> 
> The most striking change with Polymax, compared to Polycontrast III or
> Polyprint, is that the shoulder of the characteristic curve is sharper.
> That makes it easier to get a maximum black in your print.  With earlier
> papers, maximum black (2.1) did not appear in normal photos, because in
> order to get it, you'd have to make the midtones way too dark.

Yes, Polymax is indeed a very good paper, although I've only tried a 10
pack of it. I just wish they'd come out with a fiber verion of it.

-- 
--------------------- This mass of gibberish came from ---------------------
         ____
        |    |               Robert Claeson
        |    |               Data General AB
 _______|____|_              Box 28
|    |    _    |_____        S-164 93 KISTA
|_/\ |   / \   |     |       Sweden
| \/ |   \_/   |   . |
|    |    |    |_____|       robert@sys.sweden.dg.com
|____|_________|-
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Newsgroups: rec.photo
Subject: Re: Hasselblad Classic
Date: 15 Dec 92 02:29:51 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


Wow, I can't wait to see the reaction to this question!!

As a Hasselblad user who LOVES the system, I can't offer you an objective
response.  But from a purely subjective point of view, here are
the pros and cons as I see them:

Pros:

-  built like a Sherman tank...but not as heavy :-)
- great lenses in MOST focal lengths, extraordinary lenses in a few
focal lengths, and a couple of the older designs (like the old 50 as 
opposed to the new 50 FLE that had ,limitations).
- huge accessory system
- good used equipment is plentiful and reasonably prices for the quality.
- the square is as versatile as anything..don't be swayed by the "ideal format"
crowd...it is especially useful when shooting on the fly, weddings,
reportage and so on.

There's more, but here are some cons:

- new equipment is very expensive -the quality is there, but it still hurts!
- get an acute-matte screen - the standard one is a tad dim.
- People who don't own Hasselblads are always running then down - this gets
tedious after a while :-)


brian
Newsgroups: rec.photo
From: briang@atlastele.com (Brian Godfrey)
Subject: Re: Query: Books on physics of photography
Organization: Atlas Telecom Inc.
Date: Fri, 18 Dec 1992 22:32:01 GMT

In article <1992Dec17.004821.26135@unislc.uucp> erc@unislc.uucp (Ed Carp) writes:
>: for my wife, a chemist w/strong math background.  She's interested in 
>: the way lenses work and why exposures work the way they do (e.g. f/8 @ 
>: 1/100 sec == f/16 @ 1/50 sec).

   I, too, would be interested in knowing how f/8 @ 1/100 == f16 @ 1/50.

   (Sorry, couldn't resist. :-)

-- 
--Brian M. Godfrey
  atlastele.com
From: fiddler@concertina.Eng.Sun.COM (steve hix)
Newsgroups: rec.photo
Subject: Re: STUCK Fujichrome 34 prints: help!
Date: 16 Dec 1992 20:37:05 GMT
Organization: Sun
NNTP-Posting-Host: concertina

In article <1992Dec16.090511.10140@netcom.com> micki@netcom.com (Michelle Stone) writes:
>jromao@bragg.bio.purdue.edu writes:
>
>
>>	Does anyone know how to separate Fujichrome Type 34 prints that got
>>stuck face-to-back during mailing?
>>	Can reply to jromao@bilbo.bio.purdue.edu
>>	Thanx.
>
>Now... let's see.  Fujicolor is the print film and Fujichrome is the 
>slide film right? (hehehe) Can I have some fun at your expense?

Michelle...Fuji Type34 paper is used to make prints from slides.

So you *do* use it with 'chrome films.

>Naw... not nice.

But it *does* make for some very nice prints.

--
-------------------------------------------------------
| Some things are too important not to give away      |
| to everybody else and have none left for yourself.  |
|------------------------ Dieter the car salesman-----|
From: LSDavis@cen.ex.ac.uk (L.S.Davis)
Newsgroups: rec.photo
Subject: UK Source for Aperture Magazine?
Date: 16 Dec 92 16:00:57 GMT
Distribution: uk
Organization: University of Exeter, UK.

Following the demise of Photography magazine, there is, IMHO, no
decent UK magazine devoted to images rather than image-making
equipment.  The only possible exception is Opticon.  If anyone knows
any different I'd be glad to know.

Do many UK readers subscribe to Aperture?  If so, could they
point me in the direction of where to get it.  Or do you have to
get it direct from the states?  Also, how much does it cost and
do you think it's worth it?

Thanks in anticipation,
Lee
Newsgroups: rec.photo
From: dp@world.std.com (Jeff DelPapa)
Subject: Re: Dye Transfers
Organization: The World Public Access UNIX, Brookline, MA
Date: Mon, 14 Dec 1992 05:23:19 GMT

In article <brtph650-131292234030@131.253.134.32> brtph650 (s aubuchon) writes:
>In article <1gaqonINNc4i@sixgun.East.Sun.COM>, marc@milan.East.Sun.COM
>(Marc Thompson-Sun-Vienna VA-Systems Engineer) wrote:
>> 
>> I have heard seveal people talk dye transfers. Could someone elaborate on
>> this subject?  Also, is there a  good book that discusses this subject?
>> 
>> Is it the same or different than color seperations in magazines?
>> 
>> Thanks,
>> 
>> Marc &&
>
>Camera and Darkroom covered the subject of Polaroid dye transfers in a
>technical article this summer (check June or July). The process is
>simple:

Classic dye trandfer is a much older and more complex process well
described by another poster. It has little in common with polaroid
transfer. There are commercial sources of this, the first print is
several hundred dollars, with subsequent ones comparable in price to
regular prints.  The resultant print is quite stable, but the process,
is actually the most stable color process we have - as the
intermediate step (b+w negatives) are far more stable than any current
color process.

Ctein (a contributor to camera and darkroom I think) is renowned for
his dye transfer work.

<dp>
Newsgroups: rec.photo
From: erc@unislc.uucp (Ed Carp)
Subject: Quick contact sheet proofer
X-Newsreader: TIN [version 1.1 PL6]
Organization: Unisys Corporation SLC
Date: Sat, 12 Dec 1992 02:04:06 GMT

I was setting up a darkroom for a friend this afternoon.  We had developed a
roll of Tri-X, hung up the negatives to dry, then realized that we didn't
have a contact proofer!  He didn't want to go out and spend $35+ on one,
so I fell back on an old standby that I had used in high school.  We went
down to the local HomeBase (K-Mart or a framing shop would've done just as
well, or a glazier), picked up three-for-$4 8-1/2 x 11 frames (with glass
in them), took them back to his house, stripped off the frames, and volia!
Instant contact proof glass.  Sure, it's not nearly as fancy as those proofers
that hold your negatives in place for you, but it didn't cost $35, either.
More $$$ to spend on psper, film, and chemistry...and a *good* thermometer! :)
-- 
Ed Carp			erc@apple.com, erc@saturn.upl.com	801/538-0177

Who and what would you be if you went beyond your deepest fears?
Newsgroups: rec.photo
From: diamond@jit533.jit.dec.com (Norman Diamond)
Subject: Re: Query: Books on physics of photography
Reply-To: diamond@jit.dec.com (Norman Diamond)
Organization: Digital Equipment Corporation Japan , Tokyo
Date: Mon, 21 Dec 1992 05:01:37 GMT

In article <1992Dec18.223201.1481@atlastele.com> briang@atlastele.com (Brian Godfrey) writes:
>   I, too, would be interested in knowing how f/8 @ 1/100 == f16 @ 1/50.

Use film with a rated speed of ISO 0.03, which suffers reciprocity failure
on exposures shorter than 1 second  :-)
--
Norman Diamond       diamond@jit081.enet.dec.com
If this were the company's opinion, I wouldn't be allowed to post it.
"It's been a lovely recession."
Newsgroups: rec.photo