HDTenEightyP/NetNews huggingface dataset:
From: GOCH <GOCH@UNB.CA>
Subject: RE: Big Switch: From 35mm to medium format
Organization: The University of New Brunswick
Date: Thu, 21 Jan 1993 21:49:08 GMT

In article <1jm9hoINNq6j@cronkite.Central.Sun.COM> dbernard@clesun.Central.Sun.COM (Dave Bernard) writes:
>Has anyone, after years of using 35mm SLRs, been able to
>succesfully shuck off their old investment, and turn entirely
>to medium format, and lived happily ever after?  The ease of
>use, ease of carry, low price of hardware and software (film,
>processing) make 35mm awfully attractive.  But has anyone turned
>their back on all that, and been happy with a shift to medium
>format, which shrugs off some of those attractive features of
>35mm in exchange for superior image quality?  I'd be interested
>in hearing your experiences.
>
The short answer (for me alone, of course): no.
I went from 35mm to 4x5 and then added 6x7. For several years I
stopped using the 35mm completely, since I was doing mostly
landscape and similar 'straight' photography. But the weight of
my medium format system (Pentax 6x7) meant that I often did not
have it with me when I hadn't made special plans. About two years
ago I happened on a good deal on a Leica M-4 system with 3 lenses
and fell in love with it as an object. I starting carrying the
camera with its 50mm f2 and a table-top tripod which I brace against
my shoulder or a tree or whatever. Using T-Max 400 I discovered I
was getting very satisfying photographs of all kinds: landscapes,
portraits, whatever. If I print 5x7, it is as satisfying to me
as the Pentax is when printed about 8x10. It's *not* 4x5, but it
works for me.
I can walk for hours with the Leica around my neck. I can't do that
with the Pentax 6x7 unless I am *very* determined. My entire Leica
system - 2 M-4 bodies, 2 50mm f2's, 35mm f2, 90mm f2.8, filters,
spotmeter and film fits in the bag that used to carry the Pentax,
one lens and spotmeter.
Have I stopped using the medium format cameras? No! They do give better
quality if   you want fairly large prints. But better quality which
might have been doesn't look like much on the wall. The Leica encourages
me to get the image, even when photography cannot be my central
project.
Myron

Xref: sparky rec.photo:24529 rec.antiques:1921 misc.forsale:36586
From: dave@frackit.UUCP (Dave Ratcliffe)
Newsgroups: rec.photo,rec.antiques,misc.forsale
Subject: Re: Bell & Howell 245 PA
Date: 26 Jan 93 20:04:35 GMT
Followup-To: rec.photo
Organization: Data Factory Services, Harrisburg, Pa.

In article <1993Jan20.231443.1596@galaxy.gov.bc.ca>, dshelton@galaxy.gov.bc.ca writes:
> In article <1993Jan20.225411.19258@hubcap.clemson.edu>, ychen@hubcap.clemson.edu (User Chen) writes:
> > I just inherited a 8mm projector.  It was kept in a old house for a long
> > time.  When I test it today, I found it's almost like new, both
> > optically and cosmetically.
> > 
> 
> If you can find someone out there who still wants to project 8mm film the
> projector bulb might be the most valuable item - few of these are now
> available.

Au contrair. Every year when I make out the bid specs at work I have to
beat off the projection lamp vendors with a big pointed stick. There are
still plenty of them available. Depending on the type you will probably
find it's also used in half-a-dozen filmstrip and/or slide projectors
still very much in service in various school districts. Old, but
still servicable and in need of new lamps from time to time.

-- 
 vogon1!compnect!frackit!dave@psuvax1.psu.edu            |  Dave Ratcliffe  |
 - or - ..uunet!wa3wbu!frackit!dave                      |  Sys. <*> Admin. |
                                                         | Harrisburg,  Pa. |
Newsgroups: rec.photo
From: phr@telebit.com (Paul Rubin)
Subject: Re: TMax and D76
Organization: Telebit Corporation; Sunnyvale, CA, USA
Date: Fri, 29 Jan 1993 02:11:43 GMT

In article <1993Jan28.151121.24405@oz.plymouth.edu> brucer@oz.plymouth.edu (Bruce Ritchie) writes:

	   I've used D-76, both 1:1 and straight, with T-Max 100 and 400
   for years now. I find it gives excellent results, especially in
   maintaining a tight grain structure. When I took a workshop on T-Max a
   few years back the lecturer from Kodak stated that T-Max was
   originally formulated with D-76 as THE developer. T-Max developer was
   formulated after-the-fact when it was shown that they needed a liquid
   based developer to get the best results when pushing the film.

You've gotten better results than me.  I've had ok luck with d76
and t-max 100, but with 400 found I needed the t-max developer.
Even more so with t-max 3200.  D-76 undiluted is better than 1:1
with fast t-max, but the t-max developer still worked better for me.
From: renault@CAM.ORG (Pierre Renault)
Newsgroups: rec.photo
Subject: Kodak's Hypo Eliminator
Date: 24 Jan 93 17:53:17 GMT
Organization: Communications Accessibles Montreal, Quebec Canada

As a follow-up to a previous post asking wether or not a 2% sodium
sulfite was the proper formula for making a home-made hypo elimintor,
I'll offer two things:

1) there are possible problems associated with using sodium sulfite as a
hypo eliminater if the film isn't completely fixed.

2) Here is Kodak's formula Hypo Eliminator HE-1 (a much safer alternative)

        Kodak Hypo Eliminator HE-1

                                   Avoirdupoids     Metric
                                   U.S. Liquid

  Water                            16  oz           500  ml
  Hydrogen Peroxide                 4  oz           125  ml
  Ammonia solution **               3.25oz          100  ml
  Water to make                    32  oz             1 litre

CAUTION: Prepare the solution immediately before use and keep in an open 
container during use. Do not store the mixed solution in a stoppered bottle, or the gas evolved may break the bottle.

** Prepared by adding one part of concentrated ammonia (28%) to nine 
parts water.

Treat prints with HE-1 or wash them for 30 minutes at 18-21 C (65-70 F) in running water.  Immerse prints about six minutes at 20 C (68 F) in HE-1. Finally wash 10 minutes.

Life: About 40 8x10 prints or equivalent per US gallon. (10 per litre).

*********

Comments from my part: There are a few alternatives: I prefer to buy
Kodak Hypo CLearing Agent in the 5 gallon size and mix it up to make
one gallon (US) of working concentrate and I dilute the concentrate
1 : 4 as I go.  I mix up a litre (about a pint) for every session and
discard at the end of the session. When purchasing large quanities of
chemicals, the price per dose drops quite a bit.

An alternative to the above formula might be to mix up the entire 
HE-1 formula without the hydrogen peroxide and add the H2O2 at the
beginning of the session, otherwise, use a container with a floating
lid.

How it works: most developpers are oxidants, most fixers are anti-
oxidants. Hydrogen peroxide neutrlises the anti-oxidising effect of
most fixers while the ammonia (a very weak developping agent)
neutralises the acidity most fixers like to work in.

Note for people outside the US: though imperial ounces are smaller
than US ounces (and imperial gallon are bigger than US gallons), the
formula works for itself: you'll end up with 32 imperial ounces of 
HE-1 nonetheless. When in doubt, go metric.
From: huw@castle.ed.ac.uk (H G J Evans)
Newsgroups: rec.photo
Subject: Re: Testing shutter speeds.
Date: 22 Jan 93 13:41:35 GMT
Organization: Edinburgh University

In article <1993Jan21.111516.5922@spider.co.uk> mikec@spider.co.uk (Mike Coren) writes:
>In article <1993Jan19.020547.4308@adobe.com> wtyler@adobe.com (William Tyler) writes:
>>
>>
>
>This implies that leaf shutters will not pass a slit, i.e. they will be
>fully open for all shutter speeds.  This means that with a leaf shutter,
>you can have flash synch at all shutter speeds.  Is this true?
>
>Mike

Indeed it is. The leaf shutter is really just like another aperture in
your lens, only one which closes completely. It opens from the centre up
to full 'aperture' very quickly, stays open for the appropriate time,
and then closes again very quickly. As a result, the whole film is
exposed for the entire duration of the exposure. A consequence of this
in available light shooting is that when a fast speed is selected, a
significant part of the exposure is made at what may be a much smaller
aperture than the one the photographer selected. At least that's what my
understanding suggests. As I seldom use my leaf shutters at anything
faster that 1/60 I haven't come across the phenomenon, but I have always
wondered whether this means that a photograph taken at f/4 @ 1/500 would
appear to have more depth of field than than it ought. 


%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%Huw Evans          huw@castle.ed.ac.uk     %
%                   huw@maths.ed.ac.uk      %
%                   Tel.  +44 (0)31-650-5067%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
From: jwhitnell@cup.portal.com (Jerry D Whitnell)
Newsgroups: rec.photo
Subject: Re: Is there a new Minolta Camera?
Date: Wed, 27 Jan 93 20:26:53 PST
Organization: The Portal System (TM)
  <1993Jan26.115215.22931@spider.co.uk>

Michael D. Coren, Electrical Engineer writes...
|I don't know about a new high end, but I've heard that in Japan you can buy
|Minolta Dynaxes with a special "panoramic" option that lets you take panoramic
|pictures.  I suspect it's like the disposables, where you only get a narrow
|exposure in a standard 35mm frame.  In any event, last I heard they weren't
|being sold outside of Japan, but I suppose it's up to the individual distrib-
|utors whether they feel it's worthwhile to import or not.

You guessed it.  I asked the Minolta rep on Compuserve about it and
basically all it is is a cut-down of the 35 mm frame.  However, it is
listed in the US brochure for the 9xi, so it is suppose to be available
here.

Jerry
Newsgroups: rec.photo
From: andpph@ritvax.isc.rit.edu
Subject: Re: Why 2nd curtain sync ?
Reply-To: andpph@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology
Date: Sun, 24 Jan 1993 03:16:10 GMT

In article <1993Jan20.045514.11399@CSD-NewsHost.Stanford.EDU>, rfrench@Xenon.Stanford.EDU (Robert S. French) writes:
>In article <9160@lee.SEAS.UCLA.EDU> jcchang@paragon.icsl.ucla.edu (James Chang) writes:
>>What difference does 2nd curtain flash sync make on the picture appearence?
>>According to my camera manual (Canon Elan), it produces a more natural look?
...

>Second curtain sync is useful when you are taking a picture of an
>illuminated object with a slow shutter speed.  Say you're taking a
>picture of a person running by with a 2 sec exposure.  With normal
>front-curtain sync, you will get a flash at the beginning of the
>exposure (and thus a sharp image of the subject at that point), and
>then a blur _in front of_ the subject as the exposure continues.  With
>rear curtain sync you get the blur _behind_ the subject, which is
>where most people expect it.  At high shutter speeds it makes little
>if any difference.


pardon me for asking one more time.... what would you call 2nd curtain sync if
you wanted to do this with a leaf shutter equipped camera such as a Hassleblad,
most view cameras and point-and-shoots as well as most twin-lens cameras?

I think that "tailflash sync" is a term that would cover them all with 2nd
curtain sync being only applicable to FP shutter cameras. Any support out
there?

andy

        *  *  * * *  *
         \/\/\/\/\/\/   Andrew Davidhazy, RIT, High Speed Photography Lab.
          |        |    IN%"andpph@ritvax.isc.rit.edu"    fax 716-475-5804 
_________/          \_____________________________________________________

BTW... if you would like the schematic of a tailflash synchronizer suitable for
use with most leaf shutter cameras and a mechanical approach for adding this
capability to FP cameras lacking it, send me your address

BTW BTW  Jim Bailey just before Modern went under described an electronic timer
approach that while somewhat complex also will add this capability to FP 
cameras currently sans such capability.
From: bu890@cleveland.Freenet.Edu (Brian Segal)
Newsgroups: rec.photo
Subject: Re: hand held filter
Date: 24 Jan 1993 11:59:03 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


If you hand hold a filter there is a good chance that you will not
be able to keep it perfectly aligned with the lens axis, and then
you run a significant danger of causing refletions which will severly
degrade the image.

Also, many filters cause some focus shift, and unless you can keep it constant
you may reduce sharpness.

brian
Newsgroups: rec.photo
From: faust@faust.enet.dec.com ()
Subject: Re: When does price beat out the best choice for you?
Reply-To: faust@faust.enet.dec.com ()
Organization: Digital Equipment Corporation
Date: Tue, 26 Jan 1993 15:19:03 GMT


To: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Cc: 
Subject: Re: When does price beat out the best choice for you?


[question on 800-200 .28 vs 75-300 deleted]

>In my mind, the question would be:
>    Can I get "good" results with the 80-200/2.8 ED and a TELECONVERTER.

>With a 1.4x teleconverter, you get a 112-280/4.  It's faster than the
>75-300 and it's MUCH more versatile.  With the Tamron AF TC, it will
>even AF (though with much groaning, since the TC will be passing
>mechanical energy to a heavy lens which is not IF).

This would be a good alternative to the 75-300, and there are some advantages.
You get superior results when using the 80-200 on its own. You get reasonable
results when using the teleconverter. You have the option of later selling the
1.4 teleconverter, and upgrading to a 300mm 4.5 lens, which will give you 
better results than using the teleconverter. That would give you the speed
for available light photography from 80-200, with the slow speed only at the
300mm range. Better than slow speed throughout the entire range. But there is
more cost attached to this solution...

I would, however, get the Nikon 1.4 teleconverter, even though you lose the
AF capability. To get good results from a teleconver, it is always best to
use the teleconverter from the manufacturer, as it is matched for the lenses.
I have tested the 80-200 2.8 with a Nikon 1.4x, and the results were very
close to the Nikon 300 4.5, however the 300 4.5 was better. I have also tested
the Nikon 2x converter, and the results were about equivalent to a Tokina 400
5.6. However, the Tokina 400 5.6 was not as good as the Nikon 400mm.

I tried some 3rd party teleconverters, and the results were not even close
to the same lens with the matched Nikon teleconverter.

Lots of trade offs to think about....



Newsgroups: rec.photo
From: bongers@redgto.asd.sgi.com (Hans L. Bongers)
Subject: Re: Ansel Adams Prints
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Date: Wed, 27 Jan 1993 18:18:27 GMT

In article <1k53fsINNaqd@jhunix.hcf.jhu.edu>, sylve_ge@jhunix.hcf.jhu.edu (Gerald E Sylvester) writes:
|> 
|> A few months ago, someone posted a message containing the phone
|> number and address of the company (?) that sells "authentic"
|> Ansel Adams prints.  Can someone re-post this address and phone 
|> number and approximate price of 8x10's and 11x14's (or whatever
|> the standard sizes are).  Thanks in advance.....
|> 
|>         _   /|       The Gerald Sylvester
|>         \'o.O'       The Johns Hopkins University
|>         =(___)=      BITNET: SYLVE_GE@JHUNIX.BITNET
|>            U         INTERNET: SYLVE_GE@JHUNIX.HCF.JHU.EDU
|> 

There are TONs of places that sell Ansel's prints.

The cheapest start at about $3000 (5x7).  Ansel used so many
different types of cameras that there is really no "standard"
size to expect.  Gnereally the price will depend of the age of
the print (eariler print of given negative costs more) the 
popularity of the image (sort of) the condition of the print
and your savvy in talking the price down.

Don't have phone numbers but here are a few places in
Carmel (CA) that have Ansel inventory:

Josephus Daniels Gallery
Weston Gallery
Photography West

Both of my Ansels were purchased at the Weston (BTW
Brett Weston died last Friday night).

I own a 16x20 Moonrise (late print) ==  $17,5000
I own a 6x9 (approx) of Tenya Creek from Portfoilo III (#179/200) == $4800

Be prepared to spend big bucks.  If you are going into this as
an investor you might want to look at other photographers.  There
are many with greater potential for gains.

--- hans
Newsgroups: rec.photo
From: ee_hflo@PROBLEM_WITH_INEWS_GATEWAY_FILE (Michael Lo Ho Fung)
Subject: Re: Ni-Cd Cells in Canon F1 motor drive
Organization: Hong Kong University of Science and Technology
X-Newsreader: TIN [version 1.1 PL8]
Date: Thu, 21 Jan 1993 14:20:47 GMT

Peter R. Messerer (messerer@minerva.ap.mchp.sni.de) wrote:
: Newsgroups: rec.photo
: Subject: Ni-Cd Cells in Canon F1 motor drive
: Summary: 
: Expires: 
: Sender: Peter.Messerer@sniap.mchp.sni.de 
: Followup-To: 
: Distribution: world
: Organization: Siemens-Nixdorf AG
: Keywords: 


: In my Canon F1 motor drive manual is mentioned that only batteries
: should be used as energy source.
: As there are 12 mignon cells needed it is quite expensive to use batteries.
: So can someone tell me if it would be dangerous to use Ni-Cd cells ?
: If someone has got experience using Ni-Cd cells please let me know.
: 	

: Hi, Peter

: Peter.Messerer@sniap.mchp.sni.de

	The average voltage of Ni-Cd battery is 1.2 voltage. If you use mignon
cell for a period of time. The voltage of mignon may drop to 1.2 volt or even
lower voltage. As far as voltage concern, Ni-Cd battery may not harm to your
motor driver. If the electronic device is sensitive to voltage, the performan of
of Ni-Cd will very week compare with mignon cells.

	I prefer Nichel metal hydride to Ni-Cd. No memory effect and the capacity
is at least 1.5 time to Ni-Cd with same size.


----------------------------------------------------------------------------
|  Lo Ho Fung Michael  Comp 'N'        |   == Internet e-mail address ==   |
|  Department of                       | University  : ee_hflo@stu.ust.hk  | 
|  Electrical & Electronic Engineering |             : mlo@nyx.cs.du.edu   |
|  The Hong Kong University            |             : michaelo@gnct.com   | 
|  of Science & Technology             | Radio Call Sign : VR2YJR          |
----------------------------------------------------------------------------
Newsgroups: rec.photo
From: exjtmm@tts.lth.se (Thommy M. Malmstr|m)
Subject: Re: Hasselblad TCC equipment???
Organization: Communication Systems, Lund Institute of Technology, Sweden
Date: 26 Jan 93 14:51:18

>>>>> "TL" == Thor Legvold <edmtl@alf.uib.no> writes:

TL> Here in Norway the same model goes for between 60 and 65000 Norwegian
TL> crowns.  That's about the same as 55000...

I thought the Norwegian crown were something like 1.10 SEK now...

TL> I thought the Swedish crown was stronger than the Norwegian???

Not any longer... :-(

/Thommy M.

PS. I know this is not wery much related to photo, but...

--
Thommy M. MALMSTR\M    |  o ,__Q  |  Lund Institute of Technology
K{mn{rsv{gen 3 A:202   |  \-\_<,  |  Dept. of Communication Systems
S-226 46 LUND, SWEDEN  | (*)/'(*) |  Box 118, S-221 00 LUND, SWEDEN
+46-(0)46 13 21 78     |~~~~~~~~~~|  Tfn:+46-46 10 90 08, Fax:+46-46 14 58 23
Newsgroups: rec.photo
From: melanie@cayman.amd.com (Melanie Typaldos)
Subject: Re: Photoswap 93-1 Theme announcement
Keywords: potoswap, theme, Feb. 30/93, mail
Organization: Advanced Micro Devices, Inc., Austin, Texas
Date: Mon, 25 Jan 93 21:36:27 GMT

In article <1jn7qgINNia0@lucille.cs.ubc.ca> photo@cs.ubc.ca (Photo-swap central) writes:
>photo@cs.ubc.ca (Photo-swap central) writes:
>

[stuff deleted]

>To summarize the rules:
>
>*	Theme #93-1 is "Winter scenes".
>
>*	Photos should reach me by Feb. 28.
>

[more stuff deleted]

>*	This is important:  Mark your photos (on the back is fine, make
>	sure you use indelible ink) as follows:
>	"(C)Copyright 1993 by <Your name here>.  All rights reserved."
> ***	Photos need this copyright notice to be circulated.
>

I would like to participate in this photo-swap, seems like a great
idea.  However, I was somewhat disappointed by the choice of
theme.  As another poster from down-under (either Australia or
New Zealand) mentioned, it is not winter everywhere.  Actually,
here in Austin, Texas, it is practically *never* winter in the
sense of "winter scenes".  I'm wondering, and I imagine that other
people in the warmer (or reversed) climites are wondering, if
the photos are really supposed to be taken in the 1.5 month
period between when the theme is announced and the photos are due
in or whether those of us who are climatically disadvantaged
could submit photos from previous years?  Although this is not
the best situation it would at least allow everyone (or most
everyone) to participate.

----Melanie
Melanie (Melanie Typaldos)        melanie@cayman.amd.com  
AMD 29K Systems Engineering
Newsgroups: rec.photo
From: picheny@watson.ibm.com (MA.Picheny;340090)
Subject: Problem with Elan Lens Holder Pin
Date: Mon, 25 Jan 1993 19:42:38 GMT
Reply-To: picheny@bellini.watson.ibm.com (MA.Picheny;340090)
Disclaimer: This posting represents the poster's views, not necessarily those of IBM
Organization: IBM T.J. Watson Research Center

The little pin that pops up to hold the lens in place on
my ELan is stuck and does not pop up. Is the only option to
send it in for service (yuk, and I have it for 13 months, so I must
fight on warranty issues) or is there something simple and clever I can do?
Newsgroups: rec.photo
From: acs@csri.toronto.edu (Alvin Chia-Hua Shih)
Subject: Re: Final curtain sync. w/ Sunpacks?
Date: 26 Jan 93 05:04:25 GMT

In <1jvq55INNa8j@usenet.INS.CWRU.Edu> cj531@cleveland.Freenet.Edu (Ali Momeni) writes:


>Is it possible to do final curtain sync. with an EOS 630 with flashes other
>than the 430EZ, i.e. a Sunpack 622 pro?

No.  Might work with a Metz 60CT4 with an SCA3101 adaptor though.

ACS
-- 
 ___ ___ ___ ______________________________________________________________
|   |   | __|      Democracy is not a way of getting better solutions.     |
| - | --|__ |           It's just a way to spread the blame.               |
|_|_|___|___|______________________________________________________________|
Alvin_C._Shih____________________acs@csri.utoronto.ca______________________|
Newsgroups: rec.photo
From: ee_hflo@uxmail.ust.hk (Michael Lo Ho Fung)
Subject: Re: cost of a Nikon F90 ?
Organization: Hong Kong University of Science and Technology
X-Newsreader: TIN [version 1.1 PL8]
Date: Sat, 23 Jan 1993 19:43:08 GMT

Greg M Pflaum (pflaum@world.std.com) wrote:
: > Please,
: > how much is the Nikon F90 in US ?

: I got prices from Adorama, Camera World of Oregon and Genesis a few
: days ago.  Adorama and Camera World prices are for US warranty.  Not
: sure about Genesis, but they probably aren't US warranty.

:                       Adorama   CW   Genesis
: Nikon N90               $725   $739   $749
: SB-25 flash              295    289    299
: AF 28-70 f/3.5-4.5D      315    339    349

: Greg

	What is the different between f90 & f90s

----------------------------------------------------------------------------
|  Lo Ho Fung Michael  Comp 'N'        |   == Internet e-mail address ==   |
|  Department of                       | University  : ee_hflo@stu.ust.hk  | 
|  Electrical & Electronic Engineering |             : mlo@nyx.cs.du.edu   |
|  The Hong Kong University            |             : michaelo@gnct.com   | 
|  of Science & Technology             | Radio Call Sign : VR2YJR          |
----------------------------------------------------------------------------