HDTenEightyP/NetNews huggingface dataset:
From: donl@glass.esd.sgi.com (donl mathis)
Subject: Re: Idiot Mistakes
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Distribution: rec
Date: Mon, 16 Nov 1992 21:45:36 GMT


In article <6705@ucsbcsl.ucsb.edu>, 6500rick@ucsbuxa.ucsb.edu (Richard
J. Bessey) writes:

|> Well, I am afraid I am setting myself up here for something.
|> I don't know how it happened, but it did.  It just happened.
|> I opened the back of the camera exposing the pictures I had 
|> already taken.  (I was using TMax 400, B&W).
|> 
|> I have done this before (I can't believe I am saying this) with
|> Ektar 1000 color and my pictures actually came out.
|> 
|> Now here's my question.  I am going to develop the film tomorrow
|> hoping to find something.  (Ok, so that wasn't a question.)  
|> Should I do anything different to increase my chances of 
|> getting an image, perhaps in the pictures that were coiled up
|> on the right?  (More agitation, maybe?  Different mix of developer?) 
|> 
|> If you have any suggestions, mail or post as soon as you can.
|> 
|> Thanks in advance (and after too!).
|> 
|> Rick  
|> 
|> I was stupid for a minute, but I am better now, thanks.

You shouldn't feel so bad the first time.  The second is a little more
embarassing.  There's nothing like seeing that film staring back at you
when you open the camera back.  Then, after a few (er, quite a few) 4x5
sheets get exposed by pulling the darkslide with the lens still open
from focusing, at $1.50 or more a pop for the color stuff, then one
might think about (1) eating better, so as to avoid light-headed absent
mindedness, (2) getting enough sleep, and (3) thinking a bit more
carefully about what one is doing while one is doing it...  But enough
about me.  :)

No, don't do anything special with the film; you can't do much to
remove the light that's already there.  Film, fortunately, is pretty
good about that.  Just process it normally.  You'll probably lose at
least a couple of frames, but you'll probably still get most of the
roll.

You can print the bad frames and put them up on the wall somewhere
you'll see them often, to remind you of just how fun photography can
actually be.

- donl mathis at Silicon Graphics Computer Systems, Mountain View, CA
donl@sgi.com
Newsgroups: rec.photo
From: mas@mipl8.jpl.nasa.gov (Marc Sarrel)
Subject: Darkroom Ventilation
Organization: Jet Propulsion Laboratory
Distribution: rec
Date: Sun, 15 Nov 1992 20:47:05 GMT


I'm in the process, finally, of making my bathroom light tight.
However, I fear that making it so will cut off all ventillation.
Here's a rough floor plan:

                                     small room for toilet
            living room                     |
                door                        |
                 |                          v
                 | +---------------------+----+
                 v |  counter with sink  |    |
              +----+---------------------+    |<- bathroom window
closet door ->|             toilet door->|    |
              +--------------------------+----+


The bathroom window is one of those louvered types.  In order to seal
the doors, I was planning to use a combination of weatherstripping,
towels on the bottom and maybe some dark fabric hanging down if the
weather stripping isn't sufficient.

However, this room would then have no ventillation.  There are no HVAC
ducts in there at all (love those building codes).

There is a transom window above the toilet door, but it is not hinged
in any way.  The high-tech method would be to replace it with a fan,
but that seems expensive.

Any ideas?
--
Marc Sarrel			"She's got a big boyfriend
Jet Propulsion Laboratory	 A really big boyfriend
mas@mipl8.jpl.nasa.gov		 He lifts weights, he builds cars
                                 And he's got no sense of humor
                                 She's got a big, really big
                                 Really, really, really big boyfriend"
                                                     -Blotto
From: knoche@desert-rat.West.Sun.COM (Bill Knoche SUN Phoenix SE 602-275-5537 x24)
Newsgroups: rec.photo
Subject: Re: Ilfochrome prints in a Jobo CPE-2 Plus
Date: 16 Nov 92 23:03:03 GMT
Article-I.D.: west.1e99b7INNht
Reply-To: knoche@desert-rat.West.Sun.COM
Distribution: world
Organization: Sun Microsystems, Inc.
NNTP-Posting-Host: desert-rat.west.sun.com

I too use a Jobo. I print Ciba as well as other processes. I originally
purchased it to process my 4x5 film as I was very dissatisfied with
everything else that I had tried (small daylight tank, dunk-and-drain
tank, trays nitrogen burst, commercial labs, etc.).  I have a CPP2. I
love it. Works great.  My Cibas (like everything else) are much better
now that I have more consistancy in the process.  It's a lot of money,
but, well worth it (and considerable less than the paper and chemistry
I had been throwing away...).

And like many others, I did not respond well to the fumes from the
process.  The Jobo minimizes this.
I would recommend it. And do...

---
______________________________________________________
William D. Knoche		Bill.Knoche@Sun.COM
Systems Engineer
Sun Microsystems, Inc.		Phone:  602-275-4242
410 N. 44th St., Suite 140	Fax:    602-220-4453
Phoenix, Arizona 85008
______________________________________________________
From: ianchan@leland.Stanford.EDU (Ian Hin Yun Chan)
Subject: For Sale
Summary: Arcam Delta60 amp for sale
Organization: DSG, Stanford University, CA 94305, USA
Date: Tue, 17 Nov 92 21:08:47 GMT

My Delta60 is a 3-yr old British integrated amp that puts out 55Wpc into
8ohms, and has a max current delivery of 10A. It's frequency response is
30-35,000Hz +/- 0.5dB, and is built with quality components (eg. torroidal
transformer, polypropylene caps). A lot of care has gone into the making of
the amp - in fact, the signatures of the people who assembled and tested
the unit can be found on the circuit board.
If you're looking for a reliable and well-built product with great sound
(eg. bass authority, smooth treble, sparkling midrange), the Delta60 has got
it all. And for my asking price of $400, I doubt you'll be able to find
any other amp that matches it's value for money (it was 400 pounds new).

I can be reached at ianchan@leland.stanford.edu or at (415)-497-7949 if you
want more information.
- Ian
From: marioa@park.bu.edu (Mario Aguilar)
Newsgroups: rec.photo
Subject: Nikon F-401 - For Sale.
Date: 15 Nov 92 17:31:43 GMT
Distribution: rec
Organization: Boston University Center for Adaptive Systems

Hi, the following equipment is for sale (as a package):

Nikon F-401
35-70mm/3.3-4.5 AF lens/w UV
70-210mm/4-5.6 AF lens
4 AA batteries with recharger.
Hove F-401/N4004 User's Guide.
Extra flash unit (not a nikon one).

Base price $370.00.
This is to be sold to the best offer so email with your offer or
questions. 

Thanks,

--
Mario Aguilar
Center for Adaptive Systems
Dept. of Cognitive & Neural Systems
Boston University

Newsgroups: rec.photo
From: malu@imhps.im.se (Mats Luthman SYSTECON)
Subject: Re: DX-coded info in EOS
Organization: Industri-Matematik Data AB, Sweden
Date: Thu, 19 Nov 1992 15:55:20 GMT

In article <1992Nov17.083446@scoayr.enet.dec.com> abelsey@scoayr.enet.dec.com (Andy Belsey) writes:
    I've seen quoted in a number of publications that the
   Canon EOS 100 (Elan) looks at the DX-coded number of
   exposures on the film canister and will rewind when 
   this number is reached. However, if you look at the DX 
   contacts in the film chamber you will see that there 
   are only 6 : one earth and the 5 bits of DX-coded film
   speed. There are no contacts on the second column of DX
   information (which includes the number of exposures and
   the film exposure latitude in stops) therefore the 
   camera cannot see this information. I would maintain 
   that the EOS 100 will not wind beyond 36 because this 
   is the (usual) maximum number of frames in a 35mm 
   canister and not because it reads the DX-coded 
   information.

My EOS 1000 (Rebel) (which also has only six contacts) seems to wind
the film all the way; this usually gives 37 exposures on a 36 exposure
roll.


--
Mats Luthman
Systecon AB (A subsidiary of Industri-Matematik AB)
Stockholm, Sweden
From: jay@intermec.com (Jay Schlegel x6878)
Newsgroups: rec.photo
Subject: Re: Camera Feature Wars - Photo Getting Like Video
Date: 19 Nov 92 17:05:28 GMT
Reply-To: jay@intermec.com (Jay Schlegel x6878)
Organization: Intermec Corporation, Everett WA

In article <13850@texsun.Central.Sun.COM> dbernard@clesun.Central.Sun.COM writes:
>
>Newer features may make things easier for a neophyte photographer, but for
>a person that's been photographing for a while, newer features don't necessarily
>make taking good pictures easier; what they do is allow pictures to be taken
>faster.  A faster shot, and more of them, is not inherently automatically
>better than one taken more slowly.

  Unless you're shooting breaching whales or such...  well, not "inherently
  automatically better", but certainly your chances of getting that great
  shot are vastly improved with fast AF.  From what I've heard, read, and
  experienced, it seems that *really fast* AF is only currently available on
  a small handful of cameras.

  I took some shots of my wife and 4-year-old snow-saucering and CC-Skiing last
  weekend, the best of which would have been virtually impossible without advanced
  predictive AF capabilities (due to 50mm lens, frame-filling closeness, and
  speed of approach).

  As for features such as image-size tracking, auto-zoom, etc.  I can take
  them or (mostly) leave them, but their incorporation doesn't prevent me from
  choosing a camera that otherwise suits my needs.  Apart from the quality
  of AF and metering systems, I consider overall ergonomics to be the most
  important factor in choosing a body (setting aside lens selection).
  
  If I were starting over I would probably go with Canon primarily due to their
  L-series lenses, though I'm quite happy with my Maxxum gear, unused bells &
  whistles to boot (and they also have quite good lenses).

  Fortunately there are plenty of choices in the marketplace, both for those
  who prefer feature-full or featureless cameras.  Yet the debate goes on... :-)

Good Day,
-- 
-*jay  Jay Schlegel --> Intermec Corp., Everett Wa.
						     fluke!
	jay@intermec.com      OR  -->	    uunet!pilchuck!intermec!jay
Newsgroups: rec.photo
From: vkkashya@boomer.uwaterloo.ca (Vijay Kashyap)
Subject: Seeking Advice on Camera Vendors
Keywords: camera vendor price
Organization: University of Waterloo
Date: Thu, 19 Nov 1992 02:24:00 GMT


Hi Big Brothers,
	I have decided to by a Canon EOS 10 S camera with
EF 28-70/3.5 (non-USM) lens thro mail order from USA. I live in
Ontario, Canada. I will be paying through VISA card.
As per Popular Photography Dec'92 magazine the price
quoted for above items are as follow:

				Body	EF28-70/3.5	EF28-80/3.5USM

Beach Camera, Greenbrook, NJ	$320	$150		$220
B & H, New York, NY		$360	NA		$245

I am a bit surprised at the price difference. Is there any catch in this?
I am planning to buy from Beach Camera. I have already ruled out
Cambridge Camera Exchange, New York based on info from this news
group. Please advise. Thanks.

--Vijay Kashyap
Newsgroups: rec.photo
From: brebs@suite.sw.oz.au (Paul Brebner)
Subject: Paterson orbital print processor - HELP!
Organization: Softway Pty Ltd
Date: Wed, 18 Nov 92 06:29:21 GMT

***** Paterson orbital print processor *****
Hi.  Has anyone used one of these things?  I like the look of it as it
only uses 55ml of solution.  Does it have any dis/advantages over the
normal cylinder developing tanks?  How does one actually use it?  Any
advice would be appreciated...

		Regards,

			Paul Brebner.

Softway Pty Ltd, P.O. Box 305, Strawberry Hills, NSW 2012, AUSTRALIA
Phone: +61 2 698 2322;       Fax: +61 2 699 9174;     Telex: AA27987
Internet: brebs@softway.oz.au	    UUCP: ...!uunet!softway.oz!brebs
From: monson@ece.orst.edu (Ty Monson)
Newsgroups: rec.photo
Subject: MD-12 on FE & FE2 camera bodies
Date: 19 Nov 92 20:25:59 GMT
Article-I.D.: talon.1egt8nINN9ib
Distribution: na
Organization: Oregon State University, Corvallis
NNTP-Posting-Host: hobo.ece.orst.edu


In a recent dicussion about motor drives, I stated that the Nikon MD-12
did not turn off the camera's meter in the case of both the FE and FE2.
I believe my claim was incorrect.
This morning I tested my MD-12 on my FE and FE2 bodies, and with 
both cameras, the meter needle abruptly dropped to the off position
after a modest period of time. I take this as indication that less
power is being drawn from the battery.

When the exposure compensation dial is set to a + or - position on
the FE2, a red LED light comes on in the viewfinder. I observed that the
light did not go out, so this is one drain on the camera battery that
the motor drive does not regulate.

My confusion stemmed from my practical experience over some years where
I invariably used the MD-12 in conjunction with the MC-10 remote release
cable. I tested that this morning, too. When the remote release was 
connected, the meter-off feature was disabled.

I appologize for the misinformation I posted earlier.
From: elau@berlioz.nsc.com (Eugene Lau)
Newsgroups: rec.photo
Subject: Re: slow sync and red eye on Canon EOS 100 (Elan)
Date: 15 Nov 92 20:48:20 GMT
Organization: National Semiconductor Corporation, Santa Clara

In article <1992Nov13.072220.29125@runx.oz.au> milica@runx.oz.au (Milan Durovic) writes:
>Does anyone know how to enable red-eye reduction lamp on Canon EOS 100
>(Elan in US) when the command dial is in one of creative modes?
>I tried slow-sync with built in flash and it worked fine, apart from red
>eyes in photos containing people.
>The manual does not mention that red-eye reduction lamp can be turned on
>only in programmed modes, which seems to be the case.
>
>Milan

you can use the red eye reduction lamp in any mode, as long as you have 
1st curtain sync. (ie. CF2=0)

eugene
Newsgroups: rec.photo
From: klein@nadia.stgt.sub.org (Alexander Klein)
Subject: Rollei 35 classic for sale
Date: Thu, 19 Nov 1992 21:11:52 GMT
Organization: Stuttgart Net Systems, FRG

I am selling a Rollei 35 classic Camera:
 
     * Rollei 35 classic, titanium surface, shutter release button and
       lens-lock-button are gold-plated -- LOOKS GREAT!
     * Leather everready case
     * Rollei 20 REB electronic flash
     * lens hood
     * two carrying cords (long & short) included
     * original packing
     * German/English instructions
 
The camera is in MINT CONDITION - only shot 1 film with it! You won't get
a better camera from your dealer!
 
It is a camera for people who LOVE mechanical cameras and great lenses. The
camera is 100% made in Germany. Look for the technical data at the end of
this text.
 
I am selling this camera for $1500 or nearest offer plus shipping.
 
Any questions? Please feel free to contact me at any time!
 
nadia.stgt.sub.org
  ___   ____    | Tannenbergstrasse 36   CompuServe/CIS-Mail: 100041,212
 /   \   |  \   | D-7000 Stuttgart 50    GEnie: A.KLEIN9
  ___/   |   \  | Fed. Rep. of Germany   Telex: USA 3762848 COMPUSERVE
     \   |   /  | Phone +49(711)524026   (Write "TO: 100041,212" in first
 \___/  _|__/   | Fax +49(2364)169273    non-blank line of telex message)
 
----------------------------------------------------------------------------
 
     T E C H N I C A L   D A T A   -   R O L L E I   3 5   C L A S S I C
     Type:
           Compact 24x36mm viewfinder camera with needle-matching
           exposure control.
     Features:
           Collapsible lens. Between-the-lens shutter with speeds from
           1/2 to 1/500 sec and B. Exposure meter system couled with
           aperture and shutter speed settings. Film speed settings
           from ISO/DIN 25/15 to ISO/DIN 1600/33. Double exposure lock.
           Film tab holder. Indicator for film type loaded. Self-zeroing
           frame counter. Hot shoe contact for flash units. Cable release
           socket. Fitting for carrying cord.
     Exposure meter system:
           Needle-matching system with CdS photoresistor. Direct metering to
           subject foreground. Metering range from 16 to 16000 cd/m^2 with
           ISO 100/21 film. Powered by 1.35V button cell.
     Finder:
           Direct vision viewfinder, 0.6x magnification. Reflected bright-
           line frame with external field and parallax marks.
     Lens:
           Collapsible 40mm Sonnar f/2.8 HFT lens with E 30.5x0.5 filter
           thread. Five elements and four components. Aperture range f/2.8
           to f/22. Focussed manually by metre/feet distance scale; near
           limit 0.9m (3ft)
     Dimensions:
           Approx. 100.8x70.8x44.8mm (4x2 3/4x1 3/4 in).
     Weight:
           Approx. 385g (13 1/2 oz.)


-- 
-----------------------------------------------------------------------------
| Alexander Klein | Editor, 3D-MAGAZIN     E-Mail: klein@nadia.stgt.sub.org |
|   ___   ____    | Tannenbergstrasse 36   CompuServe/CIS-Mail: 100041,212  |
|  /   \   |  \   | D-7000 Stuttgart 50    GEnie: A.KLEIN9                  |
Newsgroups: rec.photo
From: sun@silver.ucs.indiana.edu (weiwei sun)
Subject: are minolta close up lenses any good?
Keywords: tow elements lenses?
Organization: Indiana University
Date: Fri, 20 Nov 1992 19:37:55 GMT

Anybody have experiences with minolta close up lenses?  Are they all
two element lenses? If they are it sounds a good deal at $25 each.

Thanks.

Weiwei Sun
From: tg@inmet.camb.inmet.com (Tom Gearty)
Newsgroups: rec.photo
Subject: Minox camera?
Date: 16 Nov 92 18:28:17 GMT
Organization: Intermetrics Inc, Cambridge MA

My uncle gave me a camera that resembles the kind you see spies using
to take pictures of top secret documents in James Bond movies. I have
never seen anything like it, and cannot even figure out how to open
it to load and unload film.

The camera is only 1 inch wide and 4 inches long--it looks like an elongated,
all-silver cigarette lighter. There are three dials on the top that appear
to control film ASA, shutter speed, and distance from subject. An
interesting aspect is that the shutter speed and ASA dial are connected such
that rotating one automatically adjusts the other. 

On the back is stamped MINOX and Made in Germany. When the camera is fully
compressed, the lense opening says COMPLAN and describes the lense as 
1:3.5 and f=15mm.


Does anyone have any experience with this kind of camera? I am particularly
interested in knowing what kind of film it takes and how the heck you open
the camera up to load film and such.

Thanks for any info at all!

-------------
tom gearty			Intermetrics, Inc.
tg@inmet.com			733 Concord Ave, Cambridge MA USA
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: Picture matting/framing
Organization: Curtin University of Technology
Date: Mon, 23 Nov 1992 20:06:06 GMT

In article <Bxy87A.CB4@javelin.sim.es.com>, bmahler@javelin.sim.es.com (Brian Mahler) writes:
> I forgot who posted the message about mounting pictures to foam
> core causing it to warp.  I would like to know more information on this.
> 

Have a look at the side of a big of foam core. You will see that the top
and bottom are more like a heavy paper than a board. The adhesive will shrink
the top paper, causing the whole lot to warp.

> Because I switched over to mounting my pictures on acid free foam core
> because I have several prints framed by custom print shops that have 
> actually warped (the backer board where the print is glued looks like
> /\/\/\/\/\/\/\ creating an ugly picture.  So I started my own framming
> and matting, using acid free foam core as a backer board.
> 
> It has been my experience that a frame shop unless specially requested
> will mount the picture on regular mat board, which will warp in just a
> couple of years.  The mat board is not rigid enough to remain straight
> over time. thus you must use either foam core to support the matt or a
> corregated mat to support it, or just mount the picture to the foam core
> itself.  So, since the foam core is acid free why not mount the picture 
> directly to it?
> 

See the above. A thicker board will reduce the problem, not eliminate it.

> Here is how I layer my pictures if it helps.
> 
> 
> 	*********				********
> 	*********				********
> 	*** ========================================****
> 	*** -----------                     --------****
> 	*** -------------                 ----------****
> 	***         """""""""""""""""""""""""       ****
> 	***         .........................       ****
> 	*** ||||||||||||||||||||||||||||||||||||||||****
> 	 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> 
> 	*****   actual picture frame
> 	=====   glass
> 	-----	mat board, 2 layers 
> 	"""""	art work/ picture
> 	.....	glue (3m PMA)
> 	|||||	Foam core backer board  
> 	~~~~~	craft paper (to help seal the frame)
> 
> So here is my big question?
>   why not use the foam core to mount the picture to.  It is much stiffer
> than mat board, thus resist warping several years down the road.
> 

NO IT WONT!!!

>  And even if you do use mat board withthe special coragated backer board mat
> what is to prevent the print from warping forward (towards the glass)?
> 

The trick is to hinge the work to the back mat. This allows each to expand and
contract independantly. If there is any warping, the overmat will hold the
photo from the glazing. A quick and dirty hinge can be made with 2 lot of linen
tape. The first half under the photo, adhesive up, the another over the top half
of the first to stick it to the mat.

The nice thing about hinges, is that if the mat warps it is easy quick and SAFE
to remove the photo from the mat and re-mount. I use a mat, a Al foil barrier
sealed with  #m  'magic' tape, and a backing board behind that. ( I don't trust
foam core fully )

~Paul
From: ka1gt@cbnewsm.cb.att.com (robert.m.atkins)
Newsgroups: rec.photo
Subject: Re: one looks fatter in photos
Date: 16 Nov 92 16:50:57 GMT
Article-I.D.: cbnewsm.1992Nov16.165057.12407
Distribution: na
Organization: AT&T

In article <92Nov13.175932est.47906@neat.cs.toronto.edu>, veatch@cs.toronto.edu (Tim Veatch) writes:
> In alt.supermodels there is a discussion about why thinner
> models are used throughout advertising and to what effect
> this has on society (particularly women and eating disorders).
> 
> A few people thought that a thinner person
> would "photograph better", simply because the photo
> would look more like reality, suggesting
> the old adage (?) that "one looks fatter in photos".
> 
> I'd like to hear from this perhaps more experienced crowd in rec.photo.
> 
> Personally, it seems bogus.
> If the photo didn't look like reality, then that would
> mean that the camera lens is not shaped correctly.
> 
> I suspect that its just that photos don't lie
> - you see every bump, bruise and every bit of "largeness"
> - or that we don't expect any `defects' in advertisement photos.
> Since people expect the best (if it's not perfect, it sticks out like a
> sore thumb), whatever society says is the "best" it gets.
> And today that is the thinner model.
> 
> As an aside note - I remember years ago seeing a video
> by Stevie Nicks and wondering if they used a special lens
> which distorted her to make her look thinner.  Is that possible?
> 

There are lenses which can distort images in such a way as to make objects
"thinner" or "fatter". They are called anamorphic(sp?) lenses. They are not
normally used in general photography. They distort in one dimension and
have been used in cinematography to give wide screen images from standard
film formats. Of course everything in the image is distorted, so the effect
would be quite noticable. (In the cinema case, one type of lens would be
used to distort the image onto the film, and a second type used to correct
it back during projection - a crude, anolog sort of image compression).
Thin models look thin because they are! (and sometimes because the photographer
takes care to use exposure, positioning and lighting that will hide any
"defects" in the subject).


===============================================================
Bob Atkins  AT&T Bell Labs  email (direct)  att!clockwise!rma
===============================================================
Newsgroups: rec.photo