HDTenEightyP/NetNews huggingface dataset:
From: nauman@Pt.hq.af.mil (Stratton D Nauman)
Newsgroups: rec.photo
Subject: Zone Photography Questions....
Summary: Clewless Newbie desires Information :)
Date: 29 Sep 92 13:51:21 GMT
Organization: Headquarters Air Force, The Pentagon Washington, DC

If anyone out there in rec.photo land has a good explanation
of the Zone system in electronic format that they could email
me, I would *tremendously* appreciate it.  The simpler the
explanation, the better.

BTW, I checked out Adams book, the Negative, and 90 percent
of it went *way* over my head!  So, something simpler would
be appreciated.

Background: I only work in B&W, and am extremely serious about it
The problem is, I take very good pictures, but not *superb* or
excellent pictures, which is where Id like to be.  Ive narrowed
my problem down, and from what I read, a serious study of the Zone
system would fix it, along with moving to large format.  Specifically..

A. My negatives arent correctly exposed or developed, so that the 
entire range of light can be reproduced on paper... i.e. If I print so
that the blacks have the correct amount of detail, invariably something
*else* (like the sky) is too white.  I believe this could be fixed with
proper exposure control, and proper development.  Any Comments?

B.  I'm not happy at all with the detail and sharpness of 35mm,
especially in light of the fact that I absolutely *love* to make big
prints (8x10s, 11X14s and up!)  Nothing beats 35mm when it comes to
catching spur of the moment type stuff, but for gorgeous negs,
one must move to a larger format I believe.  So, if anyone out 
there has a good introduction to large format that they could email
me, Id immensly Appreciate it!

Best Regards...

Dave.

nauman@hq.hq.af.mil

Newsgroups: rec.photo
From: "martin tai" <martin.tai@canrem.com>
Subject: zeiss ikon contessa
Reply-To: "martin tai" <martin.tai@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 4 Oct 92 22:17:20 EST



    Old  Zeiss Ikon  Syncho-Compur  shutters  have  this  problem,
it is due to  clogging  of  mechanism, all you need is  a little
bit  cleaning and  very  light  lubrication.  No parts need to be
replaced.   In  Toronto area,  a  lub job  is  about  $75.  $125 is
on the high side.   Syncho-Compur  shutter is  relatively  easy
to  fix.  You can open it from the  front  by  unscrewing  three
tiny  screws( don't loss them), and  apply  a  tiny bit of watch
lubricant( not  sewing machine oil ).  Or you can  take the whole
shutter  off the  camera  from the  back  by  unscrew a locking ring.
Many  years  ago  I  took a part  the  Syncho-Compur shutter on
my   Zeiss Ikon  Contaflex, and put it back together.
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
From: honna@cs.concordia.ca (SEGEL honna)
Newsgroups: rec.photo
Subject: Re: Leica, why so high?
Date: 28 Sep 92 20:03:28 GMT
Organization: Computer Science, Concordia University, Montreal, Quebec

In article <1992Sep24.044302.176671@ns1.cc.lehigh.edu> gg00@ns1.cc.lehigh.edu (GULDEM GUVEN) writes:
>I've been always wondering and never had a chance to hold a Leica. What makes
>them so expensive?

I suggest you do everything you can to have the chance to hold one...
and if you get that lucky, fiddle with the focus, remove and replace the
lens, cock and release the shutter...your question will be answered or
seem unnecessary.









HS/ Michael
   



-- 
***************************************************************
honna segel
department of computer science
concordia university  *****************************************
From: pault@hpspdla.spd.HP.COM (Paul Taira)
Date: Tue, 6 Oct 1992 18:11:40 GMT
Subject: Re: Tom Thumb
Organization: Intelligent Networks Operation in Palo Alto, CA
Newsgroups: rec.photo


|Sorry if this is a silly question, but is it possible to take a picture
|that would look as if it was taken by a small person (someone on the order
|of a few inches tall) with an appropriately scaled 35mm camera? I'd like to 
|end up with a standard sized print of the same quality as prints from 
|standard 35mm film.

   There was an article written/published about 8~10 years ago in one of
   the photo rags (peterson's?).  I recall that they discussed mounting a
   motorized 35mm SLR onto a luggage carrier with extended shutter
   release.  They showed different photos with ~20mm~35mm lens.  On
   several, they used a ttl fill-flash since the camera was normally
   looking up toward the subject.  The motor drive allowed the
   photographer the freedom of exposing a complete roll without
   touching the camera ... making it less obvious that he/she was
   taking photographs.

   I still remember the photo of a curious dog looking down at the
   camera  ...

   Paul
   pault@openmail.corp.hp.com
Newsgroups: rec.photo
From: bson@gnu.ai.mit.edu (Jan Brittenson)
Subject: Re: night exposures for traffic
Organization: nil
Date: Thu, 1 Oct 1992 16:16:29 GMT

In article <5360809@hplsla.hp.com> andyc@hplsla.hp.com (Andy Cassino) writes:

 > If you want to get going fast, try a roll of Fujichrome 50D or Velvia.

   I'd also recommend tungsten-balanced film. Most of the night light
comes from bulbs -- so do car lights. Using T film will give a much
more bluish appearance. It's also a good idea to experiment (or
bracket) with DM +/- 3 and DM +/- 6 filters (e.g. what some filter
manufacturers call KR3, KB3, KR6, KB6 or CR3, CB3, CR6, CB6 or some
such -- no idea what Wratten codes they would have though, the W.
codes are too arbitrary for me to memorize). Well, at least bracket
with a DM +3 and a DM -3.

   Personally, I do most of my night photography with Ektachrome 64T
in 120, which I find a slightly cold film to start with. The results
are great fun to print on Cibas, although some masking may be needed
(not for the impatient). I think most people will find that it's OK
for nightscapes to have pure blacks, and so whether to mask is
probably pretty much a matter of taste.

   Same goes for fireworks -- although I think the most important
aspect of firework photography is getting good backdrop, like a city
skyline, and then exposing for the skyline. The fireworks move around,
so they are really only affected by the aperture (pretty much like
flashes for any given point on the film touched): smaller aperture
gives finer/thinner lines and longer exposure (to get the backdrop
properly exposed). Without a backdrop, just set the camera to B and
vary the intensity with the aperture, keep the shutter open as long as
necessary to paint. Check whether your camera allows varying the
aperture during exposure -- this can be used for making the streaks
fade in and out. In short, experiment with anything you can think of.

   I go into fireworks in such detail because I find there is a large
similarity between fireworks and nightscapes: the traffic is the
"fireworks" (it's moving across the film much like fireworks) and the
continuously lit matter is the "backdrop." Just my way of
rationalizing it, I guess.


--
						-- Jan Brittenson
						   bson@gnu.ai.mit.edu
From: U41602@uicvm.uic.edu (Rich Chong)
Newsgroups: rec.photo
Subject: Re: DEVELOPING ONLY
Date: 1 Oct 92 15:22:19 GMT
 <1992Sep28.063325.29284@jhunix.hcf.jhu.edu>
 <1992Sep28.122851.3837@oz.plymouth.edu> <1992Sep29.185655.28954@indetech.com>
 <1992Sep30.123740.1214@oz.plymouth.edu>
Organization: University of Illinois at Chicago

>        While, as they say, shit happens, it is possibile to find a
>lab that does the best possibile work MOST of time! Become a `regular'
>customer, and you'll get better service.

It rarely works this way. The person that does the work probably doesn't
have a clue that you are a 'regular' customer. Shit will still happen.
A lab's performance is really based on the quality of the technician doing
the work. Which in itself will vary depending on his workload and
temperment of the moment.
The only better service you can hope for, in being 'regular' is in handling
problem situations (which shouldn't have happened in the first place)!     rc
Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: How do you focus in the dark?
Date: Sat, 26 Sep 1992 04:48:18 GMT
Organization: Hewlett-Packard Laboratories

In article <1992Sep24.224652.17764@bony1.bony.com> 
jake@bony1.bony.com (Jake Livni) writes:

>If you need a focusing rail, then you need one.  (I haven't yet
>figured out a good way to get by without one.  Any ideas?)  

Use a lens, like the 60mm MicroNikkor, that uses internal focusing.
An ordinary lens satisfies a formula like this

M = (Simage-F)/F = F/(Ssubject - F)

and a conseqence of this is that the film to subject distance is
essentially constant vs M when M is in the vicinity of 1:1.  So if the
film-to-subject distance isn't right, the usual focusing motion
doesn't help.  But with an internal focusing lens, the film-to-subject
distance changes a lot as you focus, even when M=1.  So you can almost
always bring the subject into focus by just turning the lens's
focusing ring.  (Yes, its an AF lens, but it seldom AFs on the right
thing.)  

  -- David Jacobson
Newsgroups: rec.photo
From: rpaul@netcom.com (Raymond E. Paul)
Subject: Basement Darkroom
Date: Mon, 28 Sep 92 06:04:38 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Distribution: usa

I am considering setting up a basement darkroom, but I can forsee a problem.
The pipe which delivers waste water to the main pipe in the street exits my 
house about 1/2 way up my basement wall. In order to have running water in 
my basement, I'm going to need to pump the waste uphill somehow or have a 
darkroom that doubles as a toxic swimming pool.

Anyone out there solved this problem?
-- 
Raymond E. Paul		rpaul@netcom.com
Newsgroups: rec.photo
From: klomp@tokyo.seri.philips.nl (Ernst Klomp)
Subject: Developing TMAX P3200 pushed to 6400
Reply-To: klomp@sce.philips.nl
Organization: BSO/AT B.V. Eindhoven  and   Philips Semiconductors Eindhoven
X-Newsreader: Tin 1.1 PL4
Date: Mon, 28 Sep 1992 14:10:32 GMT

Anyone familiar with developing TMAX P3200 pushed to 6400 in Agfa Rodinal
or Ilford Perceptol.

Thanks in advance.


--
Ernst Klomp					ernst@atehv.bso.nl
BSO/AT Eindhoven B.V.				klomp@tokyo.sce.philips.nl
Newsgroups: rec.photo
From: jacobson@cello.hpl.hp.com (David Jacobson)
Subject: Re: Pentax H1 (screw mount)
Date: Wed, 7 Oct 1992 01:26:55 GMT
Organization: Hewlett-Packard Laboratories

In article <1992Oct5.222834.22545@magnus.acs.ohio-state.edu> HO@kcgl1.eng.ohio-state.edu (Francis Ho) writes:
>PENTAX H1 SLR (Screw Mount)
>Asashi Opt. Co. Japan
>- Al body (Serial #1528631)
>- Super-Takamar 1:2/55mm lens (Serial #2439653)
>- Sutter 1 - 1/500 sec.,B,T, f2-f16
>- MINT COND. with original packaging
>- No on-camera metering (available)
>- $85. (priced for quick sale)
>
>- Vivitar 2800 flash
>- Automatic/Manual (fits any cameras with hotshoes)
>- Best Offer.
>
>ho@kcgl1.eng.ohio-state.edu

It should be mentioned that this camera does not have an
"instant-return" mirror, to the best of my recollection.  Thus the
finder goes black when you press the shutter release.  I think the H-2
was the first Pentax with instant-return mirror, but the diaphragm
stayed small.  The H-3 (which I own--I bought it in 1962) was the
first Pentax that behaved the way we commonly expect of an SLR, with
both the mirror and aperture returning to their original positions
after the exposure.

   -- David Jacobson

Newsgroups: rec.photo
From: klee@wsl.dec.com (Ken Lee)
Subject: Re: Advice needed on Yosemite visit
Keywords: vacation photos Yosemite
Reply-To: klee@wsl.dec.com
Organization: DEC Western Software Laboratory
Distribution: usa
Date: Tue, 6 Oct 92 17:02:21 GMT

|> My wife and I are planning our second annual visit to Yosemite on the 21st
|> of October.  This is a bit later in the year than we have gone in the past, 
|> and I was wondering if anyone could give me any information on what the 
|> weather might be that time of year.  
|> 
|> I have kept track of previous posts on photo opportunities in Yosemite.
|> Any other information on photo opportunities would be appreciated.

Yosemite Park ranges in elevation from around 3000' to over 12,000', so
expect quite a variance in weather conditions, depending on where you
are.  By late October, the higher elevations will have received the
first significant snows, though lower elevations (e.g., Yosemite
Valley) might not get any until January.

As for photo opportunities, check out Galen Rowell's or Ansel Adam's
photo books on Yosemite.  They have lots of great fall and winter
shots.  Be warned, however, that they are/were excelent mountaineers as
well as photographers, so some of their shooting locations will involve
some amount of non-trivial physical exertion.

-- 
Ken Lee
DEC Western Software Laboratory, Palo Alto, Calif.
Internet: klee@wsl.dec.com
uucp: uunet!decwrl!klee
From: honna@cs.concordia.ca (SEGEL honna)
Newsgroups: rec.photo
Subject: Re: Nikon F prism: How to disassemble?
Date: 30 Sep 92 21:09:21 GMT
Organization: Computer Science, Concordia University, Montreal, Quebec

>In article <1992Sep28.143043.187@cbnewsj.cb.att.com>, duane@cbnewsj.cb.att.com (duane.galensky) writes:
>...
>> does anyone have any idea how to accomplish this disassembly?
>> are there screws under the leather that hold the
>> innards into the housing?
>> 
>> any help short of a wild guess much appreciated...
Yes, you will have to pry up the leatherette.  Assuming you are talking about
the basic meter-less p-prism, you pretty much have no choice but to take the 
chance stripping it off entirely and later re-gluing it;loose F p-prisms are
as rare as all-mechanical manual system 35mm SLRs "for around $100".
Better to strip the whole piece than just the corners; looks better, anyway.
I've seen, and used, old-fashioned rubber cement to re-glue the leatherette.
Don't expect the job you do to be exactly "factory", though you can get 
pretty close if you cut the glue.


HS/ Michael


-- 
***************************************************************
honna segel
department of computer science
concordia university  *****************************************
Newsgroups: rec.photo
From: fm@neptune.iex.com (Mohammad Farooq)
Subject: Kodak vericolor III ASA 160 ???
Originator: fm@neptune.iex.com
Organization: iex
Date: Mon, 5 Oct 1992 18:18:11 GMT


Keywords: 

I have heard that this film produces better result if shot at ASA 100. How far
this is true? I would like to hear your experience with this film. Thanks in
advance.

Mohammad
Newsgroups: rec.photo
From: capskb@alliant.backbone.uoknor.edu (Keith Brewster)
Subject: Re: Freezing Film
Originator: news@essex.ecn.uoknor.edu
Date: Tue, 6 Oct 1992 03:20:18 GMT
Organization: University of Oklahoma, Norman, OK

In article <PHR.92Oct5164155@napa.telebit.com> phr@telebit.com (Paul Rubin) writes:
>
>     At Nikon School they told us to keep film in its original box and
>     put it into a ziplock bag before freezing.  Frozen film should be
>     allowed to thaw 6 hours before opening its air-tight canister,
>     and should not be re-frozen or re-refrigerated.
>
>
>The part about not re-freezing is new and interesting to me.  Can
>anyone supply an explanation?  

The potential problem is condensation.  The original canister is 
presumably sealed with low humidity air, so that freezing unopened cans
is OK (I also use ziplock bags, but mainly to protect the boxes from
water/ice/popsicle/whatever).  Once the canister is opened, air from
the room or outside gets into the cartridge and if it's dewpoint is
below 35F (fridge) or 0 F (freezer), the water vapor in the air will
condense and may cause problems with the film sticking to itself.
If you live in a dry climate you may not have noticed, but the potential
is there for trouble.  If you don't open the canister, it should be OK
to swap the film in and out of cold storage.

kb
--------------------------
capskb@alliant.backbone.uoknor.edu
Newsgroups: rec.photo
From: johnlake@microsoft.com (John Lake)
Subject: Re: Nikon FM-2 
Date: 06 Oct 92 07:51:10 GMT
Organization: Microsoft Corporation

In article <1992Sep30.185050.16999@watson.ibm.com> raghu@vnet.ibm.com writes:
>I am looking for a manual SLR camera. I like the Nikon FM-2. 
>I would appreciate if Nikon FM-2 owners shared their experience.
>Also, would Nikon N2000 be a better buy than the FM-2? 

I have always (since I got into photography) had a FM-2.  I'm a very simple
person and therefore like very simple cameras.  What I like about the FM-2
is that it is all manual.  The only thing that battery powers is light meter,
even the shutter is mechanical.  I've never really had any problems with any
of my FM-2's.  They take the Nikon F mount lenses (which I like).  I have an
MD-12 motordrive for mine because I do alot of surf photography of friends 
and I haven't had any problems with that either.

They are a very simple camera and I like that.  I shoot mostly B&W film
and I like the everything being manual (I guess though that most auto cameras
today have the ability to go all manual with their settings).

I don't know what else to say except that I love 'em.

oh yeah the new FM-2n has I do believe titanium shutters and the film speed 
goes up to 6400 and the top shutter speed is 1/4000.

good luck with your choosing.


John H. Lake
From: hargitai@acf5.NYU.EDU (hargitai)
Newsgroups: rec.photo
Subject: Hasselblad lens on Pentax K1000.
Date: 30 Sep 92 01:06:54 GMT
Organization: New York University

Passed by Ken Hansen's the other day and picked up a write-up on
Zork systems.

Zork, a German company produces high quality adapters to mix

roll-film cameras/lenses and 35mm. 

1, regular adaptor to connect Hassy/Rollei/Mamiya/Pentax6/7 to

all 35mm cameras. (stop down metering only) $90-120.

2, Shift adaptor, same but with a 20mm shift and panorama option.

3, Pinhole system.

4, Shift and tilt system for 35mmm and medium format.


So, all of you with desires to have a great lens connected to your

K1000, Nikon F, or if you want to use your favorite medium format

lens on your spare 35mm body, why not?

(while this sounds like an advertisment, it is just a tip, since

these questions came up a million times before.)

jh
From: zrepachol@cc.curtin.edu.au (Paul Repacholi)
Newsgroups: rec.photo
Subject: Re: What is Barcodes ???
Date: 5 Oct 92 18:19:34 GMT
Article-I.D.: cc.1992Oct6.031934.1
Organization: Curtin University of Technology

In article <BvGLrL.Ln3@ireq.hydro.qc.ca>, gauthier@fresnel.telecom.hydro.qc.ca (Jean-Benoit Gauthier) writes:
> The title speak by himself !!!
> 
The other big use in photography is on the film edge printing and on the 35mm
cassette. These are a unique number for each film type. Even if the name stays
the same, the numbers will change if the emulsion is changed. They are used in
automatic printers to select the correct channel for printing.

~Paul
Newsgroups: rec.photo
From: bill@bilver.uucp (Bill Vermillion)
Subject: Really OLD Film - was Re: When in B&W film too old?
Organization: W. J. Vermillion - Winter Park, FL
Date: Tue, 6 Oct 1992 18:19:35 GMT

In article <1992Oct3.031140.15941@emr1.emr.ca> davidson@ccrs.emr.ca (David Davidson) writes:

>I have been given 2 dozen rolls (mixed)  of KOdak PanAtomic-x , Plus-X Pan
>and Technical Pan-X. All has been kept in a freezer, but some since 1985!
>I have used Tech Pan before and I love it, but is stuff this old safe to
>use. I will be in Prague in 10 days and I dont want to risk bad film, but...

>So, can anyone offer some advice? 

I just had to throw out this old film anecdote - as I hadn't told
anyone this in years.

In late 60's I used to shoot 16mm stuff now and then.   It was not
cheap.  I got some 'magazine reloads' - 50 foot of film on a core that
you load in the old Kodak style magazine.   It was cheap, and I would
develop it myself in a tank and dry it on a wooden rack (Hey it is a
hobby isn't it).

So I loaded the magazines, and was at Daytona Beach during race weeks.

Shot a few rolls, developed them, and was really amazed at what I saw.

The emulsion was cracked.  The pictures looked like they have been
project on 100 year old china plates.

Investigating the film, I found the leader was punched with the name
"Agfa" while the edge lettering was Ansco.

Since the US goverment took over the Agfa combine when we entered WWII,
this film - that I bought in the 60's had to have been manufactured
about 1940 or so.     25 years later what was left worked as far as
speed and contrast - no real fogging - but the pictures looked antique.

Would have been great film to shoot some special effects upon.


-- 
Bill Vermillion - bill@bilver.oau.org  bill.vermillion@oau.org
                - bill@bilver.uucp 
                - ..!{peora|ge-dab|tous|tarpit}!bilver!bill

Newsgroups: rec.photo
From: axman@acadia.Kodak.COM (Mike Axman)
Subject: Re: Ektar vs. Gold
Organization: Eastman Kodak Co., Rochester, NY
Date: Mon, 28 Sep 92 16:13:21 GMT

In article <2AC4E9C0.4807@news.service.uci.edu>, cheu@venus.its.uci.edu (Kelvin Cheu) writes:
>In article <1992Sep26.021234.16137@mnemosyne.cs.du.edu>, lmitchel@nyx.cs.du.edu (lloyd mitchell) writes:
>
>-----stuff deleted -----
>
>
>|> So, my question is, is Gold 100 any better or worse than Ektar 25?  Also, what
>|> would be the best film for shooting computer screens with a 35mm camera?
>|> 
>|> Thanks,
>|> Kerry Mitchell
>
>About shooting from computer screen.  Say my PC monitor has a pixel
>resolution of 680x1024, in a 19" monitor. To cover that in a 35mm negative,
>hmmmm....does it matter if you use Ektar 25 or Gold 100 ?
>Even the ISO 1600 film has millions of grains. So the limitation in
>resolution is in the display capability of your computer screen, not in
>the film technology.  What a brighter screen and more color ? Adjust the
>monitor.  
>

This doesn't really tell the whole story.  You need to consider the following
issues:

1)  Noise power is additive.  If you think of the computer monitor as the 
original scene, and much larger than the 35mm piece of film, the iso1600 
film will always be visually grainier for any reasonble enlargement.

2)  Although resolution and MTF are good ways of evaluating these issues, 
remember that when a computer monitor produces a sharp edge of some kind, 
the high-frequency content of that edge is NOT necessarily limited by the 
resolution of the monitor.  To test this, try making a digital video target 
with X lines ON and X lines OFF.  The intersection of these two regions on 
the video could result in frequencies higher than can be explained by the 
theoretical resolution.  

>Kelvin

-- 
Mike Axman  
CD-Imaging Advanced Development
Eastman Kodak Company
axman@kodak.com


DISCLAIMER:
Kodak gives me this Net access for free, but they aren't 
responsible for my postings.
From: goldberg@rwja.umdnj.edu (Robert Goldberg)
Newsgroups: rec.photo
Subject: Slide scanner help... <please>
Date: 30 Sep 92 17:48:54 GMT
Distribution: rec
Organization: Robert Wood Johnson Medical School, Piscataway NJ


	Our radiology department is looking to purchase a slide scanner 
	for transferring mammography slides to a Mac Quadra.  The only
	constraints to our situation appear to be 2000dpi or greater
	resolution and $6000(?) budget.

	We have limited information from several manufacturers:  Agfa,
	RasterOps, Microtek, Leaf, Ektron, Barneyscan, Santos, Hasselblad,
	Mitsubishi... But we could really use some testimonials and/or advice
	from experienced sources.

	Please respond via e-mail.
		
					Much thanks.
		
					Rob (goldberg@umdnj.edu)