HDTenEightyP/NetNews huggingface dataset:
From: swatko@airbag.enet.dec.com (Mike Swatko)
Subject: Re: Cibachrome in Jobo?
Reply-To: swatko@airbag.enet.dec.com (Mike Swatko)
Organization: Digital Equipment Corporation, Nashua, NH
Date: Fri, 14 Aug 1992 17:31:21 GMT

--

In article <1992Aug12.064353.4835@sys.sweden.dg.com>, robert@sys.sweden.dg.com (Robert Claeson) writes:
>In article <mab.713062310@duvel>, mab@duvel.princeton.edu (Matt Blaze) writes:
>
>> I'm thinking of getting one of the Jobo manual processors, either
>> the CPE-2+ or the CPA-2.  I'd like to use it for E6 and B&W processing
>> as well as Cibachrome print processing.  According to the catalog,
>> the CPE-2 has a fixed drum speed of 75rpm, while the CPA-2 (twice
>> the price) is variable from 25-90rpm.
>>[...]
>
>If my memory serves me right, the CPE-2 has two speeds.
>

The CPE2 has 2 speeds somewhere around 30 and 70rpms.  The newer
"improved" CPE2+ only has one speed - 75rpms.  I heard somewhere (probably
here) that the Jobo-Lift had problems with the slower speed on the CPE2.
Maybe that's why they eliminated it.

---------------------------------------------------------------------------
Mike Swatko                             !  swatko@airbag.dec.com
Digital Equipment Corporation           !  swatko@airbag.enet.dec.com
Corporate User Publications Engineering !  swatko%airbag@decwrl.dec.com
Nashua, New Hampshire                   !  ...!decwrl!airbag.enet!swatko
===========================================================================
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.photo
Subject: Re: Olympics
Date: 12 Aug 92 15:22:55 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

jake@bony1.bony.com (Jake Livni) wrote:
> From where I sit in my office in Lower Manhattan, I often see these 
> flashes from the Empire State Building...

An anecdote from a local paper a few days ago described someone asking a
Kodak executive why people did that.  The Kodak man is alleged to have
said something like "I don't know, but as long as it's *our* film they're
wasting it's fine by me..."

-- 
--  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
Newsgroups: rec.photo
From: kjarman@sedona.intel.com (K. Jarman)
Subject: Re: Has anyone used Fuji NGH 400 35mm professional film?
Originator: kjarman@sedona
Keywords: Fuji NGH 400
Reply-To: kjarman@sedona.intel.com
Organization: Intel Corporation
Date: Thu, 13 Aug 1992 18:04:04 GMT



In article <1992Aug12.000230.1399@informix.com>, neilw@informix.com (Neil Williams) writes:
> In article <12869@inews.intel.com> kjarman@sedona.intel.com writes:
> >
> >	I've had a couple questions/problems with Fuji NHG 400 35mm film.
> >First, does any one have any experience with it (ie; portraits/weddings)?
> >Second, did you have any problems?
> >	I first heard about it from an article in Shutter Bug about a year ago.
> >It gave it great reviews for use in weddings and portrait photography.
> >I've used it for both, and have had mixed reactions.
   ^^^^^^^^^^^^^^^^^^^^^

> >	At one wedding I did recently, we did all of the family and couple 
> >pictures before the ceremony in a church. To make sure all were well lighted I
> >took along my Novatron 600 studio lighting. I used two heads and umbrellas, 
> >and set the power pack to full power. I used a Minolta 4 flash meter and a  
> >Minolta 7000i with a sigma 28-80 lens. I don't recall any of the settings used,
> >I just manually set the camera to what ever the light meter said. (I have 
> >always had good results shooting this setup at my home studio.) The 3x5 proofs 
> >looked fairly good, but when they ordered some 5x7 and 8x10 reprints, the 
> >results were horrible. Poor color, and extremely grainy. I thought at first it 
> >must be the lab I had process the film and make the reprints. So I took it to 
> >another lab that specializes in professional photography. The color was much 
> >better but the grain was still apparent. 
> 
> Good lord!  You used a film you had never tested before on a
> shoot?
> 
> 
> --Neil


I had used the film for both indoor portraits and some out door wedding 
pictures. They had come out fine. So no it wasn't the first time using this 
film, I'm not that dumb. This was just a diferent situation. I may have over 
stated the poor quality of the reprints, as I reread what I wrote. They were 
not "horrible", but I was not that pleased with the results because I know 
I've done better in the past.

Just a statement in my defence,
Kelly

-- 
----------------------------------------------------------------------
 Kelly Jarman 		kjarman@sedona.intel.com	(602) 554-2963
 Intel, Corp.
 5000 W. Chandler Blvd.
 Chandler, AZ  85226
Newsgroups: rec.photo
From: troyb@oz.plymouth.edu (Troy Bennet)
Subject: Re: Novice with printing problem
Reply-To: troyb@oz.plymouth.edu (Troy Bennet)
Organization: Plymouth State College - Plymouth, N.H.
Date: Wed, 12 Aug 92 17:56:48 GMT

In article <85977@netnews.upenn.edu> zaidel@muzungu.cis.upenn.edu (Martin J. Zaidel) writes:
>I've just begun learning how to print black-and-white and I've
>run across a puzzling problem that all my experienced photographer
>friends can only scratch their heads at.
>
>I have a shot of a wrought iron grill against a cloudy sky.
>When enlarging it, I use a long exposure to burn in the grill
>and to bring out the contrast in the clouds.  The problem is
>that after processing, the finished print looks as if the
>black of the grill has bled into the surrounding light regions
>of the sky.  As a result, instead of a sharp silhouette, I have
>a mushy dark blob.
>
>Any ideas on what's happening and what I can do to avoid it?
>
>--
>Martin J. Zaidel            | "We were once so close to Heaven
>==> zaidel@cis.upenn.edu    |  Peter came out and gave us medals
>                           |  Declaring us the nicest of the Damned."
>Professional meaning junkie |                - They Might Be Giants


It sounds to me like there is light spilling onto the surrounding sky
areas.  Things to check:

Is your burning/Dodging tool flat black in color?  If it is a light
tonal value it might be scattering light as you burn/dodge.

How long are your primary and burning exposures?  Sometimes a very
long exposure in an area of little density on the negative will
allow the minute amount of light spillage to actually build up to a
point where it will register on the paper.

What f stop are you using for both the primary and burning exposures?
More often than with extremely long exposures, a very intense exposure
can cause light scatter.  You see this more easily in color printing.
If you are printing a picture of a woman wearing a bright blue dress
and your exposure is 2 seconds at f 2.8.  Chances are that her flesh
tones will show a blue cast.  The intensity of the exposure will allow
light to bounce off from the paper and scatter, thus bouncing back
onto the paper to effect non blue areas.

What quality of enlarger lens are you using?  A cheap lens can affect
an exposure with flare.

It sounds like your problem might be a combination of the above
problems.

Hope this helps.


troyb
From: gsnow@clark.edu (Gary Snow)
Newsgroups: rec.photo
Subject: Re: How to take picture in the dark??
Date: 19 Aug 92 16:17:37 GMT
Organization: Clark College, Vancouver, Wa.  USA

In article <86520@netnews.upenn.edu> duong@chestnut.chem.upenn.edu (Duc Duong) writes:
>
>Hello all..
>
>Are there any better way to improve the quality of the picture taking in a
>very dark scene? I went to Disney Land and I took alot of pictures during
>the evening for electrical parade. I used 400 Kodak film, Nikon N4004S,
>with a Nikon 22 flash in automatic mode but the quality of the pictures
>turned out very very dull and badly. So, is it possible to get a good
>quality picture (what you see what you get) when taking in a very dark
>scene? what else should I need to do that? I wonder that how can the pro
>take a lot of beautiful picture about city night scenes. E-mail please.
>Thank you very very much.

The secret is a good tripod, slow shutter speeds, and NO FLASH.

Gary

-- 
-----
Gary Snow
uunet!clark!gsnow  or  gsnow@clark.edu
From: peterd@hpgrla.gr.hp.com (Peter Davidoff)
Date: Tue, 18 Aug 1992 16:43:39 GMT
Subject: Re: View Camera Questions
Organization: Hewlett-Packard, Greeley, CO
Newsgroups: rec.photo

Yaw (yawn!)
^^^^^^^^^^^

There was a long thread about this on CompuServe several
months ago.  The conclusion was:  Yaw free was a design
accident that the marketing folks turned into a feature.
No-one (that I can remember) thought it a necessary
feature.

Re:  Tachi:  I've been using mine since 1980.  Works fine.
Takes as good a picture as those with Zone VI.  Consider
putting money into lenses or a Ries tripod... or film, or
darkroom stuff, or a trip on which you can use the camera.
For comparison purposes take a look at a Wisner!


Peter
From: honna@cs.concordia.ca (SEGEL honna)
Newsgroups: rec.photo
Subject: Re: Changing DX code
Date: 15 Aug 92 00:58:06 GMT
Organization: Computer Science, Concordia University, Montreal, Quebec

In article <1992Aug12.175514.14398@javelin.sim.es.com> rspeirs@javelin.sim.es.com (Ron Speirs) writes:
>In article <1992Aug12.071330.926@bio.vu.nl> hermanh@bio.vu.nl (Herman Hillebrand) writes:
>>I want to fool my camera (Pentax P30t) for B/W photography by changing
>>the DX code on the film cartridge. I would like to change ISO/ASA values.
>>Can it be done? How?
>
>EXPOSURE	SENSING AREA
> RANGE		11	12
Quicker-and-dirtier still is to use, in combination, an ink eraser and 
nail polish (your favourite colour) to uncover and recover those little
(would-be) conductive buttons.  I find it a little less fussy than cut-
and-paste.

And I'm still wondering what the hell sensing areas 11 and 12 actually
*do*...and where...and when.  Ron?  Anyone?

HS/Michael











-- 
***************************************************************
honna segel
department of computer science
concordia university  *****************************************
From: yz@broca.acc.virginia.edu (Yuan Zhang)
Newsgroups: rec.photo
Subject: Re: The quality of Nikon "E" lenses?
Date: 21 Aug 92 14:22:52 GMT
Organization: University of Virginia

In article <1992Aug21.133956.23817@Princeton.EDU> daly@strawber.princeton.edu  
(John Daly) writes:
> This is my understanding as well.  The optical quality is supposed to be
> comparable, but the Nikkors are just built of sturdier stuff.  I've got
> a 70-210 E-Series and am pleased with it, especially after having owned
> a Minolta 80-200 Rokkor (sp?) which was not as optically crisp.
> 
> I must admit however that the skeptic in me is troubled.  A $200 70-210
> E-series versus an $800 80-200 Nikkor.  That's a LOT to pay for metal!
 You must have been looking at the price for the constant aperature f2.8 80-200  
Nikkor. They use various things like ED glass to keep the optical quality high.  
They are not your run of the mill 70-210 zoom. Most of the cheap ones are about  
f4.0-5.6. Which is one to two stop slower. You can buy a AF Nikkor 70-210  
f4-5.6 for about $200.
Newsgroups: rec.photo
From: vazquez@timamd.enet.dec.com (timamd::vazquez)
Subject: Bar code Programs for EOS 10s
Organization: Digital Equipment Corporation
Date: Thu, 20 Aug 1992 10:40:28 GMT
X-Posted-Via: NEWS-NOTES gateway (a hack!)

    
    
    	In AF Camera feature list, I see that for Canon EOS 10s and ELAN
    there are  120 programs avilable buying a special bar code and book.
    
    	I have an EOS 10s and  an EOS 100 (European name for ELAN) with the
    bar code reader, but the book I got with it has only 30 programs.
    
    	As the bar code reader was bought one and a half year ago I suposed
    the book was out of date, so I searched for a new book here in Spain,
    but the new ones I found have the same programs than mine.
    
    	Could someone on the net tell me how can I have the codes for  the
    extra programs I miss ?
    	Thanks in advance.
Newsgroups: rec.photo
From: whheydt@pbhya.PacBell.COM (Wilson Heydt)
Subject: Re: About infrared photography ...
Reply-To: whheydt@PacBell.COM (Wilson Heydt)
Organization: Pacific * Bell, San Ramon, CA
Date: Thu, 13 Aug 1992 19:28:09 GMT

In article <qw0FPB3w165w@hacktic.nl> carmela@hacktic.nl (Ay Carmela) writes:
>Can anyone give me some tips about infra red photography. I want to try
>it, but I dont know anything about it.

I only ask because I'm curious . . .  Isn't that a rather odd reason
for wanting to try it?

By-the-bye, most general photography books give some data on IR
phototgraphy, plus there's a Kodak Workshop book on it (is it back in
print?).

	--Hal
-- 
Hal Heydt                    |    "Boycott Time-Warner"
Analyst, Pacific*Bell        |         --J. Danforth Quayle
510-823-5447                 |    "... kill all the lawyers."
whheydt@pbhya.PacBell.COM    |         --William Shakespeare
From: MSPERKO@kentvm.kent.edu (Mike Sperko)
Newsgroups: rec.photo
Subject: Dye Chrome Chemistry
Date: 19 Aug 92 19:07:58 GMT
Organization: Kent State Univ.

Does anybody on rec.photo have any experience with either E-6 or K-1 Cibachrome
processing chemistry from Dye Chrome Research Co..  These processing kits are
powder that need to be mixed.  The K-1 Ciba kit is supposed to be variable cont
rast chemistry.  I would appreciate hearing from anybody that has used this any
of these products.
 
Thanks,
Mike Sperko
 
Newsgroups: rec.photo
From: luong@naxos.inria.fr (Quang-Tuan Luong)
Newsgroups: rec.photo
Subject: Cibachrome low contrast paper vs normal
Date: 13 Aug 92 14:28:18 GMT
Reply-To: luong@sophia.inria.fr
Organization: Inria Sofia Antipolis

A friend of mine took some printing lessons and his professor told
him that everyone first uses the normal (high contrast) cibachrome
paper first, and then, as they get more experienced, shifts to the
new low-contrast one. Has anyone here compared the performance of
the two papers ? How good is the low contrast one ?

Thanks. Tuan.
From: madson@unix.SRI.COM (Carl Madson)
Newsgroups: rec.photo
Subject: Re: F4s, SB-24, what gives?
Date: 17 Aug 92 20:22:25 GMT
Organization: SRI International, Menlo Park, California

In article <1992Aug17.152351.28933@jarvis.csri.toronto.edu> acs@csri.toronto.edu (Alvin Chia-Hua Shih) writes:
>
>
>Also, the TTL flash sensor is (probably) centre-weighted.  (Could someone
>please confirm this?)  That means the camera only cares about the flash
>exposure of the middle of the frame.  So, if your subject is off to the
>side, it will not reflect enough light to the centre-weighted sensor to
>cause a flash quench.

That's a safe guess. The only info I've heard was from a Nikon Tech Rep, 
who said that although the actual pattern was proprietary (? what a crock of
BS--nice to know what your tools do), it was roughly keyhole-shaped, with the
bottom of the keyhole at the bottom of the (horizontal) frame. Which, of 
course, makes you wonder how differently it handles vertical shots. I'd need
confirmation of this, esp. from Nikon sources; I suppose one could perform a
set of tests to deduce the pattern using targets of varying reflectivity at
selectable locations within the frame, but then you'd have to also measure
the flash output to see  how it responded. You could use a white circle over
a black background, moving the circle around for each shot, and setting a
flash meter behind the black background (with a hole for the sensor) to measure
the flash output. With a sufficiently small white circle, lots of test posi-
tions, and proper methods (such as ensuring consistent flash charge levels),
you could effectively map the sensor response. You would probably want to shoot
B&W film as you test, to verify the circle's position and to give the TTL OTF
sensor something to bounce off of. (Assuming B&W is cheaper for you; it might
not be.) Or you could just use a dummy roll as long as you were careful about
recording where the circle was for each meter reading. (Get a black velvet
cloth and a white circle with Velcro on the back and see  if that does the
job.)

Kind of a pain, but until the Big N comes forward or someone reverse-engineers
the sensor that's in the camera (including its lens and the angle with respect
to the film), it's still just guessing.

(I'll see if Goldberg ever mentions testing sensor patterns, esp. flash...)


		--Carl Madson, SRI International, Menlo Park, CA
From: finn@isi.edu (Greg Finn)
Newsgroups: rec.photo
Subject: Re: media permanence (was Re: photo-developing, specifically nudes)
Date: 20 Aug 92 18:44:23 GMT
Reply-To: finn@dalek.isi.edu (Greg Finn)
Organization: USC-Information Sciences Institute

In article <1992Aug20.001750.17439@pbhya.PacBell.COM> whheydt@PacBell.COM (Wilson Heydt) writes:

>>>	What digital storage technique has a successful 50+ year
>>>history and is still being used on a significant scale?  I know of
>>>none.   ...
>
>While I agree with the basic premise--about 15 years ago I was working
>a project that would have required storing data for entire working
>careers *plus* 75 years--you have both missed a bet.  There's been a
>digital medium in use far longer than you think.
>
>Paper tape.

	I doubt that paper tape is used on a significant scale now.  I
never claimed that there weren't some old digital technologies still
around, just that they are now insignificant.  Other than for
mini-computers and ASR 33 ttys, paper tape never had much of a
following from what I remember.  Certainly not by comparison with
Hollerith cards.

	Go back 20 years.  Cards had about a 70 year run as a
widespread, successful digital storage medium.  Tapes and then hard
disks killed off cards.  When was the last time that you saw a
reader/punch station in a computer center?  Yet in 1970 virtually
every computer center had one and at least one room full of 026 or 029
model punch stations.  Trivia: Ever carry around your own Fortran drum
card?
--
Gregory Finn	(310) 822-1511
Information Sciences Institute, Marina Del Rey, CA 90292
Newsgroups: rec.photo
From: vucinic@a-l3lyon1.cern.ch (Dejan Vucinic )
Subject: Re: Flash Silliness (Was: Re: Olympics)
Organization: CERN European Lab for Particle Physics
Date: Wed, 12 Aug 1992 18:31:02 GMT

Not really a Flash Silliness, but...
Some time ago my wife managed to turn her camera around - 
she made an interesting picture of her nose. She didn't
find anything wrong in pushing the button with her left
hand, but concluded that it wasn't the right way when the
flash shot in her right eye...

I was so deeply distressed by her success that I bought 
us an EOS with a loooooooong lens ;>


.------------------------------------------------.
| e- \          /  V    |Have a Nice Decay!      |
|     \        /        |                        |
|      \  Z0  /         |                        |
|      /~~~~~~\         |Dejan Vucinic           |
|     /\       \        |                        |
| e+ /  \       \  _    |                        |
|   /    \Y      \ V    |vucinic@cernapo.cern.ch |
`------------------------------------------------'
From: mtoms@ems.cdc.com (Mark Toms)
Newsgroups: rec.photo
Subject: Suppliers of Square Frames
Date: 12 Aug 92 16:59:43 GMT
Reply-To: mtoms@ems.cdc.com
Distribution: usa
Organization: Empros Systems International, a division of CDC

I was wondering if anyone knows of a supplier that sells square frames
from stock.  I shoot 120 format (Hasselblad) and often want my shots
enlarged without cropping to a rectangular format.  I am trying to avoid
the expense of using a custom framing shop.

Thanks,

==========================================================================
J. Mark Toms                                email: mtoms@ems.cdc.com
Baltimore Gas & Electric, Company
C/O Empros Systems International            Phone: (612) 553-4423
2300 Berkshire Lane North                     FAX: (612) 553-4018
Plymouth, Minnesota  55441-3694 USA      Mailstop: PLY060
==========================================================================
From: kassover@rumsey.crd.ge.com (David Kassover)
Newsgroups: rec.photo
Subject: Re: 8 exposure rolls
Date: 19 Aug 92 14:02:10 GMT
Organization: nicht

In article <l92cakINNaae@news.bbn.com> koolish@BBN.COM (Richard M. Koolish) writes:
>
>My local Kodak dealer had some 8 exposure rolls of Ektacolor GPF-160
>Professional film.  Can the 4, 2, and 1 exposure rolls of 35mm film
>be far behind?  :-)

I believe the 8 exposure loads were intended for people like
evidence technicians and insurance adjustors, who really don't
want to get into custom loading, but often have use for only a
few exposures while waiting for the next incident.

The few ads I have seen regarding this seemed to imply that the 8
load cartidges are available only in pallets of 12 or so;  otoh
there's nothing to prevent a dealer from breaking one.



-- 
David Kassover             "Proper technique helps protect you against
uupsi!khazad!kassover	          sharp weapons and dull judges."
kassover@aule-tek.com                   F. Collins
kassover@ra.crd.ge.com
From: mahatme@icaen.uiowa.edu (Chandrashehar Vasant Mahatme)
Newsgroups: rec.photo
Subject: Re: Slightly overexposed FujiChrome 100.
Date: 19 Aug 92 20:38:35 GMT
Organization: Iowa Computer Aided Engineering Network, University of Iowa

In article <92232.155034SPW103@psuvm.psu.edu> <SPW103@psuvm.psu.edu> writes:
>Okay, small question.  I just shot my first roll of FujiChrome 100.  I usually
>                         <stuff deleted>
>realized that I exposed the whole roll with my meter set at 125 ASA (I had just
>                         <stuff deleted>
>                                    -Stephen Walker spw103@psuvm.psu.edu

 Exposing 100 ASA film with meter set at 125 ASA is overexposing the film or
underexposing. Just wondering. :-(

Shekhar Mahatme
------- -------
mahatme@icaen.uiowa.edu
Newsgroups: rec.photo
From: rivieres@parc.xerox.com (Jim des Rivieres)
Subject: Re: Filter: 29R & CC30R, the same?
Reply-To: desrivieres@parc.xerox.com
Organization: Xerox PARC, Palo Alto, CA
Date: 18 Aug 92 18:31:34


> Are the color compensating filters the same as the otherwise named color
> filters?  For example, is the 29R color filter relatively the same as CC-30R?
> The former is only $15.95 from Calumet while the latter costs more than $30
> from any of the mail order places on Pup. Photo., I mean, for 58mm size.

Nope.  29 is a very deep red filter used in B&W (and in making color
separations), whereas a CC30R would be used in color photography to compensate
for a moderately strong green cast.  The CC filters are available in 2", 3" ,
or 4" gelatin or plastic squares for considerably less (~$10) than circular
glass ones.

But if you want a real shock, check out the price of neutral density (i.e,
grey) filters.


--
Jim des Rivieres
PHONE: (415) 812-4718  FAX: (415) 812-4334
EMAIL: desrivieres@parc.xerox.com
MAIL: Xerox PARC, 3333 Coyote Hill Road, Palo Alto, CA 94304, USA

Newsgroups: rec.photo
From: donl@glass.esd.sgi.com (donl mathis)
Subject: Re: Zone system
Reply-To: donl@glass.esd.sgi.com (donl mathis)
Organization: Silicon Graphics, Inc., Mountain View, CA, USA
Date: Sat, 22 Aug 1992 07:07:15 GMT


In article <86801@netnews.upenn.edu>, liang@saul.cis.upenn.edu (Chuck
Liang) writes:

|> >	the final print densities.  To measure brightnesses accurately,
|> >	you'll need a spot meter.
|> 		      ^^^^^^^^^^
|>
|>   I wonder if Ansel Adams had a spot meter in the 40's and 50's.

I think he always used the narrowest meter he could get.  I believe
there were some narrow-angle meters in the early days, though perhaps
not quite the one-degree wonders that came up later.  I also seem to
recall that Adams worked with various makers to help them produce
appropriate equipment, and I think this included meters, as well as
interesting things like film and paper, and the Polaroid 4x5 system
(which exists primarily because of his efforts).

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