HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.photo
Subject: Re: Posed photos.  Suggestions appreciated.
From: hpb@hpb.cis.pitt.edu (Harry Bloomberg)
Date: 18 Nov 92 05:16:28 GMT
Distribution: rec
Organization: University of Pittsburgh

In article <6751@ucsbcsl.ucsb.edu> 6500rick@ucsbuxa.ucsb.edu (Richard J. Bessey) writes:
>
>What can I do to make the standard desk shot more interesting?
>Also, what else can I do in an office?
>
   1) Pay attention to the light.  If the office has a window, perhaps
you could use the soft, even lignt entering through the window.  If
you've got to use flash, do anything to avoid harsh shadows that would
show up in the photo.  Try attaching a Lumiquest or 3x5 card, bouncing
the flash off a low white ceiling, or take the flash off camera.

   2) Place the subject against a background that says something about
the individual.  For example, try standing a math professor in front of
a chalk board of equations.   Perhaps you can photograph the individual
at work.

   3) Try something goofy.  I was forced to shoot head-and-shoulder
shots of the Student Programmers of the Month.  I obtained two 3.5 inch
floppy disks and made the individuals hold them next to their heads like
"Mousekateer" hats.  This made the disks look like large, square ears.
I also shot the students in profile and made them look at a disk as if
contemplating the disk's contents.  You'd be surprized at the "off the
wall" things people will do when commanded by a photographer.

Harry Bloomberg
hpb@vms.cis.pitt.edu
From: fiddler@concertina.Eng.Sun.COM (steve hix)
Newsgroups: rec.photo
Subject: Re: _Consumer Reports_ believable on cameras?
Date: 19 Nov 1992 20:45:10 GMT
Organization: Sun Microsystems, Mt. View, Ca.
Distribution: world
NNTP-Posting-Host: concertina

>In article <1992Nov17.154623.44888@kuhub.cc.ukans.edu>,(Christopher Gunn) wrote:
>
>>Do people with real knowledge of
>> cameras think _CU_ does a good job?

No.

Well, maybe a little:

Years ago, CU compared professional 35mm SLR systems (in this case, the
Canon F-1 vs Nikon F2 and lenses).

Their conclusion? The Canon system couldn't be considered to be a "real"
fully-pro system, since it didn't offer as many fisheye lenses as did
Nikon.

This, of course, would have also downgraded Leica for the same reason.

When comparing bicycles, in the same vein, they marked down ones whose
brakes could be adjusted so that you could lock up the rear or front
wheels by squeezing the brake levers hard enough.  Note that brakes
adusted so that they *can't* be locked up are far less safe than the
alternate. (How do you ensure that the wheels will almost-but-not-quite
lock up at all speed/weight/road surface conditions?)

You *can* get good information from them, on things like soap and cereal.

You can also get good information from their camera/bicycle/othertechnicalthing
tests, but once past quantifiable items like price, weight, number of lenses in
the system, you're on your own.


--
-------------------------------------------------------
| Some things are too important not to give away      |
| to everybody else and have none left for yourself.  |
-------------------------------------------------------
From: Nervid@cup.portal.com (Dave Dave Luke)
Newsgroups: rec.photo
Subject: Wanted: Olympus IS-1 (or IS-1000)
Date: Sat, 21 Nov 92 13:13:16 PST
Organization: The Portal System (TM)
Distribution: usa

Howdy, my girlfriend is looking for a Olympus IS-1 (or IS-1000).
Does anybody have a used one for sale or know of a really cheap source for a ne
w one?

Thanks a lot,

Dave Luke

627 South Mary Avenue
Sunnyvale, CA  94087

(408)737-2909

NERVID@cup.portal.com
Newsgroups: rec.photo
From: zrepachol@cc.curtin.edu.au
Subject: Re: How USM works?
Organization: Curtin University of Technology
Date: Mon, 23 Nov 1992 20:24:40 GMT

In article <1992Nov20.190250.3825@sci.ccny.cuny.edu>, jhuang@sci.ccny.cuny.edu (Jian Huang) writes:
> Can anyone give me a brief desciption on how the USM works.

No
> Is it a kind of step motor? What signals will I get from 
> USM lenes(e.g. positions of zoom and iris)? I also like to
> get information on how I can get some of the technical 
> details on camera electronics(e.g. books, trade magazines).
> 

There is near zero on the EF lens interface arround yet. The VL video lens
interface and the Canon EF lens glossy are starting points...

AS to the motor... Go to your library and look in mech engines books for
"Harmonic drive" Design oif Machne Elements 4th Ed, by virgil Faires p479 is
one. It is a n tooth gear inside a n+2 tooth gear. The outer gear is flexed and
a drive ratio of n/2 is abtained. n can easily be several hundred. The original
used an eliptic drive member, Canon have used sequenced Pietzo elements. It is
not a stepper.

~Paul

Newsgroups: rec.photo
From: gmayhew@sven.lerc.nasa.gov (George Mayhew)
Subject: Re: colour balance: enlarged vs. contact?
Organization: NASA Lewis Research Center
Date: Mon, 16 Nov 1992 20:03:16 GMT

In article <721809533snx@rats.demon.co.uk> ian@rats.demon.co.uk ("Ian A. Young") writes:
>I just performed the following experiment:
>
>   1. take a 5x4 colour negative (on VPS, if it matters)
>
>   2. expose a 10x8 print and hide it away
>
>   3. remove the negative from the enlarger and place it on another
>      10x8 piece of paper.  Expose it under the same filtration for the
>      same time as the print in 2.
>
>   4. put both 10x8s in a drum processor and process them together.
>
>   5. observe that the enlargement is definitely more yellow than
>      the contact print.
>
>I can't think of a plausible explanation for my observation.  The way I
>see it, the colour balance of the contact print should be exactly the
>same as that of enlargement:
>
>   in the enlargement, the light from the bulb goes through the filters
>   in the enlarger, then through the negative, then through the lens and
>   finally to the paper
>
>   in the contact, the light from the bulb goes through the filters in
>   the enlarger, then through the lens, then through the negative, then
>   to the paper.
>
>I figure that this should give me an A(B(C(D))) == B(A(C(D))) kind of
>situation, where D is the original light and the functions represent the
>various things you put in its path.  The only way I can think of to make
>these come out different is if either the negative or the lens have a
>non-linear response to different intensities of light, which I find hard
>to believe (the enlarger is a diffusion type, so I'm discounting the
>Callier effect as well).
>
>Someone PLEASE put me out of my misery by thinking of a really good
>reason why this should be happening...
>
One possibility is that another light source is illuminating the paper.
This could be a safe light, or reflections off walls, enlarger column,
etc.  In the case of the enlarged print, this light would fall directly
on the paper.  In the contact print case, the extraneous light would
be filtered through the negative.

George


Organization: Doctoral student, Engineering and Public Policy, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.photo
Date: Thu, 19 Nov 1992 13:57:44 -0500 
From: Luis Abdon Cifuentes <lc0v+@andrew.cmu.edu>
Subject: Mamiya 645 reliability

I am dissapointed with my 4 month old 645 Super. First, the diapragm in
the 80 mm lens did not stop dowm. Mamiya repaired it under warranty, but
I still had to pay $10 in shipping (from the local dealer to MAC), and
wait 3 weeks until they send it back.

Now the pin that transfers the aperture reading to the body is damaged.
I don't know how I did it, but after mounting a lens, the pin would not
retract to engage the prong in the lens. I can force it to engage 
manually, but it's not a good practice!.
Anyway, Mamiya want $200 for labor to repair it!. I am absolutely pissed
off. I have used a 645 (not super) for about 2 years with no problem,
and Canon and Nikon equipment for years (changing a lot of lenses) with
no problem.  After just 4 months of light use, the 645 Super broke down!.

I remember somobody posted a problem with a stucked mirror in his 645
Super. I would like to hear other stories, good or bad, about M645
reliability. I am seriously thinking of going back to the normal 645. It
looks and feels much more reliable than the Super.

Luis

PS: anybody knows of a good place to repair the 645 Super. I don't want
to give $200 to MAC!. If I can find a good place, I won't repair it,
after all I don't use the meter too often.
From: Jimmy.Tung@dartmouth.edu (Jimmy Tung)
Newsgroups: rec.photo
Subject: Re: candid photo lens? is there such a thing?
Date: 17 Nov 92 02:28:11 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

One suggestion is to use a TLR camera, and just turn it sideways as you
look down on the viewfinder (equiped with the waist-level glass ;-) ).
At a glance, the mostly symmetrical body and the waist-level focussing
will probably not be noticable, esp. since your body will be facing a
different direction.  Of course, when an exceptionally irate subject
objects,...
From: andpph@ritvax.isc.rit.edu
Newsgroups: rec.photo
Subject: Re: Using a Polaroid back
Date: 19 Nov 92 01:26:14 GMT
Reply-To: andpph@ritvax.isc.rit.edu
Organization: Rochester Institute of Technology

In article <1992Nov18.155557.21780@athena.mit.edu>, sli@athena.mit.edu (Sheung L Li) writes:
>What are the differences between the various types of Polaroid film?

Hmmmmm.... this would take up a book almost! what kind of film? 35mm, 3 1/4 or
4x5 or 8x10? scientific, technical, industrial, pictorial, color, B&W, CRT
recording, SEM, ... need to be more specific :-) 

among the more popular 35mm films are:

Polachrome an additive color transparency material
PolaPan    a positive working black-and-white material
PolaBlue   a negative working blue-where-exposed, clear where not, HC film
PolaGraph  a positive working high contrast B&W emulsion

among the more popular 3 1/4 x 41/4 pack and 4x5 sheet films:
                                                 
Type 667 and 107C       3000 speed B&W 
Type 107  and type 57   3000 speed B&W
Type 665  and type 55     75 speed positive with a B&W transparent negative
Type 664  and type 54    100 speed B&W contrast and speed matched to Ektachrome
Type 553  and type 53    800 speed B&W for scientific applications 
Type 552  and Type 52    400 speed B&W 
              type 51    320 speed B&W high contrast
  
Polacolor Type 58  80 speed daylight        4x5
Polacolor Type 64  64 speed tungsten 3 1/4, 4x5 and 8x10.
 
There are many other emulsions and they come in many formats. I happen to have
acquired a fairly complete set of manufacturer's data about Polaroid priducts
and if you have a specific question would be glad to dig through the pile of
info.

>Does anyone have any experiences with NPC backs?  Specifically, I'm 
>interested in the difference between the NPC back and the various 
>incarnations of the Mamiya RZ Polaroid back.

Nope, no experience with these. NPC backs that I know of had a reputation for
allowing Polaroid 3 1/4 pack products to be used on Nikon camera bodies. Unlike
the Forscher back they enlarged the 35mm gate to just about fill the 3 1/4
format pack with attendant loss of light. On the other hand if you used 3000
speed Polaroid film you came out sort of even.

The Mamiya back is a back that fits the Mamiya and allows you to expose
directly onto Polaroid film giving 1:1 size and exposure info for later use
with conventional films loaded into a regular Mamiya back.

IMHO
cya,
andy
        *  *  * * *  *
         \/\/\/\/\/\/   Andrew Davidhazy, RIT, High Speed Photography Lab.
          |        |    IN%"andpph@ritvax.isc.rit.edu"    fax 716-475-5804 
_________/          \_____________________________________________________
Newsgroups: rec.photo
From: twtan@essex.ecn.uoknor.edu (Tack Wee Tan)
Subject: Lithium batteries: AA replaced???
Date: Tue, 24 Nov 1992 03:59:42 GMT
Organization: Engineering Computer Network, University of Oklahoma, Norman, OK, USA

	I have a few friends who now own lithium based cameras such as 
the N6006 and the Eos ELAN. As lithium batteries are expensive, they now
resort to replacing the power supply with a home-made connection to AA
batteries. Technically it works. 4 AA batteries are connected through wire
to the camera. While it may not look good as a whole, the 'concoction' does
nevertheless work.  

	My question is, is it safe and viable to do so? Technically, 6 volts
are generated to power the camera. While one would not get long shelf life 
and strong resistance to cold, but in return, AA batteries are extremely cheap.
My friends have not had any problems with their pictures so far. This is mainly
because it's all in print film. The thing is, if print film is what you shoot
most of the time, the AA alternative might not be such a bad idea after all. 


Colin Tan
twtan@essex.ecn.uoknor.edu
 
Newsgroups: rec.photo,misc.forsale
From: ychen@hubcap.clemson.edu (Eric Chen)
Subject: Nikon & Yashica cameras for sale
Organization: Clemson University, Clemson SC
Date: Thu, 19 Nov 1992 18:47:19 GMT


Two 35mm SLR cameras for sale:
 
1. (a)  Nikon N-2000 SLR body: TTL, built in motor drive, auto film load, 
        dual program, automatic & manual (1-1/2000), DX auto film speed 
        setting (ASA 12-3200), and other fuctions of major cameras.
        (I am selling this camera for my friend, his camera is near mint
	condition)
   (b)  Prospect (=Sigma) Zoom 70-300 mm, f/4.5-5.6 lens (6 months old) for
        Nikon 
2. Yashica FX-2 body with Yashica standard lens (50mm, 1:1.7)
	Shutter speed: 1/1000 - 1 sec
	Fully mechanic camera w/built in light meter
	Depth of field view bottom
	ASA setting 12 - 1600

Nikon N2000 body: $200; Prospect (=sigma) lens: $80; Yashica body and
lens: $90.
 
Buyer pay shipping.

Thank you

Eric
803-654-8817
ychen@hubcap.clemson.edu

Newsgroups: rec.photo
From: kung@kpc.com (Kung Hsu)
Subject: Schneider 4x5 large format lenses for sale
Organization: Kubota Pacific Computer Inc, Santa Clara, CA
Distribution: ca
Date: Tue, 17 Nov 1992 21:37:10 GMT

Schneider Super Symmar H.M. 120mm/f5.6  $750
Schneider APO Symmar 120mm/f5.6 $350

Both lenses are like new with box and warranty cards. Please send email or
call (408)987-3381 (Office) or (408)272-4315 (Home)
	---Kung Hsu
From: rbirrell@gssec.bt.co.uk (Rob Birrell)
Newsgroups: rec.photo
Subject: Canon FD to M42 Screw
Date: 17 Nov 92 10:57:04 GMT
Organization: BT, SDDG, Scotland


Those of you who read this newsgroup regularly may remember that I posted a request for
information on Canon bellows/copying equipment. Well I didn't get much response but thanks
to the two people that did respond. I have purchased a Russian bellows unit with a 42mm screw
as a *cheap* interim measure. I will be using this with a borrowed Pentax Spotmatic for
the time-being but would still eventually like to use it with my Canon AE-1 Program. I have
an adaptor to use 42mm screw mount lenses on the Canon but not vice-versa (for the other end
of the bellows!!). So the point is -

does anyone know where I can get an adaptor to allow me to use Canon FD lenses in a 42mm
mount? I don't care whether it is automatic or not.

Any information or further ideas would be gratefully received.
From: schumann@msus1.msus.edu
Newsgroups: rec.photo
Subject: Re: wooden tripods
Date: 15 Nov 92 22:11:23 GMT
Distribution: na
Organization: Minnesota State University System

In article <1992Nov9.212220.8989@magnus.acs.ohio-state.edu>,
llemmerm@magnus.acs.ohio-state.edu (Lloyd Lemmermann) writes:
> I'm about to replace a recently-stolen Bogen tripod, and I'm considering wood.
> I am familiar with brands and the positive attributes of wooden 'pods, but I'd 
> also like to know about the pitfalls that some of you users have discovered 
> through everyday use. Especially those pitfalls that would cause you to 
> recommend against one.
> My cameras include medium format and large format field cameras (4x5), used 
> both indoors and out.
> E-mail if you like, but this may make for interesting reading on the net.

I've owned a Zone VI "lightweight" for several years now.  I've since 
given all my other tripods away to friends.

Here are some of the positives.  It is sturdy and steady.  It takes a 
lot of abuse (water, sand, cold, mud, snow, getting tossed into car 
trunks, etc.).  It is easy to set up and use in a variety of
situations.  You don't have to worry about your hands sticking to
metal in very cold conditions.

Have you ever seen a survey crew using metal tripods?  I haven't.  
Every one I've ever seen has always used wood tripods.

But there is an important consideration that might be considered a 
negative by some in some situations -- it seems to weigh a ton after 
lugging it over hill and dale all day.  But compare its weight to that 
of the studier metal tripods and you'll see that there isn't much of a 
difference -- they all weigh a ton.  Given a choice of a metal tripod 
and a wood tripod of similar weights, I'll take the wood one every
time.  To deal with those situations where weight is a great concern,
I've recently begun to think about a monopod for some situations.  But
then again, I shoot 35mm, which is somewhat more amenable to monopods.

If you plan on using it indoors, it is also worth mentioning that it 
has spike feet only.  Perfect for outdoors, but less than perfect on 
an expensive hardwood floor indoors.  Therefore, I also bought from
Zone VI a folding gadget that lays on the floor with indentations to
accept the spike feet of the tripod, thus insulating the floor from
the tripod.  I've never had occasion to use this gadget, however.  A
more cost-effective solution (and more compact to carry) would be to
buy three hard rubber floor protectors from a hardware store (these
are designed to sit between a hardwood floor and heavy furniture).

If I had it to do again, I'd buy another wood tripod in a flash.
--
   Paul L. Schumann, Ph.D.           |  VAX:  IN%"schumann@MSUS1.MSUS.EDU"
   Professor of Management           |  Office Phone:       (507) 389-5349
   Mankato State University          |  Secretary's Phone:  (507) 389-2966
   Mankato, MN   56002-8400          |  Fax Number:         (507) 389-5497
From: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Newsgroups: rec.photo
Subject: Re: Darkroom Ventilation
Date: 18 Nov 92 20:20:18 GMT
Reply-To: bjs@RUTS.ccc.amdahl.com (Barry Sherman)
Followup-To: rec.photo
Organization: Amdahl Corporation, Sunnyvale CA

Michael J Graven writes:

>Barry Sherman (bjs@RUTS.ccc.amdahl.com ) writes:
>
>> But I'm not aware that the odors of acetic acid, fixers and standard 
>> paper developers are dangerous.  Anyone know for a fact?
>
>Depends how you define "dangerous."  Remember when your SO wasn't a fellow
>photographer, Barry?  Maintaining a relationship with the uninitiated is 
>an exercise in patience for both...
>
>"What is that ODOR?"
>
>vs.
>
>"Oh, I just want to burn down this corner a little ... I'll be done real soon."

Good point.   I forget that the aromas of the darkroom might be perceived
as unpleasant by some, difficult though it might be for me to understand. :-)

Reminds me of how sometimes when my dog would sleep on the bed I'd stick
my face in his fur and breathe deeply and feel warm and happy from the smell.
While he didn't have a real strong "dog smell", I'm sure that most people
wouldn't have enjoyed it.  Kinda makes me miss him now ...

Barry

--


|----------------------------------------------------------------------------|
| Barry Sherman, Amdahl Corp.  | PROGRAM: n. A magic spell cast over a com-  |
| bjs@ruts.ccc.amdahl.com      | puter allowing it to turn one's input into  |
|                              | error messages.  tr.v. To engage in a pas-  |
|                              | time similar to banging one's head against  |
|                              | a wall, but with fewer opportunities for    |
|                              | reward.                                     |
|----------------------------------------------------------------------------|
| Amdahl, being a corporation, is a legal fiction.  Therefore it is incapable|
| of holding, let alone expressing, opinions.  Unfortunately, this has been  |
| said of me as well.                                                        |
|----------------------------------------------------------------------------|
From: mikec@spider.co.uk (Mike Coren)
Newsgroups: rec.photo
Subject: Red Eyes w/Minolta Maxxim Flash
Date: 17 Nov 92 19:19:53 GMT
Organization: Spider Systems Limited, Edinburgh, UK.


Once again I find myself appealing to the collective consciousness of rec.photo
to help me punch my way out of the photographic wet paper bag (what the hell
is this guy talking about?!).

My father has a Minolta Maxxim 5000i (Dynax outside North America, I believe).
The built-in flash is not very high above the lens, and as a result his pictures
have terrible red-eye problems (either that, or we have demonically posessed
relatives, and only the camera can see it!).  Assuming the latter is not the
case, is there any way to get around this problem while still using the built-
in flash?  An external bounce flash would help, but aside from the cost, it
would defeat the purpose of an "all in one" camera.  I've suggested he try a
piece of tissue paper over the flash, to soften it up a bit, although I'm not
sure that will really do anything.  Any other suggestions?

If not, could anyone recommend a good exorcist in the Philadelphia area?  ;-)

Thanks in advance,
Mike Coren
mikec@spider.co.uk

-- 
Michael D. Coren, Electrical Engineer             mikec@spider.co.uk
Telecommunications Techniques Corporation, Germantown, Maryland, USA.
Temporarily at Spider Systems Limited, Edinburgh, Scotland, UK.
Newsgroups: rec.photo
From: smustopo@nyx.cs.du.edu (sofjan mustopoh)
Subject: Re: are minolta close up lenses any good?
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Keywords: tow elements lenses?
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Sat, 21 Nov 92 04:21:22 GMT

In article <By1577.rI@usenet.ucs.indiana.edu> sun@silver.ucs.indiana.edu 
weiwei sun) writes:
>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


  How good you want them be, ? :) 
  The match two element close up lens are generally OK for 
  non flatfield work. Like close up of a stamp or anything flat.
  You can use it in flower close up or something like  thatt
     Don't expect miracle. They are a good deal but won't rival
  the $450 100mm macro.. :)

     I tried one that made by Nikon on my Minolta 50mm f1.7 once
  using step down ring. they are OK.

  Muskie
  Sofjan Mustopoh

Newsgroups: rec.photo
From: poole@bnr.ca (Thomas Poole)
Subject: Re: Tree Sap
Organization: Bell-Northern Research, Ottawa, Canada
X-Newsreader: TIN [version 1.1 PL6]
Distribution: na
Date: Wed, 18 Nov 1992 00:01:18 GMT

When I was a kid we always used margarine to
remove tree sap from our hands.
From: daveb@hpgrla.gr.hp.com (Dave Boyd)
Date: Thu, 19 Nov 1992 19:45:35 GMT
Subject: Re: candid photo lens? is there such a thing?
Organization: Hewlett-Packard, Greeley, CO