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    FAQ or Answers to Frequently Asked Questions                  Section 24
    This is a file containing answers, tips, hints and guidelines associated 
    with recurring  questions asked by photographers.   If you would like to 
    add a tidbit of knowledge to  this list just send it to   ANDPPH@rit.edu 
    who will gladly add it to this collection. For complete table of content
    send message to   ritphoto@rit.edu   with  FAQ$txt  in the Subject: line
                      These files are available in SECTIONS. 
             This is Section 24 and its contents are listed below.
      24.01  -< Harris Shutter - making and using it! >-
      24.02  -< Electronic Visualization of Color Negatives >-
      24.03  -< Film Codes Demystified >-
      24.04  -< Obsolete Film Processing >-
      24.05  -< Canon A1 control contacts described >-
      24.06  -< Copyright - basic information >-
      24.07  -< Bellows Sources >-
      24.08  -< Cross Processing Benchmark >-
      24.09  -< Postcard Printer Pointer >-
      24.10  -< Hyperfocal Distances for short 35mm lenses >-
      24.11  -< Photo Manufacturers and Distributors list >-
Note 24.01        -< Harris Shutter - making and using it! >-
A Harris Shutter introduces color in areas of a subject that move during the
exposure while those that remain stationary are reproduced with proper color.
Unusual images can be produced especially of waterfalls, ocean surf, and
similar subjects where a white object is in motion. This special effect 
technique is named after Robert S. Harris who was with Kodak's Photo 
Infortmation Department. He is an RIT grad!
In the "Here's how book of Photography" vol 2, the process is described in
detail. The filters used are the Wratten 25, 61 and 38A. His suggestion for
exposure is to give one stop more exposure than would be required without a
filter for each filter used if you use them manually and expose sequentially.
The Harris Shutter is more commonly associated with the "drop" version of the 
shutter described below. Hopefully with Kodak's indulgence, I will exerpt some 
notes from the aforementioned book.
There are two ways to accomplish the desired effect through RGB filters.
Number One is with the camera on a tripod and by sequential axposure through
each of the three filters, Wratten 25, 61 and 38A. These should be available
from photo dealers and they are commonly available in 75mm squares for about
$10 each. Glass equivalents are made by companies like Tiffen, Hoya, etc but
these tend to cost more. Possibly cellophane filters by Roscoe may also be
Basically you place the camera which must have the capability of multiple
exposing the film (without the film moving beteen exposure) on a very firm
tripod. Then meter the scene and expose sequentially through each filter giving
one stop more exposure through each than that which was recommended by the
The reason that more exposure is required is that these filters remove some
of the RGB light that each layer would normally be exposed to if the exposure
were without filter. Bracketing is recommended.
Recommended film is COLOR NEGATIVE because some color correction is possible at
enlargement stage. Color slide films, however, can also be used.
Number Two is to make a guillotine type affair that falls in front of the lens
possibly in a slot of some kind that is attached to the lens. The affair looks
sort of like this:
|           |
|           |
|  opaque   |
|           |
|           |                   To make action pictures:
||         ||
||  red    ||
||         ||
||         ||
||  green  ||                   This mask falls in front of lens while
||         ||                   the shutter of the camera is held open
||         ||                   typically the "shutter" is built into a long
||  blue   ||                   hollow box fitted to front of lens and
||         ||                   held onto a lens shade or filter holder
|           |
|           |
|           |         /----\
|           | \_ ____/     ||
|  opaque   |   |          |
|           |   |          |
|           |  _|____      |
|           | /      |_____|
|           |
for exposure Harris suggested that you use the aperture that would be required
for an exposure time of 1/30 second. Also, bracket!
My personal feeling is that the exposure recommendations given in the book
re: Harris shutter or exposures "sound" optimistic and that a bit of
experimentation is probably in order. One way to "balance" exposures is to
locate the "darkest" filter (and this will vary depending on the light source)
and then use ND filters on the other ones to bring them in line with the film
sensitivity characteristics for each of the other two layers.
You could attemt to determine the proper ND filter to use behind each color
filter by metering through each filter, identifying the one that needs the
least compensation and then add ND value as you meter through the other two
until the readings for these are the same as the reading through your
"benchmark" filter.
If you do this I don't foresee a problem other than an esoteric one having to
do with realizing that the spectral sensitivity pattern of the meter's cell vs.
the spectral characteristics of the color film will influence the process.
Actually a bit of fiddling with exposure will produce variations that may be 
more interesting than "dead-on" exposure.
Another interesting suggestion is to use this filter in front of a projector
projecting the slide made with this filter. The image will appear to move as
the various colored areas of the filter are placed in front of the projector
Another suggestion is to only use complemetary filters. A yellow with a blue 
would basically be an ND filter yet parts of the scene that move would be
colored. Interesting also.
I think that at one time someone manufactured a Harris shutter but if it was
available commercially it was so long ago that I have forgotten who sold it.
On the other hand, this might be a nice sideline for some enterprising person
to undertake. Some light plywood, a lens adapter system and the filters ...
I can see it now... retiring to exotic places, palm trees on island beaches,
hmmmm... :-)
Note 24.02     -< Electronic Visualization of Color Negatives >-
    I have been previewing and visualizing negatives by the simple
    expedient of using a videocamera having a POS/NEG mode. The macro mode
    ought to let you get close (and if not then use diopter lenses) to not
    only fill frame but even  crop. Switching on the NEG mode reverses
    subject tone and color. Just what is needed!
    Use of a bluish filter helps to allow the white balance of the camera
    to reach proper color balance condition. These images can, of course,
    be videotaped. Color printing is another, more time consuming but
    possibly more rewarding,  matter.
Note 24.03                -< Film Codes Demystified >-
> ..... often people refer to film by the code name. Does somebody have a
> list of those codes with the normal names next to it? I know TMX is Tmax 100 
> by Kodak but what is Fuji RVP VRP PDP or whatever cryptic code they have?
A quick list of the most popular ones starting with Kodak products:
TMX- Tmax 100
TMY- Tmax 400
TMZ- Tmax 3200
PX-  Plus-X 125 (PXP-120 propack version)
TX-  Tri-X 400( (TXP-120 propack version)
VP-  Verichrome Pan (120 only)
TP-  Technicial Pan
VPS- Vericolor III 160
VPH- Vericolor 400
VPL- Vericolor II type L(tungsten)
EPN- Ektachrome 100
EPP- Ektachrome 100 Plus
EPX- Ektachrome 100X (warm bal.)
LPP- Lumiere 100
LPZ- Lumiere 100X (warm bal.)
EPR- Ektachrome 64 daylight
EPY- Ektachrome 64 tungsten
EPD- Ektachrome 200
EPL- Ektachrome 400x (warm bal.)
EPJ- Ekatchrome 320 tungsten
Comon Fuji ones are:
CS-  Fuji Reala 100
NHG- Fujicolor 400 
NSP- Fujicolor 160 (short exp.)
NLP- Fujicolor 160 (long  exp.)
RVP- Velvia 50 slide film
RFP- Fujichrome 50  (RF- amateur version)
RDP- Fujichrome 100 (RD- amateur version)
RHP- Fujichrome 400 (RH- amateur version)
RSP- Fujichrome 1600 (only 35mm)
RTP- Fujichrome ? tungsten
From: Brian G Segal - astro@px1.stfx.ca 
From: ELorenz@aol.com
Note 24.04               -< Obsolete Film Processing >-
> I recently purchased an old Kodak #2 folding Autographic Brownie containing 
> a partly-exposed roll of Kodacolor-X.  I'd like to get the roll developed and
> printed. Unfortunately, it is Process C-22, a process obsolete for many
> years. Is there a lab that will still process this film?
One lab that touts itself as the _ULTIMATE_ special process lab and one which
is equipped to process C-22 films, as well as E-4 (for Ektachrome Infrared!), 
E-3, E-2, K-11, K-12, EFKE, ORWO,as well as various others is Rocky Mountain
Film Lab.  They are at 560 Geneva Street, Aurora, CO, 80010 phone: 303 364-6444.

They even seem to handle Nimslo/Nishika films.
The price to process, print and return ship Kodacolor-X is (was) $25 a roll
and the in-house time is from 3-4 months they say. They suggest you send your
film, cheque and name/address in a padded mailer.                     
On envelope also write Dept: __________  <----- place the film type here.
They have a website at: http://www.rockymountainfilm.com/

I have no connection with this lab. They have processed my films. Good job. 
hope this helps,
Note 24.05          -< Canon A1 control contacts described >-
> Does anyone have precise details on the contacts on the base of the Canon
> A1, in particular, how do you trigger the shutter with them.
Let me label the contacts 1-4 like this, with 1 being the indented one: 
        / O 1                                 ___ \
        | o 2 Contacts                       /   \|
        | o 3                         screw  |===||
        | o 4                                \___/|
                       |          |
If you short 1 and 4, this is the same as pressing the shutter release
half way, i.e. activates meter etc. Shorting 1 and 3 and 4, fires shutter.
Probably Relay contacts, not solid state devices, should be used as switches.
From: Tristram Scott, t.scott@cantua.canterbury.ac.nz
University of Canterbury,  Christchurch,  New Zealand
Note 24.06             -< Copyright - basic information >-
                    COPYRIGHT  -  a simply informal primer
                    by Erica Wissolik, Library of Congress
I'll try to answer a few of the questions re: copyrights. There are several 
books out there that explain the basics of the law but the axiom is - Once its
created, its copyrighted. So, Yes, you can declare your work copyrighted just 
by saying so. Registering a copyright is for litigation purposes only.
1. What can be copyrighted?
   The act divides works into 7 broad  categories, # 5 being pictorial, 
   graphic and sculptural works.
2. Rights and protection mandated by the law?
   A copyright is a property right.  There are 5 general rights -
     a) right to reproduce the work 
     b) right to prepare derivative works based on the work
     c) right to distribute to the public copies of the work
     d) the right to perfom publicly a copyrighted literary, dramatic, musical 
        or other audio-visual work
     e) right to display publicly a copyrighted literary, ..., pictorial, 
        graphic or sculptural work, incl. the individual images in a motion 
        picture or other audio-visual work.
****Each of these 5 parts can be further subdivided. eg. an owner can license
someone to reproduce a work for him/her but limit the license time, quantity or
manner of reproduction.
3) Does one have to file formal paperwork for something that one wishes to
   declare copyrighted? Or register in some way with a federal bureau?
No, you do not have to file formal paperwork in order to register your 
copyright. As stated above, once you have created your work, it is 
automatically yours and you can legally place the copyright symbols (there are
several ways to do this) next to your name on the work. However, formally
registering your work is an extra measure of protection in a court of law. It
provides tangible evidence that the work is yours and has been since the date
of creation and you'll save yourself a bundle in legal fees. The forms are
fairly tedious but the cost is minimal. However, there is something called "a
poor man's copyright". If you have lots to copyright, that minimal fee can add
up. If cost is a concern to you, this will provide almost the same amount of
legal protection without the cost. Simply, seal a copy of the work in an
envelope and send it to yourself. File it away and do not open it.  The
postmarked, unsealed letter is evidence that you created the work by a given
OK - moving on... while you do not have to formally register your copyright,
you do have to DEPOSIT the work in the Library of Congress. The Copyright Act
imposes the requirement on the owner to deposit 2 copies of all works in its
collection (easy way to get stuff without paying for it - oops, I didn't say
that). This deposit requirement is NOT a precondition to copyright protection.
They are 2 separate conditions. Within 3 months of declaring copyright notice,
you must make the deposit. This mandatory deposit provision applies only when
the work is published - that is placed on sale or distributed. If the deposit 
is not made - things get expensive. The Registrar of Copyrights comes after you
and demands the deposit. The first demand doesn't cost you anything. If you
ignore it and he comes after you a 2nd time, there is a $250 fine plus the
retail cost of copies. Ignore that, the 3rd time and any repeated negligence
carries a $2500 fine!  
***Note - If you do formally register your copyright with the LC, the deposits
filed with the registration will fulfill all deposit requirements.
The only "federal bureau" concerned with copyrights is the Library of Congress. 
At this point, I could go into a long explanation of the Berne Convention, the
agreement between several countries that allows your works to be protected
outside of the US, but I'll spare you all that unless someone asks.
BTW If you want more, everything that anyone could possibly want to know about
copyrights and the law is available on LC MARVEL (LC's Machine Assisted
Realization of the Virtual Electronic Library). I'm not sure how much the
outside world knows about MARVEL yet but if you want to contact the design
team, they're at - lcmarvel@seq1.loc.gov
Its the greatest resource. You will find all of the Copyright info conveniently
located on the menu under "Copyright". Follow the menu and you eventually come
to the sections that are "photograph" specific. Also on the menu is the option
to search current copyright files. You can find out who holds what copyrights
on everything - Beatles songs, photos, artwork, the scripts for Beverly Hills
90210, etc. However, the online searches are limited to the last 20 years (I
can't remember the exact date). The rest of the files exist only on 3x5 index
cards in file cabinets 2 floors above me.
You will also be able to find a copy of The Berne Convention, mentioned above.
It will be listed  in MARVEL under government info resources/international govt
info/treaties & internatl covenants, between the UN Charter and a treaty on
hazardous waste. Hopefully this will all be clear once you are able, if you
choose to do so, access MARVEL. I'm not a computer wiz. Working here I can
access this stuff with a mouse and icons but the MARVEL is currently available
to you on Internet and uses the Gopher software from the Univ. of Minnesota.
So go ahead and put that little "c"  next to your name and rest assured that
your work belongs to you. Hope some of this helps.  Let me know if I can do 
anything else.
That's all,
Erica Wissolik
Congressional Research Service
Library of Congress
Note 24.07                    -< Bellows Sources >-
    Need replacement bellows? Here is a suggestion:
Replacement bellows, with an original frame, are done by Universal Bellows,
25 Hanse Ave., Freeport, N.Y. USA 11520 (516) 378-1264 or fax 767-7387.
They should be able to do anything you want, but you must supply FIRST both
ends of the frame. If that doensn't work, why not call Ron Wisner, and ask
who builds his bellows? Wisner Mfg is at 800-848-0448 (Massachusetts). 
best of luck. -mike
From: Michael_Biedul@mindlink.bc.ca (Michael Biedul)
Organization: MIND LINK! - British Columbia, Canada

I recall that right here in Rochester there also is a manufacturer of
custom bellows. I looked them up in phone book and here is the scoop:
                    Turner Bellows
                    526 Child Street
                    Rochester, NY 14606
                    ph 235-4456
                    fx 235-4593
andy, andpph@rit.edu

Note 24.08              -< Cross Processing Benchmark >-
> I have been experimenting with cross processed C-41 & E6 films and chemistry.
> I have found the results of my 1st three attempts a bit dissapointing. 
I see a lot of cross-processed film, and we have established a "standard" 
to which all others are compared. The standard is Vericolor HC exposed at 
an EI of 32 and pushed three stops in E-6. This gives a good skin tone 
and reasonable contrast and shadow detail. Most of the Ektars (now Royal 
Gold) produce high contrast, monochrome-like results. The Fuji's don't 
seem to cross process as well as the Kodak films, but it really depends 
on the look you are after.
Rand Molnar
Brooks Institute

Note 24.09               -< Postcard Printer Pointer >-
                   Making Photographs into Postcards
One of the major U.S. postcard printers is Lawson Mardon Post Card,
and they deal with professional photographers. In fact they will use
photographers as "reps," where you get a commission from any postcard
orders you sell to clients.
I've used them twice and the quality (of color from transparencies)
was excellent both times.  The cost is good, too:  500 4 x 6 cards
at a cost to you of $225, or at a cost to your client of $320.
The "Mirror-Krome" division of Lawson Mardon can be reached at
Note 24.10      -< Hyperfocal Distances for short 35mm lenses >-
> If anyone has a chart showing the hyperfocal distances for the commonly
> used 35mm prime lenses (e.g. below). Perhaps it could be posted to the
> net as I am sure it would be of general interest.
> Lenses include 20mm, 24mm, 28mm, 35mm, 50mm, 85mm, 100mm, 135mm, 200mm etc
I reprint a chart from Outdoor Photographer, Mar. 1993 found in the Tech
Tips column of George Lepp (he reprinted it from the Gallery 412
newsletter).  The chart is set for a 0.001 'inch circle of confusion' - in
other words it is for sharp foregrounds.  There are many possible charts of
hyperfocal distances so I only take responsibility for typos, not the
information given. These values are in feet. 
Lens    f/8    f/11    f/16     f/22    f/32
20mm     7      5       3.5      2.5     1.7
24mm    10      7       5        3.5     2.5
28mm    13     10       7        5       4
35mm    20     15      10        8       5
50mm    42     30      21       15      10
For those who are unsure what the hyperfocal distance is, it is the point
at which to set your lens to ensure 'optimal' focus from the closest
possible point to infinity.  The hyperfocal distance is twice the closest
optimal focal point ie. in the chart under the 28mm lens the closest point
of optimal focus at f/32 will be 2 feet.
From: jontib@mendel.berkeley.edu (Jon Bertsch)
Note 24.11       -< Photo Manufacturers and Distributors list >-
  Photographic Company Listings as compiled by: 
  Adrian Chew :)  99chew@grog.lab.cc.wmich.edu
1731 Carmen Dr.
Elk Grove Village, IL 60007         (708) 593-7400
Aetna Optix, Inc. 
44 Alabama Ave.
Island Park, NY  11558              (516) 889-8570
Agfa Corporation
100 Challenger Rd.
Ridgefield Park, NJ  07660          (201) 440-2500
Aluminum Case Co.
3333 W. 48th Pl.
Chicago, IL 60632                   (312) 247-4611
Ambico, Inc.
2950 Lake Emma Rd.
Lake Mary, FL 32746                 (407) 333-8900
Argraph Corp.
111 Asia Place
Carlstadt, NJ  07072                (201) 939-7722
Arkay (Division of Omega/Arkay)
P.O.B. 2078
191 Shaeffer Ave.
Westminster, MD  21158              (410) 857-6353
B & H Photo-Video
119 W. 17th Street
New York, NY 10011                  (800) 221-5743
Beattie Systems, Inc.
P.O.B. 3142
Cleveland, TN  37311                (800) 251-6333
Beseler (Charles) Co.
1600 Lower Rd.
Linden, NJ  07036                   (908) 862-7999
Birns & Sawyer, Inc.
1026 N. Highland Ave.
Hollywood, CA  90038                (213) 466-8211
Bogen Photo Corp.
P.O.B. 506
Ramsey, NJ  07446-0506              (201) 818-9500
1905 Beech Cove Dr.
Cleveland, TN  37312                (800) 235-2451
Bronica: See GMI Photographic Inc.
Buhl Optical Co.
1009 Beech Ave.
Pittsburgh, PA  15233               (800) 245-4574
Calumet Photographic, Inc.
890 Supreme Dr.
Bensenville, IL  60106              (800) CALUMET
Canon U.S.A. Inc.
1 Canon Plaza
Lake Success, NY  11042             (516) 
1812 Valtec Lane
Boulder, CO  80301                  (800) 424-4075
Chinon America Inc.
1065 Bristol Rd.
Mountainside, NJ  07092-1248        (908) 654-0404
Cima America, Inc.
5 Marine St.
Huntington, NY  11743               (516) 385-1757
Coast Manufacturing Co.
200 Corporate Blvd. South
Yonkers, NY  10701                  (914) 376-1500,
Colenta America Corp.
347 Evelyn St.
Paramus, NJ 07652                   (201) 265-5670
Cullman/Titan: See GMI Photographic Inc.
Da-Lite Screen Co., Inc.
P.O.B. 137
Warsaw, IN 46580                    (219) 267-8101
Deardorff & Sons, Inc.
312 S. Peoria St.
Chicago, IL 60607                   (312) 829-5655
Dimco-Gray Co.
8200 S. Suburban Rd.
Centerville, OH 45459               (513) 433-7600
Domke Photo Resources
21 Jet View Dr.
Rochester, NY  14624                (716) 328-7800
Dyna-Lite Inc.
311-319 Long Ave.
Hillside, NJ 07205                  (908) 687-8880
Eastman Kodak Co.
343 State St.
Rochester, NY  14650-0811           (716) 724-6000
Edmund Scientific Co.
101 E. Gloucester Pike
Barrington, NJ  08007               (609) 573-6234
Elmo Mfg. Corp.
70 New Hyde Park Rd.
New Hyde Park, NY  11040            (516) 775-3200
Exakta Camera Co.
979 North Ocean Ave.
Patchogue, NY  11772                (516) 331-5500
Falcon Safety Products, Inc.
25 Chubb Way 
P.O.B. 1299
Somerville, NJ 08876-1299           (908) 707-4900
Fiberbilt Cases
601 W. 26th St.
New York, NY  10001                 (212) 675-5820
Fuji Photo Film
U.S.A. Inc.
555 Taxter Rd.
Elmsford, NY 10523                  (914) 789-8100
Globuscope Cameras
44 W. 24th St.
New York, NY  10010                 (212) 243-1008
GMI Photographic Inc.
P.O. Drawer U
125 Schmitt Blvd.
Farmingdale, NY  11735              (516) 752-0006
H.P. Marketing Corp.
16 Chapin Rd.
Pine Brook, NJ  07058               (201) 808-9010
Hasselblad (Victor) Inc.
10 Madison Rd.
Fairfield, NJ 07004                 (201) 227-7320
Heitz (Karl), Inc.
P.O.B. 427
Woodside, NY  11377                 (718) 565-0004
310 S. Racine
Chicago, IL  60607                  (312) 421-6000
Hervic Corporation
16516 Arminta 
P.O.B. 7800
Van Nuys, CA 91409                  (818) 781-1692
Horseman: See GMI Photographic Inc.
Ilford Photo
70 W. Century Rd.
Paramus, NJ 07653                    (201) 265-6000
Jobo Fototechnic, Inc.
251 Jackson Plaza
Ann Arbor, MI  48103                 (313) 995-4192
JVC Company of America
41 Slater Dr.
Elmwood Park, NJ  07407              (201) 794-3900
Kaiser Corp.
3555 N. Prospect St.
Colorado Springs, CO  80907          (719) 636-3864
Kalt Corp.
P.O.B. 511
Santa Monica, CA  90406              (213) 305-1166
Konica U.S.A., Inc.
440 Sylvan Ave.
Englewood Cliffs, NJ 07632           (201) 568-3100
Leica Camera Inc.
156 Ludlow Ave.
Northvale, NJ  07647                 (201) 767-7500
Light Impressions
439 Monroe Ave.
Rochester, NY  14603                 (716) 271-8960
Lumedyne, Inc.
6010 Wall St.
Port Richey, FL 34668                (813) 847-5394
Mamiya America Corp.
8 Westchester Plaza
Elmsford, NY  10523                  (914) 347-3300
Minolta Corp.
101 Williams Dr.
Ramsey, NJ  07446                    (201) 825-4000
Nikon Inc.
1300 Walt Whitman Rd.
Melville, NY 11747                   (516) 547-4355
Norman Enterprises, Inc.
2601 Empire Ave.
Burbank, CA  91504                   (818) 843-6811
Novatron of Dallas, Inc.
8230 Moberly Lane
Dallas, TX  75227                    (800) 527-1595
Olympus America Inc.
145 Crossways Park West
Woodbury, NY  11797-2087             (516) 364-3000
P.O.B. 2078
191 Shaeffer Ave.
Westminster, MD  21158               (410) 857-6353
Oriental Photo Distributing Co.
3701 W. Moore Ave.
Santa Ana, CA 92704                  (714) 432-7070
Pentax Corp.
35 Inverness Dr. East
Englewood, CO  80112                 (800) 877-0155
Polaroid Corp.
575 Technology Square
Cambridge, MA 02139                  (617) 577-2000
Quantum Instruments, Inc.
1075 Stewart Ave.
Garden City, NY  11530               (516) 222-0611
QuickSet International, Inc.
3650 Woodhead Dr.
Northbrook, IL  60062-1895           (708) 498-0700
Ricoh Corp.
180 Passaic Ave.
Fairfield, NJ  07004                 (201) 808-3563
Sailwind Photo Systems
1809 Commonwealth Ave.
P.O.B. 9426
Charlotte, NC 28299-9426             (704) 376-1470
Satter Inc.
4100 Dahlia St.
Denver, CO  80216                    (303) 399-7493
Saunders Group
21 Jet View Dr.
Rochester, NY  14624                 (716) 328-7800
Schneider Corp. of America
400 Crossways Park Dr.
Woodbury, NY  11797                  (516) 496-8500
Seal Products Inc.
550 Spring St.
Naugatuck, CT 06770-9985             (203) 729-5201
Sharp Electronics Corp.
LCD Products Group
Sharp Plaza, Mahwah, NJ 07430-2135   (201) 529-8728
Sigma Corporation of America
15 Fleetwood Court
Ronkonkoma, NY  11779                (516) 585-1144
Sima Products Corp.
8707 N. Skokie Blvd.
Skokie, IL  60677                    (708) 679-7462
Sinar Bron
17 Progress St.
Edison, NJ  08820                    (908) 754-5800
Slik (Tripods): See Tocad America Inc.
Smith-Victor Sales Corp.
301 N. Colfax St.
Griffith, IN 46319                   (219) 924-6136
Sunpak (Flash): See Tocad America Inc.
9240 Jordan Ave.
Chatsworth, CA 91311                 (818) 407-9500
Tamron Industries, Inc.
99 Seaview Blvd.
P.O.B. 388
Port Washington, NY 11050            (516) 484-8880
Tenba, Inc.
503 Broadway
New York, NY 10012                   (212) 966-1013
Testrite Instrument Co., Inc.
135 Monroe St.
Newark, NJ  07105                    (201) 589-6767
Tiffen Manufacturing Corp.
90 Oser Ave.
Hauppauge, NY  11788                 (516) 273-2500
Tocad America Inc.
300 Webro Rd.
Parsippany, NJ 07054                 (201) 428-9800
1512 Kona Dr.
Compton, CA 90220                    (310) 537-9380
Varta Batteries, Inc.
300 Executive Blvd.
Elmsford, NY 10523                   (800) 431-2504
Vivitar Corp.
1280 Rancho Conejo Blvd.
Newbury Park, CA  91320              (805) 498-7008
Vue-All, Inc.
P.O. Drawer 1690
Ocala, FL 34478-1690                 (904) 732-3188
Yankee Photo Products
Division of Saranda Corp.
4025 E. Broadway
Phoenix, AZ 85040                    (602) 437-8200
Yashica Inc.
100 Randolph Rd.
Somerset, NJ  08875                  (908) 560-0060

===========================  end of section 24 ========================== 
                            PhotoForum (Internet)
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