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  1. #1

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    Anyone have info on Fuji's E6 future or position?

    I'm considering shooting slides again. I know, lots of cons from everyone, even me at time - but when I look back over all the photography I've done, my favorite shots are on slide film.
    So, instead of kicking against it because of all the "logic" not to, I got to thinking about this. Why not just shoot it up until I no longer have the option to do so, if that day ever comes? Certainly won't hurt anything, and bet I'll look back on this in years to come and see some really good shots that came out of it.

    Since I have read about Kodak dropping their E6 production, I wonder if anyone knows about Fuji's E6 intentions. I get the feeling from reading Galen Rowell's books, that Velvia became more popular than EktaChrome and even KodaChrome in the end, so Fuji may have quite some years of demand left. I have always loved Kodak, but that is fine with me, I can shoot Fuji if that's who's left producing.

    Has Fujifilm announced anything at all recently regarding their E6 line? Even as an "assurance or rebuttal" to Kodak closing theirs?
    Does anyone have a reasonable guess as to which Velvia version will hold up the longest in this new market? I mean, they have 3 versions, and I can't see them all being produced forever. One of the 3 or at least 2 of the 3 (one 50 and one 100 ISO version) have got to be more popular than the others, and will likely survive at least the first round of cuts.

    Thanks for any info for me, I haven't really shot much in about 3 years, since we moved down from Alaska, but I'm getting the itch, and I have a feeling it's going to be scratched soon.
    Good Light to all, and I appreciate your time,
    Jed

  2. #2
    Poisson Du Jour's Avatar
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    Yes, why not continue shooting until you are no longer able to?
    I suggest you use what film you can for as long as you can and not worry about Fuji's position as an ongoing producer of film. Fuji will make decisions based on business and economics, not populist opinion. Continued stable production depends on a continued market for film e.g. people actually using it in film cameras, not stockpiling it and looking the distant future through rose-tinted glasses. Who knows what will happen 5, 10, 15, 20 years from now? I don't really see E6 lasting 20 years, but that's not a thought that pleases me. We just do not know.

    Galen Rowell was a huge fan of Velvia — his mountain of work speaks volumes for his mastery of landscape, light and palette, but then there are millions around the globe who are also sticking to Velvia in whatever version there is. Film needs people actively using it to keep up demand and production. If it stagnates, there will be trouble.
    .::Gary Rowan Higgins

    A comfort zone is a wonderful place. But nothing ever grows there.
    —Anon.






  3. #3
    benjiboy's Avatar
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    Nobody knows Jededidiah, film manufacturers profess their undying commitment to film one day, and in the next breath announce it's discontinued.
    Ben

  4. #4

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    OK, thank you. That kind of mirrors my thoughts, I guess, so I will just use what they still make, and for my purposes, that will be Fuji Velvia.

    That done, does anyone have a good link to a comparison article on the 3 Velvias, or some personal experience for me to go off to decide which to go with for an order?
    Yes, I could buy a roll of each and try them together - perhaps a worthwhile $60 experiment that I may do, but if anyone has some field advice on the 3 from your experience, I'll gladly take it!
    Thanks,
    Jed

  5. #5
    Poisson Du Jour's Avatar
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    Personal experience (and it will vary widely here on APUG):
    Velvia 50: Very, very contrasty; rate at EI40 in 35mm; as-is for MF and LF, diffuse light. Polarise in diffuse light.
    Velvia 100: Contrast as for 50, uber-saturated; very pure whites and stark reds; rate at EI80 in 35mm, as is for MF, LF.
    Velvia 100F: flashy, avant garde palette with a peculiar yellow layer than can render some pale greens an oddball mustard; visibly different palette to RVP 50 (whose strength is across all primaries). It is a beautiful film for early morning (sunrise) and evening/dusk (sunset). All three Velvias respond best in diffuse light with preserved highlights and visible shadow. Bright light will deliver the very worst with ugly swathes of featureless black shadow and blown highlights.

    Velvia 50 remains the gold standard for professional imaging and reproduces exceptionally well. RVP 100F can be tricky to scan because of its colour.
    I do suggest you buy a roll of each and experiment with your favourite subject matter. It's not a brutally expensive thing to do rather than buy 50 boxes and find half-way through it's just not the right stuff.
    .::Gary Rowan Higgins

    A comfort zone is a wonderful place. But nothing ever grows there.
    —Anon.






  6. #6

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    Thank you for the commentary on your experience with the films! I also did a little Google search and found a couple comparisons. I think either the straight 100 (non F) or the 50 will be my choice, so I will get one of each of those first and see if I can really tell a difference or if one stands out to me.
    Thank you for your time and help.

  7. #7

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    I've used Velvia 50 and 100 but not 100F. Velvia 100 is slightly less saturated and is just tad less red than Velvia 50. To me Velvia 50's blues seem darker, yellows have a bit of red in them, and overall the saturation is a little higher. Generaly speaking I don't mind taking people shots on Velvia 100 but I try to aviod it on Velvia 50 because I know skin tones will be too red. Below is a link to a gallery with some of my revesal film shots if you want to look. There are some Velvia shots in there but I was heavy into Ektachrome.


    . http://www.lamarlamb.com/On-Film/Rev...8406&k=jqcd5ZB

  8. #8

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    I used to do something special with the 50. I'd rate at around 80 or so and shoot in hard light. This had the effect of producing really deep, saturated colours next to deep, sometimes pure black shadows. This approach probably wouldn't work for landscape shots but for close ups and tight scenes where the light is cast nicely over a interesting and colourful subject it would often produce startling results.
    Steve.

  9. #9
    benjiboy's Avatar
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    My favourite general purpose Fuji Slide film is Fuji Provea, I do use Velvia sometimes but find it far too high colour in saturation for some subjects, Provia is still colourful and very sharp but it doesn't tend to produce such Mickey Mouse primary colours and make human skin look too red.
    Ben

  10. #10

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    Thank you all. And Lamar, your gallery was great to look at for the subtle variables in the film, especially helpful since you were trying to match the original slide, and not making each shot "perfect" in PS instead.

    I did like the Velvia 100 rendition the best overall. Provia seems like a nice film, but without good use of NDs or polarizer, it reminds me of a very neutral (like Canon) digital capture. Which is exactly what some people are after. Just when I see a shot on Provia, I kind of wish I could see it on Velvia too, so I guess that's how I know it's for me.
    Edit: And maybe it's from looking at too much Galen Rowell type work that I have come to "expect" a certain look, I don't know.
    Thanks all for the help!

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