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  1. #21

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    Quote Originally Posted by spatz View Post
    IIRC Henning once mentioned in a post a few months back that there would be the possibility for fuji to start making astia again given increasing sales of provia. For me provia is a lucrative alternative to astia in so much as it brings hope to the return of astia.
    Well yes, at last years Photokina the responsible Fujifilm manager explained that at Fujifilm there is at least no general "if one film is discontinued, it can never come back" policy.
    It would be possible for them to bring back Astia if they see enough demand.
    That means
    - sales of Provia 100F and 400X have to increase significantly
    - customers have to tell Fuji that they want Astia 100F back.

    In the end, it is in our (film shooters) hands.
    I am doing my part: From 2006 to 2012 I have increased my film consumption by the factor of 3,5.
    This year will probably my all time high, a new record year. And I am shooting more reversal film than ever.
    The picture quality of a projected slide (both colour and BW) with an excellent projection lens is absolutely unsurpassed (I say that as someone who also really loves making prints in his darkroom).
    It is "sex for the eyes" .

    Best regards,
    Henning

  2. #22

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    Quote Originally Posted by j.c.denton View Post
    Thanks Henning for mentioning the medium format results. These were new to me.
    Christian
    You're welcome, Christian.
    We are currently in a new test run including more medium format lenses, and film tests in medium format.
    It is planned to publish the results as far as the analysis is finished.
    I am also in permanent contact with my good friend Tim Parkin of 'onlandscape', and maybe it is possible to put together our results for a common project. As he is using different medium format gear than we that makes sense, giving a wider amount of useful information.

    Best regards,
    Henning

  3. #23

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    Quote Originally Posted by Slixtiesix View Post
    Dear Henning,
    Thank you very much for your elaborate explanation! So I will order some Provia 100F to try it out...
    Benjamin, you are welcome!

    In addition to using Provia 100F, I also recommend using Provia 400X as an Astia 100F replacement.
    It makes sense in several applications. For example skin tone rendition of 400X is excellent and very similar to Astia 100F.
    I am using 400X regularly for portrait and fashion, and the results are always excellent.
    400X has also this little bit more saturation in red compared to Provia 100F, which also Astia 100F has.
    That is clearly seen in comparison shots under norm light using the (Kodak) color test chart.

    Provia 400X is an excellent all around film. To my long experience (I am using it since its introduction 2007) one of the best general purpose color films ever made.
    I've shot landscapes, Portrait, fashion, wildlife (animals), architecture and air-shows with it.
    And the results have always been excellent!

    As you are (mainly) using medium format, grain is no issue at all. 400X is extremely fine grained for its speed, and as said in one of my earlier postings, projecting it on 1m x 1,5m is no problem at all with 35mm film, and with medium format, well, project it as big as you want....2m, 3m, 4m width, it doesn't matter.
    In medium format 400X is my most used color film (saying that as "a real film shooter" = someone who regularly uses all types of film: colour and BW reversal, colour and BW negative, instant film) .

    Best regards,
    Henning

  4. #24

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    I'm assuming you're referring only to modest levels of enlargement, Henning. "Fine-grained for its speed" is not the same thing as fine
    in the sense Astia 100F was. And you obviously have a radically different definition of what constitutes a crisp print than I do.

  5. #25

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    Quote Originally Posted by DREW WILEY View Post
    I'm assuming you're referring only to modest levels of enlargement, Henning. "Fine-grained for its speed" is not the same thing as fine
    in the sense Astia 100F was. And you obviously have a radically different definition of what constitutes a crisp print than I do.
    It sounds to me like he's talking about projection rather than printing. I don't think there is a reasonable all-analog route from transparency film to a print for most of us.

    Astia and Provia 100F are of course very similar (and very low) in grain---online sources say Astia measured at RMS 7, Provia at 8. Obviously the faster Provia 400X is grainier than that, but for a 400 speed film it's quite fine (RMS 11, same as E100VS and a shade finer than RSX II 200), and anyway it's the only E6 film still standing in that speed. So I suppose you can curse the darkness if you like, but then what?

    -NT
    Nathan Tenny
    San Diego, CA, USA

    The lady of the house has to be a pretty swell sort of person to put up with the annoyance of a photographer.
    -The Little Technical Library, _Developing, Printing, And Enlarging_

  6. #26

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    Astia was unique in a number of respects. I'm not cursing yet, because I still have a bunch of it, as well as E100G, in the freezer. For printing
    per se I've defected to Ektar. But yeah, on a slide projector the 400 speed stuff should still look wonderful. I'm still fussing with modernizing
    internegs from chrome film so they can be printed on RA4 papers, but that's an ongoing project when I don't have other priorities. Otherwise,
    I have little incentive to shoot chromes anymore. I still carry around a bit of 8x10 chrome just in case I see something worthy of a dye transfer print, but otherwise have no interest in going the digital route - it just don't look the same, even printed on the same RA paper.

  7. #27

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    Hello Drew,

    Quote Originally Posted by DREW WILEY View Post
    I'm assuming you're referring only to modest levels of enlargement, Henning.
    as I have very clearly written in my posting, I am referring to a 40x enlargement = 1 meter x 1,5 meter from 35mm film in projection on a projection screen. At that enlargement you don't see any grain from normal viewing distances in structured details. Grain is visible in even zones like the sky, but it is still very fine and not disturbing at all.
    Grain is finer compared to Pro 400H, Portra 400, Ultramax, Superia 400 X-Tra prints of the same size.
    As Nathan has written both Ektachrome E100VS and Provia 400X have a RMS value of 11, and indeed in projection they have a very similar grain appearance.
    The projection of these films is something I am doing almost on a daily basis.
    I love my pictures big, impressive, high-resolved and sharp. And with best colour brillance. Slide projection with excellent projection lenses is the best way to achieve this, it is unsurpassed in this respect.

    We've also intensively tested all the ISO 400/27° films (and all the others, too ) under a microscope with 40x enlargement and 100x enlargement.
    In the professional film range Provia 400X delivered the highest resolution (see also my first posting in this thread) with clearly separated 105 lp/mm (with Zeiss ZF 2/50, object contrast of 1:4) and best edge sharpness, followed by Pro 400H with 90 lp/mm and Portra 400 with 80 lp/mm.
    Concerning grain 400X has a little bit finer grain than Portra 400 (the difference in grain is smaller than the difference in resolution and sharpness) and 400H (which has a bit coarser grain than Portra, but a bit higher resolution).

    Quote Originally Posted by DREW WILEY View Post
    "Fine-grained for its speed" is not the same thing as fine
    in the sense Astia 100F was.
    Again, please read what I had written: I've clearly said Astia 100F is the colour film with the finest grain. Of course it is much finer grained and higher resolving than Provia 400X (see the test results in my first posting). That is not surprising, 400X has 4x the speed of Astia.
    But 400X has a comparable grain level to E100VS.
    How much photographers do you know who have complained about being E100VS a film with too much grain? I don't know anybody who has complained.
    Therefore 400X is not only a very fine grained film in relative terms, for it's high speed, but it can also be considered a quite fine grained film in absolute terms.

    I am using this film a lot in 135 and 120. And 35mm projected on 1m x 1,5m, which is my main format in projection, it is excellent. Fine grain (not visible in structured details from normal viewing distances), high resolution, excellent sharpness, wonderful colours.

    Quote Originally Posted by DREW WILEY View Post
    And you obviously have a radically different definition of what constitutes a crisp print than I do.
    I don't know what you consider a 'crisp' print. But I like my prints very 'crisp' in general (of course when it fits the subjects, some subjects look better soft printed).
    Therefore I make often prints from the sharpest, highest resolving films available, Agfa Copex Rapid and Adox CMS 20 II. And from films like Retro 80S, Ilford PanF+, Delta 100, TMX, TMY-2. And in the colour range from Astia, Velvia, E100G and both Provias. CN film I mostly use when softer prints are needed fitting the subject better.

    Best regards,
    Henning
    Last edited by Henning Serger; 05-08-2013 at 04:57 PM. Click to view previous post history. Reason: typo

  8. #28

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    Yes, thank you for the clarification, Henning.... projecting slides is a totally different ballgame. Wish all these web addicts could see a well-done old-fashioned slide show, esp MF. I still have my old trays of Kodachrome 25 (my favorite projection film of all - slightly underexposed, and projected onto a smooth light neutral gray wall which seemed to do more justice to the hues and sharpness than a conventional screen),
    and I've still glass Gepe mounts with 6x7 chromes in them, including the brief era of Kodachrome 64.

  9. #29
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    Nothing beats projection. Except 4x5 or 8x10 chrome at light table :-)

  10. #30

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    Hello. I've been reading this post and it made me join APUG! I recently used some provia 100f to test out my new 28mm lens for my contax G2. I'm disappointed in how cold all the shadows are, and how blue anything that is grey or silver becomes. Particularly asphalt, concrete or aluminum. Please see the attached photos. I wonder what filter i should use to correct this, in particular the train photo. Yes, i know i can "fix" it in photoshop. However i would like a accurate looking slide that every one here seems to speak of. I wonder if i should use a skylight 1A, 1B. Or even go more extreme and use a 81A, B, or C.





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