I said RVP 50 can be useful at EI64, not 100F. I have rated RDPIII at EI80 on occasion.
EI40 for 35mm is common, ISO 50 is a judgement call. In MF/LF/ULF, ISO 50 to EI64 are fine
While exploring the Fuji "vias" try a roll of Provia 100f and play around with the ISOs a little. I like it at 80 not much less and maybe an 81A if shooting outdoors or 81B late in the day or early A.M.for some additional warming. I find it has a rather puckish color pallet, a bold sense of humor and elegant nose, dry yet flavorful and very ambivalent in its adolescence along with a close kinship to Ektachrome EPR Pro 100.
As Fuji would prefer to say, here's a link to their spec sheet. http://www.fujifilm.com/products/pro..._datasheet.pdf.
Problem is once you find a really nice transparency stock and learn how to get what you need and want from it, they discontinue it.
Without guys like John Coltrane, Count Basie and Duke Ellington, life....would be meaningless.
Originally Posted by Mark Feldstein
Well it was a little confusing because you said this... "RVP 100F: a silly pot-pourri of yellow mustards, bland greens, muggy browns and insipid reds that clash and clang and jar, particularly on Ilfochrome. No great mystery why it's on the way out. Provia 100F is Velvia with a subdued palette and better shadow/highlight tolerance. Much better skin tones than both RVPs. All of my RVP imaging is spot metered, with full polarisation. It remains the gold standard among analogue professionals involved in printing for gallery exhibition. In MF and LF, it is an easier film to work with by dint of separate, disciminate metering. In 35mm, a lot of contrast and tone is packed into a small size which is not always well managed by on-board meters. It's best to experiment with this film so you can make an informed and careful judgement about the film's response to many situations from flat, foggy illumination to marginal emergent point light, because it will require fine tweaking of metering to balance everything, very especially so if the result is destined for printing. EI40 for 35mm is common, ISO 50 is a judgement call. In MF/LF/ULF, ISO 50 to EI64 are fine."
Originally Posted by Poisson Du Jour
So the last film you mentioned was Provia 100F and so that's why I asked for clarification because in terms of sentence structure, you could have been talking about the provia not velvia... glad we settled that, just explaining why I was confused.
EDIT: I just realized you did mention RVP next... but I forgot what RVP was ... I'm not good with the abbreviations for all these films, they never make sense and often don't exactly match what you'd think the name would be matched to, like TMY and TMX, I would think both TMX would be tmax... and RVP... well ... who knows ... VEL and PRV make more sense to me ... something like that. I'm babbling now...
Last edited by StoneNYC; 07-18-2013 at 02:34 AM. Click to view previous post history.
^ I should stick to standard names like Velvia and Provia... I do tend to drift off into my more common working referrals of films. I agree the abbreviations could have been made more meaningful by manufacturers, that point is valid. But what we have is OK after a bit of getting use to.
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True, my brain in general seems to not do as well as many others in the film community.
Originally Posted by Poisson Du Jour
As for the OP's question, for my purposes I did find that Velvia50 of all the Velvia's was my favorite, but that Provia100f seems more applicable OVERALL to more things. It's also still available in 4x5 where Veliva50 isn't (in USA).
Rather than learn different films in different formats, I tend to try and stick with the same film no matter what format, the base might be different but in general it helps to stick with something that can go cross platform IMO.
If you say that velvia 100 is essentially the same as 50, you haven't put it through it's paces. In many cases they are very close. In others, things get ugly. Mainly red as others mentioned and not just in shadows. I was showing a friend some 4x5 chromes over the weekend and he asked "why are these trees purple (pines with red bark) in this one and not in this one?" Rvp 100 vs. rvp, that's why. I only use it when I need the speed/reduced reciprocity.
Also, I'm not sure what provia has to do with the op's question. Totally different animal.
Last edited by wildbill; 07-18-2013 at 11:13 AM. Click to view previous post history.
I know what I want but I just don't know how to go about gettin' it.-Hendrix
I have a constant case of "the grass is greener on the other side" and not enough cash or enough creativity to go through enough of the stuff
Don't know what E100VS printed like, but the slide itself, in all of its garish reds/yellows/orange made everything feel extra summer-ey to me
I just finished a roll of RVP 100, and bought some RVP 100F.
Never tried RVP 50 though
I guess, as having less experience, I shot a few rolls of Velvia 50, Velvia 100 and Provia 100f of the same sunrise to see the differences, yes there was a one difference as these were taken over the course of an hour (in -15 degrees Fahrenheit temps) overlooking the Grand Canyon, and certainly for the Velvia50 I didn't account properly for the poorer reciprocity characteristics, and some were under exposed even being 2-5 minute exposures. But I didn't find the red/orange sunrise to be so significantly different from Velvia to Provia that I would call them different animals. Again, not as experienced so forgive me if I'm saying outlandish things. I was told Velvia100f was too muted in color and not to bother so I never tested that and (from what I've read ^^ it's discontinued anyway?)
Originally Posted by wildbill
So that's why I mentioned it, it's part of the few remaining chromes left and is still higher than true color saturated so why not mention it as a potential side option.
~Stone | Sent w/ iPhone using Tapatalk
You can't rely on other people's experience, if you want to appreciate the difference between these films I suggest you shoot them.