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  1. #1

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    Which chrome film?

    Hi there

    Pretty soon I'm entering MF world, and I already have some EPR and EPP stocked in the fridge in 120 format, but I feel I'd like to try something else...

    In 35mm I've used mostly new Kodak films like E100G, E100VS, EPY for indoors etc., plus Fuji Velvia 50, old Astia and Sensia 100

    But this summer I'd like to shoot some greenery. I've already asked a similar question in a previous thread, but it was about color neg, but I've decided to stay with E6 for the time being, so I'm asking about slide films this time...

    I'd like to try either Velvia 100F, 100, Provia 100F, or Astia 100F

    After I buy the camera, I'm going to buy some more film, this time Fuji, and I don't want to take one roll of each, because I want a whole bunch of it, so I don't have to buy every week (you have to oder in my town since they don't stock pro films)

    Here is what I want:

    Something that is going to have a lot of subtlety in gradations and exelent color separation (this is the imperative!).
    I want a thousand shades of green, violets, lavanders, blues etc.
    Plus really smooth gradations.
    Saturation is ok as long as it doesn't screw up the above aspects, I don't want it to look cartoonish.
    Nice color, as long as it feels realistic.

    Subjects are going to be mostly nature scenery, and light is going to involve a lot of magic hour shots, plus maybe some before/after storm light
    I've got the sunny part covered with films I like already.

    The problem is since magic hour becomes quite blue, some films tend to make everything look the same color, and you lose the fine distinctions between different shades of color.
    Now I want a slide film that will still distinguish every nuance of green plants, and sky colors, after the sun sets, but still get a colder feeling.

    Some more contrast is ok, as long as it is smooth and beautifull and doesn't feel rough like a bad print.

    I assume Astia 100F might do the job here but I don't know since I haven't used it, and I know so little about Provia 100F and 400F, so I don't know how would they perform,
    and I also don't know how Velvia 100F would perform.

    Now a word about Fuji films that i DID use, so you might better understand my needs:
    Velvia 50, well I find that it lacks the gentle touch (though not weak) that I am looking for for this kind of stuff, does Velvia 100 have more subtlety in it?
    I liked Sensia for this kind of stuff, though I felt it was a bit too warm, and if it had maybe a tad more contrast.

    Hope all of this is enough to help me out..

    thanks

  2. #2
    roteague's Avatar
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    Do not use Velvia 100F, you will be disappointed. Try using Velvia 100.
    Robert M. Teague
    www.visionlandscapes.com
    www.apug.org/forums/portfolios.php?u=2235

    "A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; a man who works with his hands and his brain and his heart is an artist" -- Louis Nizer

  3. #3

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    Why, what's wrong with it?

  4. #4
    Dave Parker's Avatar
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    Quote Originally Posted by Ed_Davor
    Why, what's wrong with it?
    Saturation levels are not even and are not correct, contrast is terrible, just not a good film, very flat lacking contrast and shadow detail, I would not shoot it again and I have been a velvia shooter since the day it came out, of course I don't understand your comment about Sensia being to warm, I have always found it to be a very neutral film with no particular slant on color bias..

    Dave

  5. #5
    naturephoto1's Avatar
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    I have yet to try Velvia 100, but I defer to Robert, we generally have similar tastes in our film selection.

    As to your comment that magic hour becomes quite blue that is not correct. Magic hour (or about an hour and a half twice a day) the time of about 1/2 hour before sunrise to the hour after sunrise and the hour before sunset to about 1/2 hour after sunset is warm in color. Depending on the morning/evening light and time the colors can vary between magentas and purples to reds, pinks, oranges, golds and yellows. If you are talking about shadow areas, then you are correct shadow areas shift to the blue end of the spectrum and many transparency films react heavily to those conditions. Between magic hour and magic hour the light is bluer and bluer until mid to late afternoon and then it decreases.

    Rich
    Richard A. Nelridge
    http://www.nelridge.com

  6. #6
    Dave Parker's Avatar
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    I have to agree with Rich, if you understand how Fuji chrome film works, you will not have a strong blue bias to the film, you miss a shot by 1/2 to 1 stop, it will go blue on you, I started out with k12 and k14 films years ago and it had its problems as well most time heading into the red spectrum, fuji films always go into the blue spectram when under exposed, but as Rich said, the predominate colors in magic hour is warm and not cool.

    Dave

  7. #7
    agGNOME's Avatar
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    Good thing you have very seasoned color users to help you decide. In my experience with trans. film , I've used mostly 100 ProviaF and have found that it delivers pretty accurate colors with a subtle to pleasing saturation. At times I've noticed a slightly cool cast under strobes.

  8. #8
    agGNOME's Avatar
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    I just went and looked at some of my chromes, and I really like the provia's qualities (color balance/grain/saturation) as compared to astia , which is supposed to reproduce more accurate color. These aren't landscapes , but if you're interested Ed I can send you examples.

  9. #9

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    I am having some purple-ish skies from Velvia 100F during early night (just past sunset) exposures, so I will add to the other somewhat negative comments above. I am a huge fan of Astia 100F, especially for any more natural and subtle imagery.

    In just a green capture capability, I find that Kodak E100GX works very well. I had a tough green photographing an old Morgan sports car, and the 100GX got it exactly. It also worked quite well with foliage in trees, and deep green grassy areas. Might be the ultimate golf course film . . . .


    Something not mentioned yet is Kodak E200. This is a medium to low contrast colour film, really great for deep blue skies and long exposures. It also pushes quite well; I have had it 4 2/3 stops out (with compensation) on many shoots. My main usage for E200 is low light and night images, conditions when I have not found any other film that works quite this well.

    Ciao!

    Gordon

  10. #10
    agGNOME's Avatar
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    Quote Originally Posted by HerrBremerhaven
    My main usage for E200 is low light and night images, conditions when I have not found any other film that works quite this well.

    Ciao!

    Gordon
    Hey Gordon, have you tried fuji or kodaks 64 tungsten films for this purpose?

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