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  1. #11

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    Quote Originally Posted by Gary Holliday
    Are you this isn't just a colour temperature issue? The light changes throughout the day and I've read that Kodak looks better in the US than it odes in the UK.

    Does anyone actually bother to use a colour temperature meter before shooting?
    Well, I have not taken photos in the UK, and my usual locations in the US are much further south than the UK, so perhaps there is some latitude effect?

    On the time of day issue, I shot Velvia 100F within a couple minutes of E100VS under the same daylight conditions, so that is how I came to my observations there. These were also unfiltered images, so no influence in that regard.

    With the night and after sunset images, it is tougher to make direct comparisons, since I am doing several minute exposures. There might be enough difference in the colour temperature over several minutes to affect that. However, when I was able to shoot Velvia 100F and E100VS on the same night, with exactly the same filtration, then the E100VS was definitely bluer, while the Velvia 100F was more magenta. I know, not very scientific, but I am consistently getting the same results. Going from an 82B to an 82A, I still found that E100VS gave bluer night skies than Velvia 100F with an 82B or an 80A.

    I had a colour temperature meter a few years ago, and largely found it useless for what I wanted to do with saturated colour films. Quite possibly there is enough of a constant shift in urban city scenes at night that colour temperatures are varying at a constant rate . . . I just don't know on that, but when I am getting the results I want I don't feel a need to question any further.

    I have many years of using E100VS, and have found it consistent across 35mm, roll film, and 4x5 sheets. My usual processing place is a Fuji biased lab, so maybe that has some influence on my results. With the Fuji films, older Velvia 50 gave different results than 100F or Velvia 100 (no F). So far, I cannot state I like 100F at all, though I find that Velvia 100 works nicely in some scenes. If I were to generalize, I would state that Velvia overall is cooler than E100VS in daytime exposures, and warmer overall than E100VS in night exposures.

    Hopefully I have explained that better. I do find your comment about more northern skies interesting . . . there might be an atmospheric or latitude influence. Maybe Photo Engineer can find this thread and throw in some comments.

    Ciao!

    Gordon

  2. #12
    Gary Holliday's Avatar
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    Quote Originally Posted by HerrBremerhaven
    I do find your comment about more northern skies interesting . . . there might be an atmospheric or latitude influence. Maybe Photo Engineer can find this thread and throw in some comments.

    Ciao!

    Gordon
    Sorry I can't elaborate more on the subject, but this came from a discussion years ago with my boss when I was being trained.

    He stated that American pro photographers preferred Kodak as it was calibrated or looked better in "American" light. Kodak didn't look great in the UK, so most of us shot Fuji.

    I'm looking for a new trannie film myself and looking for something neutral, I've tried a roll of Provia so will keep an eye on this 100F thread to read peoples' observations.

  3. #13
    roteague's Avatar
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    Quote Originally Posted by Gary Holliday
    He stated that American pro photographers preferred Kodak as it was calibrated or looked better in "American" light. Kodak didn't look great in the UK, so most of us shot Fuji.

    I'm looking for a new trannie film myself and looking for something neutral, I've tried a roll of Provia so will keep an eye on this 100F thread to read peoples' observations.
    I don't think that is true. Fuji Velvia has been the preferred film for outdoor/landscape photographers in the US for years.

    Velvia 100F was not really designed (or so Fuji says) with the outdoor / landscape photographer in mind. If that is the type of work you are doing, I would highly recommend Velvia 100 instead.
    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

  4. #14

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    Quote Originally Posted by Gary Holliday
    . . . . . . .
    He stated that American pro photographers preferred Kodak as it was calibrated or looked better in "American" light. Kodak didn't look great in the UK, so most of us shot Fuji.
    Most of the pros I know in the US are using Fuji films. Maybe because I am German, but happen to live/work in the US, I use mostly Kodak?


    Quote Originally Posted by Gary Holiday
    I'm looking for a new trannie film myself and looking for something neutral, I've tried a roll of Provia so will keep an eye on this 100F thread to read peoples' observations.
    In the past, I used mostly Kodak Ektachrome 64 for that neutral look. In the last couple years, I have switched to Fuji Astia 100F to get that neutral look. I never liked Provia in any variety, though I understand it is a favourite of many. Most of my work involves lots of saturated colours, so I tend to go for saturated films, like E100VS.

    With roll films, or 35mm, you might want to try out Kodak E200 too. This is more medium to low contrast, and fairly natural colour rendition. Unfortunately not available for large format.

    Ciao!

    Gordon

  5. #15
    roteague's Avatar
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    FWIW, here is an image taken on Velvia 100, with a nice slow shutter speed.

    http://www.apug.org/gallery/showphot...00&ppuser=2235

    It seems to be more on the blue side, than on the magenta side.
    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

  6. #16

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    I think that the Velvia 50 with its exaggerated pallet is supplying many photographers with what they want. It depends on the types of photos that they wish to take and their own sensibilities that determine what they like. Velvia may not be a photographer's dream if he/she likes pastels and subtle coloration or skintones.

    This photographer prefers Kodachrome 25. I also love Panatomic X, Konica Impressa 50 and Polymax paper. Well, we all know what happens to the things I prefer: The La Brea Tar Pit Syndrome.
    Claire (Ms Anne Thrope is in the darkroom)

  7. #17
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    Quote Originally Posted by Claire Senft
    I think that the Velvia 50 with its exaggerated pallet is supplying many photographers with what they want. It depends on the types of photos that they wish to take and their own sensibilities that determine what they like. Velvia may not be a photographer's dream if he/she likes pastels and subtle coloration or skintones.

    This photographer prefers Kodachrome 25. I also love Panatomic X, Konica Impressa 50 and Polymax paper. Well, we all know what happens to the things I prefer: The La Brea Tar Pit Syndrome.
    Claire,

    For those familiar with and experienced using Velvia 50 it has more than just an exaggerated pallet. It can certainly render delicate colors and tones in the right conditions.

    See the following:

    http://www.apug.org/gallery/showphot...0&ppuser=11550

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

  8. #18

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    Thank you for your helpful interest. I am aware that Velvia may be manipulated and with different techniques give a wide variety of differing results. One could also claim that Astia can with a number of techniques be made to provide a wide variety of saturation and contrast.

    It, is I believe for each photographer, to determine what qualities they prefer in film(s) and use those materials best suited to give them what they want. In one case Velvia may be just the very best choice in other cases it may not give one what they want.
    Claire (Ms Anne Thrope is in the darkroom)

  9. #19

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    Quote Originally Posted by naturephoto1
    Unfortunately Gary very few of or any of us use color meters to gauge the color temperature that I know. At this point due to cost and weight of these meters, most color transparency photographers rely on their experience and/or tests of the films with filtration when needed/appropriate.
    Actually I have been using a Gossen Color Pro 3F color meter for the last year, and have been very happy with it. It is very small and light, and was recommended by Charles Cramer in a fairly recent View Camera magazine article. Used meters sell for around $500-$700 on Ebay, and come up for sale fairly regularly. Here is the manufacturer's spec sheet (I presume that the "Color Pro 3F" and "Colormaster 3F" are the same product, they certainly appear identical):

    http://www.gossen-photo.de/pdf/colormaster_e.pdf

    Just add several warming filters of varying strengths (and maybe a cooling filter too), and you're good to go!

  10. #20

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    My 2 cents, I've had mixed results from my limited experience with Velvia 100.

    In 1 day, I shot a couple of different compositions, same batch of Velvia, same day, same processing.

    Composition 1: a white-bloomed service tree against a blue-sky background, Heliopan warm tone polarizer (partial), shot with Velvia 100 and Kodak E100G. Sunlit. I liked the Velvia better. Less warm, nice neutral white (which is why I didn't like former versions of Velvia that much), no "dirty" cyan or green cast, preferred Velvia to Kodak. Velvia 100 had a very "clean" look.

    Composition 2: small wet-weather fall, shaded cliff, sun and shade, rainbow in falls. No polarizer as it would cut the rainbow. Velvia came out very magenta, especially when slightly underexposed to emphasize the rainbow. Kodak much less magenta, more blue but not excessively so like the Velvia was magenta. Liked the lack of magenta in Kodak, but other than that, they were about equal although I subjectively thought the Velvia did the rainbow a bit better. Light was changing here so it was hard to be sure.

    So I think it's the exposure and light quality.

    Steve

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