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Thread: velvia 100f

  1. #11

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    To me Velvia 100F has more natural color and contrast than either the 50 or 100 versions. I like RVP, but I don't trust it in many situation, and I don't shoot landscapes often, therefore 100f is better suited for me, even it it doesn't have the full impact of RVP 50.

  2. #12

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    Whilst I like Velvia 50 (old and new) and Velvia 100 (no F) I am not a fan of Velvia 100F. I think it shares the issue of exaggerating colour in low light situations with all the other Velvias but additionally has a number of characteristics I find unattractive in brighter light. These appear to me to be related to a bias towards red or magenta in the films make-up. As well as exaggerating reds, it has the effect of adding magenta to skies (Velvia 50 can hold a cyan, Velvia 100F can't). Bright yellows lose their purity and drift towards orange; oranges drift to brown/copper. Pale grey rocks can look pinkish. Distant vegetation, naturally a dullish olive, is rendered brownish. I don't see a major loss in saturation per se, but I can see how some of the colour shifts I have noted might give that impression.

    Now these aren't casual comments- I use hundreds of rolls of Velvias in a year, and since I originally thought that Velvia 100F was going to replace RVP I viewed it very seriously and used quite a lot of it. I think you also have to ask yourself why Fuji launched another 100ISO version a couple of years after this film- it was plainly not going to be possible for them to discontinue RVP -which they intended at the time- and leave the future of the Velvia brand in the hands of 100F alone. The film resellers I've talked to indicate that 100F is not a terribly popular film and doesn't sell quickly through them.

    A film for the Grand Canyon? Well if you want the brightest reds in absolute terms and in full sun then this could be for you. It might not seem quite so bright as it is though because the skies will seem a touch less blue. The brightest at the ends of the day?- well I'd choose Velia 100 over the 100F and the 50 for maximum colour at dawn and dusk. If you want the classic orange/red rock and strong cyan/blue sky then the new 50 will be best for that in my view. And if you want a more natural but still strong rendition then try Provia 100F and get an extra half stop (or so) dynamic range whilst you're about it.

    Velvia 100F is not a horrid film- its just the worst of the Velvia options available and as such I can't find a use for it in my portfolio that one of the other Fuji slide films won't deliver better.

  3. #13

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    I would not take any Velvia to the Grand Canyon. VS is a much better choice for the colors you will be finding. VS has a very warm, natural color palette. All the formulations of Velvia are cold and have a oversaturated primaries. VS is especially good with iron reds, coppers, oranges, browns, amber, gold and the like. Velvia will render these colors very dull and grey.

    You should really get a roll of each and evaluate them before you go. The Grand Canyon is a breathtaking place. I was there years ago, when I was young and foolish, and it breaks my heart to look at beautifully composed shots - on Kodak print film. :-(

  4. #14
    keithwms's Avatar
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    I don't think there is any credible argument that any single film is the do-all for this kind of work. I have many different films in the bag when I go out; I assume everybody does.

    It so happens that I do shoot a lot of velvia 100. I had a situation when it did something very nice for me: I was in monument valley and there was an unusual late spring storm that had the whole valley under very heavy cloud. The range in the scene was very small: the light would have been dead flat to anything but velvia 50 or 100.

    But I have also had situations when I felt that either astia or provia 400x was more suited to the task than velvia, or when it was clear that a good print film made a lot more sense because of the range in the scene. If I had to pick one film for the grand canyon then... well, forget it, that's just not a realistic constraint. Take a velvia and one of the new ISO 160 print films and be happy.

    I didn't have a good time with 100F, but it's not even worth telling you what my impression was, it's something one has to try for onesself.

    Regarding "exaggerated saturation" in velvia: well, when I look at a colour scene, if I think strong colouration is inherent in a scene and plays an important role then I reach for a film that will deliver that message. Obviously I don't take pictures of grey walls with velvia. People sometimes intone that velvia is somehow lying about what's there. Look, every photographic film imposes a particular personality on a scene. We like that and that's why we have different films and not just one digital sensor with "optimal colour fidelity," whatever that means. We just have to learn how to use the personalities of the films as a tool rather than a gimmick.
    Last edited by keithwms; 01-30-2008 at 02:39 PM. Click to view previous post history.
    "Only dead fish follow the stream"

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