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  1. #11

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    Apr 2006
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    I use Velvia 100 for the urban landscape as well as the natural landscape.

    But I'm weird.

  2. #12

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    May 2006
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    Brentwood, Contra Costa County, California, USA
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    For me it's K64, and I'm worried that if too many people stop using it out of concern that it's going to be discontinued someday, then that will only hasten that day! I hope that everyone who loves K64 continues to use it like crazy.

    I just scanned some old K64 slides today and was blown away at how well 22-year old color is still vibrant and correctly balanced.

    Pat

  3. #13
    dickie vaara's Avatar
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    Sep 2006
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    I shoot almost exclusively chrome films, and although K64 was a dandy, I have stayed with either of two films for all around great color saturation and fine grain: Kodak E100G, (and any of the Ektachromes still available) or Fuji Velvia 100. Fuji has always been a favorite for bluer skies and greener trees and vegetation, but Kodak won't let you down there either. They can both be pushed a stop if you need a little extra speed.
    Emulsions have improved so much over the last decade that really it just boils down to personal preference. An earlier post said to "test, test, test".
    'Nuff said.

    Richard
    Everett, WA

  4. #14
    donbga's Avatar
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    Nov 2003
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    The simple answer is to try different films and see what works for you.
    Don Bryant

  5. #15
    jd callow's Avatar
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    Jan 2003
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    colour brings emotion or incites it. I think it should be chosen based upon effect before or without regard to practical requirements. Serious and or dour might benefit from a subtle palette such as 160nc. Higher energy or excitement might be best served with UC, Realia or maybe nps. Drama benefits from contrast and therefore Kodachrome, (or most any chrome) or NPC. Sadly the differences between the colour neg materials have narrowed. You can adjust the saturation and contrast some by adjusting exposure, dev. and the use of filters. Techniques that work at the extremes are to pull fast neutral films for a grainy pastel / desaturated look or to cross process chromes for a highly saturated contrasty print.

    For me the bottom line is not to choose a film that meets the technical requirements, but to choose a film that meets the emotional requirements and adjust your technique.

    *

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