Velvia 100F is difficult to scan because of its quirky red and yellow-green channels that are almost always overcooked when picked up by scanners. The palette must be stripped and virtually rebuilt to get the right look, then the printing difficulties too. Really, too much trouble for what it's worth. 100F was never popular, almost thought of as an experiment that had gone badly wrong for Fuji, and they know it. Velvia 100 is essentially the same as 50: a boost to the speed but with a lower clipping point; it is known for its very pure whites but it can look way too red/purplish when scanned. Like 100F, its greens are nowhere near as triumphant as 50. The majority of photographers will always gravitate back to RVP 50 after disappointing themselves (or having a disaster) using either/both of 100 or 100F. I finished using 100F around 4 years ago after scrutining a lot of work done on it in rainforests (heaps of green), afterglow (after sunset — purple, pink and blue) and was reasonably happy with the last category but never with rainforest imaging: it just was not right under polarisation and the greens were lily-livered and lacking in delivery. As for 100, very easily blowing out highlights and blocking up shadows — akin to a slap in the face and a sock in the eye, was enough to throw out the other 3 rolls. If photographers want to use 100 I recommend very careful metering and err on the side of underexposure (e.g. –0.3). If anything blows (e.g. mild spectrals in water, on trees etc.) it will be unrecoverable.
Good to know this is great info, thanks, I've heard before people say that you should underexposed it and read it at 80 or something like that, so that makes sense. What I want to know is where to get one of these special color filters for long exposure, that are mentioned in the data sheets I need a 77mm if possible.
~Stone | "...of course, that's just my opinion. I could be wrong."~Dennis Miller