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Thread: Velvia and the Digital Worklow

  1. #11

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    Velvia and the Digital Worklow



    in a world where one can adjust in photoshop for all the things that make velvia, well, velvia, does it really make sense to continue to use RVP?

    Velvia and Photoshop should never occur in the same sentence.

    If you want those colors and use Photoshop, why not make the colors in Photoshop from a more scanner-friendly film?

    Velvia, the Cheeze Whiz of film.

  2. #12
    Big Bend
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    Velvia and the Digital Worklow

    What about Kodak Ektachrome E100G?

    I have yet to try this in 4x5 (because I'm a noob to LF) but it was a great surprise in MF, good color, not too contrasty, and scans well.

    I have seen other LF users rave about it in 4x5. Maybe give it a whirl and see what you think.

    Forks

  3. #13
    Scott Rosenberg's Avatar
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    Velvia and the Digital Worklow

    things that can be controlled in photoshop:
    resolving power
    color cast
    contrast
    saturation

    things that can't be controlled in photoshop:
    grain size
    latitude
    ease of scanning

    i guess when one incorporates digital processing into their workflow, the ideal film would be one that has good resolving power (no worse than my sharpest lens), very fine grain, very wide latitude, and scans easily... others aspects are ignored, assuming they can be adjusted in photoshop. knowing this, i think i'll experiment a bit with astia, provia, and the new 160S with a goal of velvia-esque color and snap yet an astia or nps range of highlight and shadow detail.

  4. #14
    Scott Rosenberg's Avatar
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    Velvia and the Digital Worklow

    oops... resolving power, obviously, should have been in the 'can't be controlled by PS' column!

  5. #15

    Velvia and the Digital Worklow

    The problem with using a film like Velvia is that everything in your shadows is lost, lost forever.

    I have developed the following personal rules from painful experience trying to pull detail out of shadows with consumer scanners:

    I never shoot white water with chromes, I never shoot superwide with chromes (too much light falloff), I never shoot snow with chromes, I never shoot direct lit scenes with chromes.

    That doesn't leave a whole lot of my photography left for using Chromes. Mostly just narrow FOV overcase woodsy scenics with no roiling water. Or if I absolutely need shutter speed and am willing to trade speed for pushed Chrome DR. (I give my NPS 160 as much light as I would an ISO 50-60ish version of Astia 100F, which maximizes shadow detail, and the film can handle things in the highlights).

    Of course I miss that wonderful experience of seeing a "finished" product on the lightbox. But I am not willing to trade that for rich tonalities and details in my shadows.

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