Velvia 50 vs. Velvia 100

[SamReeves]

This is a discussion board, after all, which also allows posting images. I don't see what's preventing a meaningful discussion.

Yup. Except the "I will die with film in my grave people" will call everything digital nonsense. Hell, I used to be one, but then saw the light. Film types aren't really that important anymore. Almost all transparencys can be made to look the same through the use of Photoshop.

Whether it's Velvia 50 or 100F, it can all be enhanced in Photoshop. Therefore no need to debate what is slowly becoming all oranges.

If this is truly the case just use a small point and shoot and then fix it in Photoshop.

steve simmons

What? Not going to sell me a View Camera article on how to get started with a small point and shoot and then fix it in Photoshop? I'm shocked!

[Dave Parker]

I don't knock digital, heck it is pretty much what I use exclusively for my wedding work. I don't think going digital for some things is "Seeing the Light" it is called good business sense, depending on what your doing.

I still don't understand why every time a thread of this nature comes up it goes this way.

I have looked at virtually every action or filter on the market that claims to emulate Velvia and still have not found one that capture all of what that film has to offer. If PS could make all things look the same, then I don't understand why many of my clients specifically ask for chromes for several of the jobs I get hired for? Or why, the film companies are still introducing new emulsions?

Again, I fail to see why this has to become digital vs. film again?

Dave

[Dave Jeffery]

I threw a few chromes that had just arrived on the light table and I was in shock at the color. I was wondering what I had done and how the pinks and oranges were so vibrant and when I looked at the film it was the new Velvia 50! I picked up a box of it before my last trip to Zion and was not expecting it to be a lot different than the old Velvia 50 so I wasn't expecting much.

Wow, for the colors at Zion this film is amazing especially in the pinks and oranges. The yellows seemed to have more saturation as well. The colors are not true to life which is why I also shoot Astia, but the visual impact is incredible. I was shocked.

As a previous poster mentioned you can just jack up the colors in Photoshop, but with this film there will be a lot less time needed, if that is the style you enjoy.

I shot the new V50 at 50 and the results were perfect while I used to shoot the old V50 at 40.

I'm looking forward to reading Ted's article.

Fuji did a great job IMHO.

[roteague]

And this is, of course, only your opinion. Other people may well have a very different opinion, and many indeed do. Everybody has one, as the saying goes.

Following your logic, your opinion would also be plain nonsense from their point of view. And who's to say who's right, if anybody?

Quite obviously you don't understand the nature of Velvia. Contrary to what you and the PS gurus seem to think, it isn't only about saturation. Saturating an image WILL NOT give you a Velvia look.

The statement was pure nonsense.

[roteague]

Almost all transparencys can be made to look the same through the use of Photoshop.

That is absolute and pure nonsense.

[JPlomley]

Dave (Jeffery),

This is great news! I'm boarding the plane tomorrow evening at 8:00 pm heading for Vegas and then driving to Zion first thing Saturday morning. I'm taking 100 sheets each of RVP-50 and E100VS, so your feedback on the performance of RVP-50 in the Southwest is timely (so far all my shooting with the emulsion has been in the East). As an aside, where did you get the film processed? I'm thinking of sending mine to Photo Craft in Boulder CO since they have no problem shipping the processed film back to Canada. They're also a bargain at $1.40/sheet!

Cheers,
Jeff

[Marko]

Quite obviously you don't understand the nature of Velvia. Contrary to what you and the PS gurus seem to think, it isn't only about saturation. Saturating an image WILL NOT give you a Velvia look.

The statement was pure nonsense.

Well, I am at least aware of my deficiencies and willing to ask those who know better. I found that to be a very healthy practice, you should try it some day.

My point was not about the abilities of digital processing, it was about the common courtesy, or rather lack of on your part.

To repeat, what I said was that we are all just stating our personal opinions here and that your opinion about something could as well be considered nonsense by the other party. Considering how you tend to imply, simplify and distort things, they may well be onto something.

In other words, you only get as much respect as you are willing to afford to others.

[Dave Jeffery]

I think you will love the results of the new Velvia 50.

It is especially nice in Zion where the massive slabs of rock have sheared of the walls leaving the clean pinkish orange sandstone that contrasts with the weathered sandstone with the greyish desert varnish. I almost wonder if the older Velvia images will look dated given the pop of this new film.

I use Calypso Imaging ( http://www.calypsoinc.com ) as recommended by Robert Teague and I'm very happy with the results and service. Photo Craft also gets great reviews so I don't think you can go wrong with either service.
I have a vested interest in sending as many people to Calypso as possible in order to help keep the chemicals there as fresh as possible, so although I'm not affiliated with them........

If you need more info send me a PM if needed and if I don't talk to you have a great trip! The leaves are supposed to be perfect right now in the main part of the canyon.

[Ted Harris]

Note that the ONLY difference I saw in my tests between the old Velvia and the new Velvia was in the magentas at shortly after sunrise. In that situation alone the new film appears to have slightly more magenta saturation/cast than the original. It is enough of a difference that it is even apparent in the printed images.

[steve simmons]

Almost all transparencys can be made to look the same through the use of Photoshop.

The only way to really do this is to study the spectral sensitivity of each of the layers in each film and then to build curves in Photoshop to adust one film to match another.If you are not willing or able to do this then you can't make one film look like another.

To me, this would be a painfully tedious process. I would prefer to pick the film I like, learn how to expose it correctly, and then shoot.


steve simmons