Velvia 50 vs. Velvia 100

[roteague]

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

Thank you Steve. So many people think Velvia is only about saturation. The spectural sensitivity differences are why people used to argue about Velvia vs Ektachrome back in the old days. So many of the young digi-photographers want the look without the work, without really understanding what makes the film work.

[Dave Jeffery]

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.

Thanks Ted for letting people know right away that it is only that one area of color that has changed. Given that the color improvement is only in this one color range the new emulsion may not provide much benefit for shooting a lot of areas or subject matter, and many areas in Zion are not that color as well.

I appologise to those of you that may have become overly excited about the film.

It would be my luck that I did catch that slight change in a big way. I was shooting at sunrise and a light magenta would be very close to the color in the shots, and since there is so much of it in the images, and also because that is one of the areas where I primarily shoot, the change in emulsion made a big difference to my eyes. It really was a shock to see the chromes. It's great to hear the color will be noticable in prints as well.

Once again the shots were made very early and the canyon walls do wash out quickly.

It will be interesting to see the results from other areas in the desert that have a lot of color near that spectrum.

[Ted Harris]

It's not just the color saturation it is the interaction of the color with sharply angled natural natural light and it's reflections ... it was cloud reflections in the water that showed the effect. Similar shots two hours later did not show it.

[gregstidham]

I would like to mention that differences are also noticeable in the details captured within shadows. Color saturation is only one of many factors I consider when choosing a film. Velvia 100, Astia, Provia, and new Velvia 50 all had subtle differences in the tests I did.

IMO, it is very helpful for magazines like View Camera and some online sources to do film tests, but I feel every photographer should do their own tests to better understand new emulsions and then decide whether or not the new emulsion will communicate their vision of the subject to be photographed.

[Dave Jeffery]

I'll also add that I was shooting in a somewhat narrow canyon, again very early, where the low light is bouncing off redish- pink walls which is also different that a subject shot in direct light? The color changes quickly as the sun rises.

I'm glad someone posted the link to the color illusions page that shows how our minds can see the same color differently based on the surrounding colors. I am not immune to a potentially distorted perspective.

I wonder about the results of this film when shot in places like Antelope Canyon, The Coral Pink Sand Dunes, Red Canyon etc.

[JPlomley]

Dave,

I'll be able to report back on the Coral Pink Sand Dunes and RVP-50 as this is on our itinary.

Jeff

[Dave Jeffery]

Hi Jeff,

Hope you're having a great trip!

As far as the new Velvia 50 I wish I could get the chance to read Ted's article so I had a better idea of whats up with the new immulsion.

I finally had a chance to put the chromes back on the light table and was still amazed. After looking at a lot of images shot with Provia, Astia and Velvia 100 the Velvia 50 jumps out.
I isolated one scene was shot within a matter of minutes with Astia 100 @100, Velvia 100@125 and the new Velvia 50 @50 asa. Only a UV filter was used and this was just slightly after sunrise in a narrow canyon where a lot of light bounces off the pinkish orange walls. The walls of the canyon are pinkish red with grey desert varnish and the leaves on the trees were yellow, red and orange FWIW.
The Astia was, as always, very realistic and as always seems muted beside Velveeta. The Velvia 100 had a magenta cast, the pinkish rock was magenta, and some of the darker areas that were dark grey had a little magenta in them and I only noticed how much when comparing the 100 to the 50.
The Velvia 50 seems so dramatic to me because it handles the pinkish-redish rock just as it should with a little boost of color, the yellows were over the top a little too much but had a lot of impact, and the oranges were slightly golden. In a couple of areas where the rock had a lot of light orange the rock looks like just like shiney gold which is stunning at first, but is also not realistic. I have never seen orange yellow rocks turned to gold yet on film.
When I initially looked at the images they jumped out, as the yellows were popping, the reds were boosted, the pinkish red that I am most familliar with and love was perfect and enhanced, and the rocks were gold! Not true to life but very enjoyable.

I have to back through my old V50 images and do more comparisons with the 50 vs. the 100 but the 50 will be the film of choice for now for areas with the pinkish red colors where a color boost is desired.

Well that's a newbies take on things and it will be interesting to hear about others results.

Have Fun!