Which Velvia for forest scenes

[anchored]

Velvia in itself doesn't require any special filters... especially since I gather you are scanning films, and it's easier to tweek colors a bit in PhotoShop than in surmising what color-enhancer/corrector to use . I find myself toning down sat levels in reds and yellows in editing when shooting Velvia films.

Reciprocity isn't much of a problem as long as times don't get excessively long (exposure times measured in minutes not seconds) and any slight color shift can be corrected in editing. I would suggest for very long exposures looking towards another film (Provia 100F works very nicely for very long exposures... even times measured in hours).

As for the questions about the circular polarizer: No, a linear polarizer is all that's needed for LF. But... I still use circular polarizers so they can be used on all cameras. No sense in having an expensive filter delegated only for LF, and having to buy a replacement if you should buy a different camera later or have other cameras that you use.

If you're looking to build a filter kit and starting from scratch, the ones to consider buying first (in my opinion):

a) A high-grade polarizer (circular), and not a bargain one. Quality of polarizing filters are very evident in final results.

b) Several Gradiant ND's (one hard, one soft... 2-stop graduations on both to start a kit).

c) At least one ND (2-stop if only buying one and not a kit) for shooting those waterfalls if you are looking for that milky look.

d) An 81B warming filter to warm scenes when the light is too cool. Also works great in conjunction with a polarizer to give warmth to an image.

[gnuyork]

Thanks for the tips, Glen. I definitely see the value of high quality filters. I mostly use B+W with my 35mm and digital. But it's rare that I use filters at all.

[rdenney]

I metered for 11 ev – understanding the film would struggle to capture light values below 8 ev and above 13 ev. The left tree’s black side is a good example of what happens on Velvia-50 when the low values fall well below your exposure!

Heroique--this is really helpful, and it confirms my own experience. So, in Zone System terms, you placed EV11 on Zone V, and EV13 subject brightness ended up at about Zone VIII or IX. It would seem to me that the strategy is to figure out what in the image one wants to place on Zone VIII-IX, meter that, and then choose an exposure (no more than) two stops greater. Sorta like built-in N+2. This is assuming the usual strategy of exposing to control the highlights and letting the shadows fall where they may.

Rick "appreciative" Denney

[Heroique]

Yes, that sounds like a workable strategy for Velvia-50 in difficult scenes like this. I often find myself “exposing for highlights” w/ this film – just the opposite from b/w film. Full texture seems to do okay if it’s within the range of “2 stops over - 2 stops under” of exposure. For example, look at the bright, left-side of the green tree (2 stops over) and its darker right side (2 stops under). The full texture in each place “just makes it.” If either spot had been just 1/2-stop outside this range, detail would have started vanishing fast!

[Jim Becia]

Reciprocity isn't much of a problem as long as times don't get excessively long (exposure times measured in minutes not seconds) and any slight color shift can be corrected in editing. I would suggest for very long exposures looking towards another film (Provia 100F works very nicely for very long exposures... even times measured in hours).

I guess I disagree with this when using Velvia 50. I find reciprocity to be very real. Here is a chart that I have been using for years and find very accurate. And reciprocity starts with exposures as "short" as 4 seconds and goes up from there fairly quickly.

4-----5
8-----12
10----16
12----19
16----28
20----39
25----49
32----66
40----88
50----116
64----158
82----213
108---284

As for color filter compensation, I don't worry about that as the slight correction (if needed) is easily accomlished in Photoshop. I have been using this chart with older Velvia 50 and the reintroduced Velvia 50 and it seems to works for me.

The one filter that I carry and use farily regularly is a warming polarizer. Seems to be just right for my type of shooting. Jim

[gnuyork]

Jim,

Thanks big time for that! I was about to google Velvia's reciprocity numbers.

I will be sans filter this trip as I won't have time to pick one up before I leave. But I'll make necessary correction in PS...assuming I get anything good to begin with.

[dave_whatever]

I would certainly pay attention to the corrected shutter speeds as per the above post. I do this automatically now to the extent that I have to remember not to do it when using another emulsion type!

I wouldn't worry about colour correction though, unless you shoot long exposures of white sheets of paper. I've certainly never noticed any appreciable colour shift in real world use up to say 5min exposures, I've not shot longer than that yet.

[Bob McCarthy]

Not that I'm trying to disagree, but in my experience, the shots that require long exposure times are taken in/near dark. So to a degree ignoring reciprocity gives a dark transparency that looks like night, not daylight.

Me I bracket. and pick the one I like.

bob

I guess I disagree with this when using Velvia 50. I find reciprocity to be very real. Here is a chart that I have been using for years and find very accurate. And reciprocity starts with exposures as "short" as 4 seconds and goes up from there fairly quickly.

4-----5
8-----12
10----16
12----19
16----28
20----39
25----49
32----66
40----88
50----116
64----158
82----213
108---284

As for color filter compensation, I don't worry about that as the slight correction (if needed) is easily accomlished in Photoshop. I have been using this chart with older Velvia 50 and the reintroduced Velvia 50 and it seems to works for me.

The one filter that I carry and use farily regularly is a warming polarizer. Seems to be just right for my type of shooting. Jim

[dave_whatever]

Not that I'm trying to disagree, but in my experience, the shots that require long exposure times are taken in/near dark. So to a degree ignoring reciprocity gives a dark transparency that looks like night, not daylight.

Shirley you meter the scene and set your exposure to make it look how light/dark you want though, taking into account the fact it might need to look quite dark at that stage....although granted I know the technique you describe has been popular for users of 35mm camera with basic automated built-in metering.

[Bob McCarthy]

Shirley! ??