Dynamic range of color negs vs transparencies

[DrPablo]

As I embark upon my LF hobby I'm disappointed to learn that Velvia and Provia don't come in 4x5 negatives. I'd like a rich, saturated film for landscapes, but I'm apprehensive about the dynamic range of transparency film.

So is there a comparable negative film that's useful for landscapes and cityscapes? Or is the dynamic range of transparency film sufficient that I should just go for the Velvia anyway?

Thanks,
-Paul

[Kirk Gittings]

Color negatives scan beautifully with a longer scale to play with. Saturation can be dialed in when working on the files later. In my experience shooting architecture. I can make a scan of Fuji Pro 160s look like a Velvia scan if I want to or not.

[Brian Vuillemenot]

The reason why Velvia looks so great is because of the contrast. In warm, low contrast light it just sings. You can't have your cake and eat it, too, so you might want to try using transparency film in low contrast situations and carry some negative film for photographing in high contrast light.

[Eric Leppanen]

Theoretically, maximum image quality is achieved by matching the contrast of the film to the contrast of the scene being photographed. By doing this, tonal and color separation is maximized, making for (theoretically) a more dramatic, interesting looking print.

High contrast chrome films such as Velvia and E100VS are best suited for low contrast situations such as the first few minutes after sunrise (or before sunset); shade or overcast skies; and evenly lit scenery where there are no significant shadow areas.

Provia provides at least 1/2 stop more exposure latitude than Velvia, and can handle more contrasty situations. I use Provia as my most general-purpose film. However, Provia's exposure latitude is still rather limited, and is not suitable for mid-day open sunlight photography.

Print film provides at least two stops more exposure latitude than Velvia. If you are looking for a universal film that will produce usable results in the broadest array of situations, then print film is it (I second Kirk's suggestion of Pro 160S). However, it has less color saturation than chrome and will tend to look flat in low contrast situations, so you will need to perform digital post-processing to correct these issues. I personally do not think print film can produce results as good as chrome film in situations where chrome film is best suited, but a good digital printer can get fairly close.

The nice thing about LF is that you are shooting individual sheets of film, and can easily match film stock to the scene at hand. I personally carry Velvia 100, Provia 100F and Pro 160S and select the film best suited for the situation. The availability of all these films in Quickloads makes use of multiple film stocks even easier. If you don't want to go to this trouble, then obviously you will need to prioritize.

Bear in mind that if you get good with ND grad filters (not hard to learn), then chrome film can become a little more universal (especially with fixed horizon lines like sunrises and sunsets). If you are concerned about getting exposure correct with chrome film, you can always exposure bracket (if you don't mind the additional film/processing expense).

[paulr]

High contrast chrome films such as Velvia and E100VS are best suited for low contrast situations such as the first few minutes after sunrise (or before sunset)

Or to normal contrast situations, when your job is to create advertising photographs to sell products to color blind and attention span-challenged consumers ;)

[Ron Marshall]

Another vote for Fuji Pro 160 S. I was very impressed when I tried it recently. It scans very well, grain is no problem, color saturation and contrast are good, not as good as velvia, but that can be adjusted easily in Photoshop.

[Bruce Watson]

I use 5x4 160PortaVC for landscape. Comes in Readyloads, which is very nice if you are out in the field and don't want to spend an hour a day doing the "filmholder dance." It scans well and is sufficiently saturated that I often have to dial back the saturation in Photoshop to keep within the gamut of my printer.

I for one have never felt the need for a transparency film. Never use 'em.

[tim atherton]

As I embark upon my LF hobby I'm disappointed to learn that Velvia and Provia don't come in 4x5 negatives. I'd like a rich, saturated film for landscapes, but I'm apprehensive about the dynamic range of transparency film.
-Paul


huh? Velvia and Provia don't come in negatives in any format...

[DrPablo]

I appreciate all the insights. I'm sure as I get started I'm going to go through a lot of film just to learn the craft. It may be worthwhile for me to shoot both Velvia and one of the negative options side by side to compare their capabilities.


huh? Velvia and Provia don't come in negatives in any format...

I didn't realize that -- I'm coming from a digital background.

[tim atherton]

I appreciate all the insights. I'm sure as I get started I'm going to go through a lot of film just to learn the craft. It may be worthwhile for me to shoot both Velvia and one of the negative options side by side to compare their capabilities.



I didn't realize that -- I'm coming from a digital background.

Ahh... in that case it is worth doing a bit of research seeing how colour neg and transparency compares and what the practical and aesthetic differences are. A slight learning curve, but not too steep.

Also, perhaps understanding a little bit about how and why neg and transparency tended to be used in the past, and why digitization (i.e. scanning) has changed that somewhat (such as mentioned in Kirks post above)

[tim atherton]

BTW - has anyone else started to experience what was mentioned in the C41/Alberta thread?

None of the pro labs in the whole province of Alberta processes sheet C41 anymore...

This isn't just a case of no lab in a particular town, but a whole geographic region...

[Ron Marshall]

Tim, That "whole geographic region" really consists of just Edmonton and Calgary.

[tim atherton]

Tim, That "whole geographic region" really consists of just Edmonton and Calgary.

well yes - but for a population of 3+ million in the most affluent province in the country, there isn't one lab which processes C41 sheets anymore - kinda depressing, and doesn't bode well imo

[Gordon Moat]

BTW - has anyone else started to experience what was mentioned in the C41/Alberta thread?
...

The primary lab I use in the San Diego area does not do C-41 processing beyond roll film sizes. Not a big deal for me, since I use E-6 for nearly everything. Probably a few places left in the county, but I have not checked. When I am in Houston, then I don't know of any places for C-41 of 4x5, and lately seems tough to find good quality E-6 processing with same day turnaround.

Ciao!

Gordon Moat