slight green cast on Fuji Velvia 100

[parkerm@freenet.co.uk]

Hi;
still working away at my wife's paintings. I have taken the great advice to persevere with my 300mm Symmar S stopped down to f22 and popping my flash set up twice with the shutter left open. I am shooting on Velvia 100.

I process my own E6 and mixed up a fresh batch of solutions. Did the pre-heat, agitated as described and generally followed all the TETANAL instructions (including mixing the first developer in a separate room to the second developer bottle).

Previously I had shot flash on Provia.

The final result on the Velvia 100 seems to have a slight greenish tinge to the white wall background. The colours of the paintings themselves don't seem to be so much affected though I think I can see some effect.

Looking through the forums I see that Velvia has a reputation for getting a green bias particulalry on longer exposures.

The shutter during my shoot was open for about 4 - 5 seconds whilst flashing and waiting for the flash to cycle. It was night time though there might have been a little incident light from the top of the house.

I'm pretty sure I'm looking at Velvia's "green" tendancy but wondered if anyone else has had a similar experience?

Thanks

Mike

[SamReeves]

Velvia has always been famous for extreme green. However this a first I've heard of it messing with the highlights and balance. Perhaps you had skunky color developer? :eek:

[neil poulsen]

Why use Velvia for reproduction? How about Kodak EPN and flash. I saw some 35mm EPN and flash that was used for reproduction, and it was dead on.

I've always thought of Velvia as enhancing saturation, versus color accuracy.

[Gudmundur Ingolfsson]

Since you are processing the Velvia yourself, try increasing the concentration of the
reversial bath, it will turn the color towards magenta. This Velvia is probably too new. I do a lot of artwork reproduction. In my opinion EPN although neutral in color
balance is too grainy for this kind of work and Velvia too contrasty. The film I find ideal is Kodak E100 G, a soft T-grain film with neutral color balance and fine grain.

[parkerm@freenet.co.uk]

Thanks very much for the input folks. I think the answer to Neil's question "why use Velvia for re-production" is that I didn't know any better being quite new to large format in general and to this application in particular.

Incidetnally I forgot to say that I found Provia OK.

I have also just ordered some Kodak E100G so I'll see how I get on with that.

I considered skunky developer but decided it was unlikley on balance as it was freshly made up and the concentrates are only 3 weeks old.

Thanks again for all the suggestions.

Mike

[gregstidham]

I shot some tests last year comparing Provia, Velvia 100, and Astia.

I was really quite amazed at how much of a green and blue cast Velvia 100 had. The shadows were also extremely crushed and lacked detail compared to the Provia. The Provia easily saw into the shadows where the Velvia didn't record at all.

I would think about reproducing artwork with Provia before Velvia 100. Dont' confuse Velvia 100 to Velvia 50. Velvia 50 is much better, but I wouldn't use it for reproducing artwork either.

[parkerm@freenet.co.uk]

Thanks Greg, confirms my own results.

Mike

[Dave Parker]

When I worked in our local studio/lab, we used either EPN or Provia, Velvia in any emulsion is not the correct film to use for studio reproduction the color balances are just to much for normal artwork and will give you all kinds of weird results. I don't think you will be happy with the E100G either, just not balanced correctly for this type of work.

Dave

[roteague]

I wouldn't be using TETANAL chemicals for a commercial shot. Stick with Fuji chemicals. As Dave said, I would consider Provia or even Astia instead of Velvia if you want accurate colors.

[naturephoto1]

Astia will probably be the most neutral of the 3 Fuji transparency films (3 Velvia, Provia, Astia) since it was designed for studio and portrait use. Unfortunately, more E6 labs process in Kodak chemistry than Fuji, so we do not have as much option for processing as we may like (unless we ship as to Calypso and I am not sure of the chemistry they use).

Rich

[roteague]

Astia will probably be the most neutral of the 3 Fuji transparency films (3 Velvia, Provia, Astia) since it was designed for studio and portrait use. Unfortunately, more E6 labs process in Kodak chemistry than Fuji, so we do not have as much option for processing as we may like (unless we ship as to Calypso and I am not sure of the chemistry they use).

Rich

Calypso uses a Refrema Olympic dip & dunk processor, and is Internet linked to Fuji's quality control center.

[SamReeves]

I wouldn't be using TETANAL chemicals for a commercial shot. Stick with Fuji chemicals. As Dave said, I would consider Provia or even Astia instead of Velvia if you want accurate colors.

Just curious, has anyone noticed any difference at all between Tetenal, and Kodak E-6? I've always thought E-6 is E-6 for the most part.

[roteague]

Just curious, has anyone noticed any difference at all between Tetenal, and Kodak E-6? I've always thought E-6 is E-6 for the most part.

E6 kits are not all the same. Some manufacturers use proprietary chemicals in their kits, chemicals which are closely matched with their emulsions. As PE over on APUG and he can give you the technical details. Fuji also notes that their films lose about 1/3 stop when processed in non-Fuji chemicals.