Help, Tips on shooting Velvia 100F

Discussion in 'Color: Film, Paper, and Chemistry' started by Rick A, Jun 12, 2011.

  1. Rick A

    Rick A Subscriber

    Mar 31, 2009
    northern Pa.
    Large Format
    I finally secumbed to the call of 4x5 transparencies, bought some Velvia 100F. I only own incident meters, so I need some tips on shooting the stuff. Do I meter for bright areas(opposite how I meter B&W). Do I need to add exposure for metered or shoot what meter shows. Any help will be greatly appreciated.
    BTW, I plan on processing at home, I have a Jobo cpe2 plus with lift and an older Kodak E-6 kit, so any info on souping would be appreciated also.
  2. dxqcanada

    dxqcanada Member

    Jun 9, 2011
    Toronto, Ont
    Multi Format
    I haven not shot velvia in a while ... but I will give it a shot.

    Avoid blowing out you highlights.
    I normally underexpose slide film (with 35mm, I shot 1/3 or 1/2 stop under)
  3. Pinholemaster

    Pinholemaster Member

    Oct 17, 2005
    8x10 Format
    With all transparency film you expose for the highlights, and let the shadows fall where they may. Opposite from negative film.
  4. timparkin

    timparkin Member

    Sep 2, 2006
    The film has got probably a 2 stops above a mid tone and maybe 3 stops below... effectively I would expose as if you only have 1.5 above and 2 below..

    If you are shooting sunsets (warm yellow or red light) then you may get an extra half a stop extra in the highlights (however if it's very cyanic light then you may lose a third of a stop in the highlights)
  5. Diapositivo

    Diapositivo Subscriber

    Nov 1, 2009
    Rome, Italy
    In low contrast situations just expose according to the incident light meter.
    In contrasty situations, your problems are the highlights. Even using incident light metering, very bright and clears areas might end up burned in the slide. I would consider 2.5 EV above middle grey although I suspect some more room is available in the foot, that is, less and less detail but no white hole (never did exact tests, although I should). My experience refers to Astia 100F and to Sensia 100 in 135. Large format should behave a little better, I presume.

    Typical dangerous situation: white surfaces such as marble façades, white buildings, directly lit by the sun.

    If you have a spot light meter, measuring the brightest surface you are interesting in, which is very bright, and which you don't want to burn, and opening 2.5 in relation to that, should work.
    If you only have an incident light meter, a 1/3 EV or even 1/2 EV closer than your incident light meter says should give you adequate safety margin.

    Contrasty situations such as you can have with a marble statue lighted by a grazing light are very tricky as you can have both mistakes, burned highlights and not enough shadows salvaged. In those cases I consider burning a bit of highlights is OK, some details will slide in the foot but the overall appearance will be better. Applying too strictly the "expose for the highlights" in a very contrasty situations might make the shadows suffer too much.

    Your tests will permit you to refine these values based also on your development times and development circumstances. I use a rotative processor, 7'30" for all Fujichrome slides, one-shot use, setting my Jobo CPP-2 at 38.3° (chemicals are likely at 38.0°), with four pre-rinse of 30" each at treatment temperature. My one-shot is actually two-shot and the second is at 8'10".

    If you have white luminous clouds in the sky don't bother, you will have no much "texture" on them (there is not much anyway) but they will not turn out as a white hole as it can happen with digital. Contrary to popular opinion, slide film has a "foot" although not very extended. Unless the subject are the clouds themselves I would not compensate out of fear of burning the clouds (that supposes you are not in a backlit situation). Again, the highlight will burn but do it "gracefully", without sudden white hole. This allows some margin of manoeuvre.

    Slide film is tricky. As an example, in a backlit situation don't hope to have your subject right and the sky behind it right.

    I'm planning to begin doing some serious colour negative work to exploit its dynamic range.

    Tell us how it goes