Have You Been shooting With Ektachrome - Because You Can't Get Ahold Of Any Velvia?

[mshchem]

Nonsense? If Fujifilm sell a camera with Fuji Velvia installed, then by definition the photographer is shooting Fuji Velvia.

Like it or not, it'll be the only type available soon enough.

I'm talking about the st#$id film simulations. Fuji uses the legend of Velvia to sell digicams. I have plenty of film. Including most of a 400' roll of Ektachrome.

 

[Taylor K Nankervis]

Ektachrome 100 is flexible enough to be prodded and caressed toward the appearance of Velvia 50 (but not RVP100) by being selective and thoughtful of the lighting your shoot it in. The dimwits who shoot this, and other E6 films in bright blinding daylight are the first to whinge long and loud about the poor results — and behind all this is a profound lack of understanding (a carelessness if you will) of how to use these films and the technique of considered exposure. For starters, a polariser in hazy to overcast light will dramatically enliven the palette with a distinctive "kodak-y" feel to it — distinct enough that it cannot be compared to Velvia, but is a very worthy contender in saturation, pretty much complementary to it, actually. Ektachrome 100 has very clean whites and rich, deep blacks with excellent tonal gradation. Nothing to sneeze at. Despite presumed heritage, it is a very different, more refined performer to the yucky and muddy E100VS that I reviewed back in 2004.

Takeaway is of you cannot get RVP50/100, then use Ektachrome 100. Importantly, knuckle down to the fine art of exposing it creatively so it delivers the results that please both you and the film.

 

[skahde]

I don't know why everyone loves Provia. That may have been my mistake but I always disliked the purple color-cast it put into shadows. I cant help it, that was my verdict at the time. Much preferred Sensia/Astia. Those I really miss and Ektachrome may be the next best thing to them when talking of what is available. When talking about a film that reproduced colors as I remembered them, Agfa RSX 100 was a strong contender.

 

[ChrisGalway]

I don't know why everyone loves Provia. That may have been my mistake but I always disliked the purple color-cast it put into shadows. I cant help it, that was my verdict at the time. Much preferred Sensia/Astia. Those I really miss and Ektachrome may be the next best thing to them when talking of what is available. When talking about a film that reproduced colors as I remembered them, Agfa RSX 100 was a strong contender.

Colour rendition is surely a personal choice, witness the (literally) hundreds of Film Sim recipes for Fujifilm X-series digital cameras. I don't think "everyone loves Provia" ... but I prefer it to Ektachrome, and if I am forced eventually to use Ektachrome I'll use it with a warming filter. Not sure about Velvia, it's quite distinctive to me but I might give it another try.

The important thing is that we have a choice, at least at present.

 

[ChrisGalway]

.....The dimwits who shoot this, and other E6 films in bright blinding daylight are the first to whinge long and loud about the poor results — and behind all this is a profound lack of understanding (a carelessness if you will) of how to use these films and the technique of considered exposure. .....

As a "dimwit" I nearly always shoot E6 (mainly Provia) in bright sun, as that is the only option for handheld medium format stereo (basically 1/100 @ f/16 or 1/50 @ f/22, need large DoF in stereo). But I don't whinge about the results. They are technically superb when viewed in a high quality optical viewer where you can see into all the shadows. The only caveat is not to overexpose as the highlights can wash out.

I take the "dimwit" comment from Taylor as a complement! Hey, this is a hobby, not a competition!

 

[Taylor K Nankervis]

I take the "dimwit" comment from Taylor as a complement! Hey, this is a hobby, not a competition!

Except I was not addressing you as such!

Outside the variegated arena of Photrio, the people I deal with a couple of times a week (and last weekend especially!) going on and on with critical verve about Fuji vs Ektachrome...

That may have been my mistake but I always disliked the purple color-cast it put into shadows.

Hmmm? That's interesting. I have not seen this cast in shadows. But it sounds plausible if RDPIII is exposed in bright light. I use RDPIII in pinhole cameras in diffuse/hazy/overcast light and happy with the results, but latterly found RVP100 to be a better choice for extra punch.

Mind you, Provia does run to a ghastly purple hue when exposed over e.g. 5-7 hours for star trails. It really does need cleaning up in post to tone that down a wee bit!
Now, if Velvia 50/100 was used for star trails, it would go in quite the opposite direction — a very other-worldly rainforest-y green hue!

 

[paddycook]

Ektachrome 100 is flexible enough to be prodded and caressed toward the appearance of Velvia 50 (but not RVP100) by being selective and thoughtful of the lighting your shoot it in. The dimwits who shoot this, and other E6 films in bright blinding daylight are the first to whinge long and loud about the poor results — and behind all this is a profound lack of understanding (a carelessness if you will) of how to use these films and the technique of considered exposure. For starters, a polariser in hazy to overcast light will dramatically enliven the palette with a distinctive "kodak-y" feel to it — distinct enough that it cannot be compared to Velvia, but is a very worthy contender in saturation, pretty much complementary to it, actually. Ektachrome 100 has very clean whites and rich, deep blacks with excellent tonal gradation. Nothing to sneeze at. Despite presumed heritage, it is a very different, more refined performer to the yucky and muddy E100VS that I reviewed back in 2004.

Takeaway is of you cannot get RVP50/100, then use Ektachrome 100. Importantly, knuckle down to the fine art of exposing it creatively so it delivers the results that please both you and the film.

I've spent a lifetime shooting slide film in bright sunlight with superb, and intended results. Often with a polariser. I guess that makes me a "dimwit".

 

[paddycook]

I don't know why everyone loves Provia. That may have been my mistake but I always disliked the purple color-cast it put into shadows. I cant help it, that was my verdict at the time. Much preferred Sensia/Astia. Those I really miss and Ektachrome may be the next best thing to them when talking of what is available. When talking about a film that reproduced colors as I remembered them, Agfa RSX 100 was a strong contender.

1990s era Ektachrome 100/200/400 was fairly neutral.

 

[skahde]

1990s era Ektachrome 100/200/400 was fairly neutral.

Too late for me. I had tried it in the mid-eighties and found that haze or flare in the picture would induce more of a bluish cast in that area then I liked. Tried and loved Kodachrome for some things and later Fuji and had settled on the latter when the new Ekatchrome came out.

 

[koraks]

Moderator note: the 'dimwits' remark made by @Taylor K Nankervis is not permissible and user received a formal warning for this. This is in the awareness that it did not refer to someone specifically on this forum, but it still does not align with our forum rules to refer to others within the photographic community as such. Evidently, as illustrated by some responses above, it's perceived as abrasive and it's certainly not necessary. Kindly refrain from doing this, but also from responding to it; let's remove the oxygen from fires like these. Thank you all for your consideration.

 

[Alan Edward Klein]

Unfortunately, Velvia 50 isn't available at all anymore in large format. I;ve got 2 1/2 boxes of 4x5 in my freezer that's appreciating in price faster than gold.

 

[DF]

We will be lucky to keep Ektachrome. No point in trying to convince me to pay $53 USD, for a 36exp roll of Fujichrome. No way. I honestly think Fuji keeps this stuff around to ad to the mystery of their digital camera film simulation nonsense.
Marketing geniuses, not dedicated to the greater whole of the photo community. I don't buy the We are too busy making Instax. Well if this is the case it's been this way for years. I'll shoot Ektachrome, and my freezer has bits of everything.

"I honestly think Fuji keeps this stuff around to ad to the mystery of their digital camera film simulation nonsense" - I guess alot of the old-school (film) employees aren't there anymore and whomever is sees to it film takes a backseat.

 

[DF]

Ektachrome 100 is flexible enough to be prodded and caressed toward the appearance of Velvia 50 (but not RVP100) by being selective and thoughtful of the lighting your shoot it in. The dimwits who shoot this, and other E6 films in bright blinding daylight are the first to whinge long and loud about the poor results — and behind all this is a profound lack of understanding (a carelessness if you will) of how to use these films and the technique of considered exposure. For starters, a polariser in hazy to overcast light will dramatically enliven the palette with a distinctive "kodak-y" feel to it — distinct enough that it cannot be compared to Velvia, but is a very worthy contender in saturation, pretty much complementary to it, actually. Ektachrome 100 has very clean whites and rich, deep blacks with excellent tonal gradation. Nothing to sneeze at. Despite presumed heritage, it is a very different, more refined performer to the yucky and muddy E100VS that I reviewed back in 2004.

Takeaway is of you cannot get RVP50/100, then use Ektachrome 100. Importantly, knuckle down to the fine art of exposing it creatively so it delivers the results that please both you and the film.

I am NOT in anyway shape or form complaining at all about E100 - I've gotten SUPERB results from it. 'Guess I miss the days when there was a variety of slide films available - PKR64/RSX50/64T etc.
Now, about using a polarizer in hazy overcast light - 'never heard of doing that - but I'll try it.

 

[DF]

I don't know why everyone loves Provia. That may have been my mistake but I always disliked the purple color-cast it put into shadows. I cant help it, that was my verdict at the time. Much preferred Sensia/Astia. Those I really miss and Ektachrome may be the next best thing to them when talking of what is available. When talking about a film that reproduced colors as I remembered them, Agfa RSX 100 was a strong contender.

I ABSOLUTELY loved RSX - though in 50. Nice pastel-like green foliage and deep blue skies. Astia another winner for me - some folks referred to it as Fuji's Kodachrome for it's accurate earth-tone renditions.

 

[DREW WILEY]

There never was a silver bullet film which handled all hues with equal justice. Astia was the best balanced chrome film ever, but lacked the saturation which many demanded. Best earthtones I ever got was from the archaic pre-E6 Agfachrome 50, which otherwise had large grain, severe contrast, and poor green reproduction; I loved it anyway. Now I get the best earthtone repro from Ektar 100, a color neg film, in a class of its own in that category.

 

[DF]

There never was a silver bullet film which handled all hues with equal justice. Astia was the best balanced chrome film ever, but lacked the saturation which many demanded. Best earthtones I ever got was from the archaic pre-E6 Agfachrome 50, which otherwise had large grain, severe contrast, and poor green reproduction; I loved it anyway. Now I get the best earthtone repro from Ektar 100, a color neg film, in a class of its own in that category.

Yes - Ektar is a good what-you-see-is-what-you-get film.

 

[Taylor K Nankervis]

I am NOT in anyway shape or form complaining at all about E100 - I've gotten SUPERB results from it. 'Guess I miss the days when there was a variety of slide films available - PKR64/RSX50/64T etc.
Now, about using a polarizer in hazy overcast light - 'never heard of doing that - but I'll try it.

A POL works a treat in my bread-and-butter rainforest imaging. This pic, below, is Ektachrome 100 in emergent filtered sun. In some cases colleagues have mistaken it for RVP50.

PKR64 and PKL200 (professional emulsion of Kodachrome) and RSX50 were fav back when they were widely available in the 1980s. Ektachrome seldom got a ride with me, and very few slides still exist on Ekta from that epoch. Churning through slabs of Kodachrome was fun. Then the Great Yellow Father... he took it all away...

 

[DREW WILEY]

All my early Ektachrome 64 4x5's have survived wonderfully; they were on polyester base.
Great for where a slightly more gentle rendition of Ciba was desired. Then the Fujichrome 50 revolution happened, the grandparent of various Provia and Velvia products. The version of Kodachrome I preferred was the 25 speed product - avail only 35mm of course; but it took to Ciba like a duck to water.

 

[gbroadbridge]

A POL works a treat in my bread-and-butter rainforest imaging. This pic, below, is Ektachrome 100 in emergent filtered sun. In some cases colleagues have mistaken it for RVP50.

Beautiful photo.

 

[benderscameracorner]

Yes, been shooting Ektachrome as my general slide film for 'special occasions' - at AU$55 a 135 roll, it demands a worthy situation!

Getting hold of Velvia 50/100 hasn't actually been that difficult in the past 12 months or so, and sometimes at excellent (for slide film) prices, but I find myself hoarding my limited supplies for very specific situations.

Alas my last slide film order is still part unfulfilled a month later (and counting) due to Provia remaining on backorder. Lesson learned, I'll bide my time and lock in the good price if/when it finally shows up.

I really wish Fuji would just level on their film... either make it and sell it, or don't. *cues... "you just keep me hangin' on..."

 

[gbroadbridge]

I really wish Fuji would just level on their film... either make it and sell it, or don't. *cues... "you just keep me hangin' on..."

I simply stopped playing their silly games back in 2022 and did what they want everyone to do ... lol.

 

[mshchem]

I looked today and I bet I have 80-90 rolls of 120 E6 assortment, several dozen rolls of 35mm. So if I can control my impulse buying I'll be fine.

 

[bewilson]

I still mourn the loss of Velvia-50@40 and Fuji Type 35 printing material.