How Would You Compare Velvia 50 to Ektachrome 100 ?

Slixtiesix

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I used Ektachrome 100 (120) recently and was very satisfied with the results. It seems a good substitute for Fuji Astia (which I still miss) but Astia´s color rendition was slightly more muted, more warm and more accurate overall. I did not make side-by-side tests, but I would rate Ektachrome 100 somewhere between Astia 100F and Provia 100F in its color rendition, so definitely not comparable to Velvia 50.
 

DREW WILEY

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I generally agree with that assessment. But there is a difference between all of Fuji's chrome films apparently being balanced for around 5200K daylight, versus Kodaks's slightly cooler standard of 5500K.
 

Samu

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In my opinion, Velvia 50 is too saturated, with unrealistic colors for an all-around use. In some situations, it can look very nice though. Unfortunately no other E6 film is manufactured at the moment except Rktachrome, and even it is unavailable in Europe for the most time. My favorite slide film is Provia, and I realy hope that Fuji films will be available some day. They have some great technology, and destroying it would be almost stupid. I do understand that slide filmi is a niche product, but there is still much more demand for it than there is supply.
 

koraks

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Samu said:
there is still much more demand for it than there is supply.
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Alright, but if supply is near-zero and demand is just slightly more, then it's likely still unattractive from an industrial viewpoint. Fuji is a chemical company at its core. They're volume-driven; niche products don't fit in their portfolio. Discontinuing E6 would most likely make good sense from their perspective. It would be sad, of course, and I'm sure some people at Fuji would feel the same way, but sentimental reasons don't make ROI.
 

destroya

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what a lot of photographers, passionate people, seem to forget, which Koraks mentioned, is that Fuji is a company and their sole purpose is to make money. if they have a product that has shrinking margins, rising cost of manufacturing and minimal demand, regardless of how great the product is, most companies will stop making and selling it. Im really surprised fuji slide film lasted this long. I love shooting it and have a freezer full of it. but just like when kodachrome disappeared we will have to find another option. with the rising interest in color neg, maybe they will bring reala back as well as 400h. even though you cant project color neg film for those who scan and print, they have options. I have taken up B&W slides with a passion as a projection replaccement, but its still not the same as color projection.

what really worries me is if they stop making the development chems. I have tried home brewed formulas but they are not close to fuji hunt 6 bath results. wish there was a long term storage option for hording e-6 chems.

jhon
 

czygeorge

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Here has two wonderful works photographed by my friend and client photographer Deng

The comparison with rvp should be handed over to e100vs. e100 is more similar to rdp. Of course, I think the highlight bearing capacity of e100 is slightly better.

Now I think the biggest problem with reversal films is the need for an e6 process that meets the standards of Kodak and Fuji. In this regard, I think Fuji hunt and Bellini should be able to do it, but the former seems to have been discontinued

Regarding the problem of bluishness, reversal films will inevitably turn blue when shooting at high color temperature, and rvp100 is no exception. This is the same reason as 5219 shooting daylight.
From my experience with processing, the e100/5294 and rdp does have a slightly darker blue than rvp100，but rvp50 can get away from it



 

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adamlugi

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Are filters used here?
 

DREW WILEY

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Night photography has its own idiosyncrasies, especially when artificial lights are involved in the scene.
 

Sirius Glass

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DREW WILEY said:
Night photography has its own idiosyncrasies, especially when artificial lights are involved in the scene.
Click to expand...

For example see this exposure guide:

Night Exposures - In a Jiffy

I love shooting after sunset - the limited dynamic range of twilight, the rich colors in the sky after the sun has long gone, the twinkling lights of a distant city, the trails of car lights along ...
f-sunny.com


 

Plochmann

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I agree with other: Velvia is saturated, Ektachrome is more accurate. That said, I feel Ektachrome can look grainy, and Velvia, though I've used less, was quite clear most of the times. I wouldn't say it is over saturated- in fact, it's quite nice and I prefer it for low light shooting.
 

Sirius Glass

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Welcome to APUG Photrio!!​
 

DREW WILEY

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The present Ektachrome just like the previous version, is extremely fine-grained. I don't know how you could call it grainy unless you are absurdly enlarging it. But right in the next room there is a 30X40 inch Cibachrome enlarged from 4X5 ole Ektachrome 64, - which had twice as big "grain" clusters as current Ektachrome; and the grain is barely visible even nose-up with reading glasses on.

The only chrome film with significantly smaller grain was Astia 100F, not Velvia. Pretty much a non-issue with respect to any of these.
 

Helge

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JParker said:
I cannot share that experience at all. I never had orangey reds with Provia. Provia red has always been a very accurate, satured "real" red.
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+1

It baffles me that Provia continues to be misunderstood/underrated.
Provia is probably the greatest color slide film ever when all characteristics are weighted.
 
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DREW WILEY

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Provia was hell when it came to registering it - damn dimensionally unstable triacetate sheet film base. I pulled out a 4X5 yesterday and out of curiosity tried to align the register punch holes in the original and its b&w mask - hopeless due to the shrinkage of the Fujichrome original. But that wasn't an issue this round, since I was now making an enlarged FP4 internegative of it for sake of black and white printing, which went well. If it had been a color interneg project instead, I would have had to re-punch the image and make a whole new contrast mask.

But I sure did shoot a lot of Provia sheet film over about a 20 year period anyway. I switched back to Kodak once E100G came out, which did use a superior Estar base once again. And in the lab I was using Astia 100F for sheet film duplicates, itself on stable PET base, and unquestionably the best color and gray scale balanced chrome film ever, though not saturated enough for many popular purposes.
 

Sirius Glass

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adamlugi said:
My attempts always end with a yellow photo
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That is when one uses Tungsten film. That is what I used when I was doing a lot of night photography, both Ektachrome and Anscochrome.
 

DREW WILEY

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Well, that entire category of chrome films - tungsten-balanced - now seems extinct. Too bad.
 

GLS

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As sodium vapour lamps get increasingly phased out though, yellow tint at night is much less of an issue
 

GLS

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DREW WILEY said:
Provia was hell when it came to registering it - damn dimensionally unstable triacetate sheet film base.
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A complete non-issue for those using a hybrid workflow though. I imagine the demographic of users still using optical printing for chromes is vanishingly small.
 

Prest_400

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GLS said:
As sodium vapour lamps get increasingly phased out though, yellow tint at night is much less of an issue
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In EU LEDs are becoming quite common. I recall enjoying the green cast of Metal halide when I was doing some outdoor long exposure night shots, when looking into a more atmospheric result. In 2017 my town replaced sodium vapor and metal halide lamps for LED.
For those interested in the topic, I recall very fondly reading Magnachrom. "The night photography issue" had a comparison of Fujichromes for such purpose.

I always got the impression of Fuji (pro) films being extraordinarily good with reciprocity. Provia and Acros at least. For the latter I am specially curious as Ilford manufactures it to the same reciprocity characteristics now, (OT) but their films nor Kodak's have been marketed with the "no compensation for reciprocity for exposures up till 120 seconds".
 

DREW WILEY

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It's hard to say to what degree Harman-Ilford is involved in ACROS II mfg, other than finishing or packaging it. Is the emulsion actually shipped to England for coating, or the already coated master rolls shipped there? I don't know. Maybe someone does.

GLS - I couldn't care less what the herds are doing. Maybe they just haven't evolved enough to do real optical printing yet.
 

miha

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Some here should really stop behaving in a superior manner
 

DREW WILEY

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Did that comment just come from someone themselves specifically participating on the analog portion of this forum? The "vast majority" can represent their digital printing options somewhere else.
 

MattKing

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From a moderator's point of view:
Comments from those who don't darkroom print colour slide film are welcome in this part of the forum. If we also get responses from the infinitesimally tiny number of people who still do darkroom printing from colour slide people, that is great too.
 
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