Well I shoot landscapes and can't resist one when I see it and have slide film in the camera (though more often if setting out to shoot them I'll take my view camera or a medium format camera, and if I plan color Ektar or sometimes Portra.) But if it's sunny most lanscapes just exceed the range of Velvia significantly. Also I suspect those landscape shooters you mention are working in hybrid mode - have to be these days if they are going to present their work as anything other than a transparency on a light box. (Well I suppose they might be making internegatives but I doubt that's very common.) And that means digital post processing for things like contrast and squeezing the most detail from near-blown or near-blank areas. If people were still printing on Type R or, even more so, Ilfochrome I think you'd see more preference for lower contrast.
I can't get along with Velvia at all. I've tried. It's just too darned contrasty. I liked E100VS better but that was problematic. It's fine for controlled studio light if you need the saturation (still lifes, saturated product shots?) but I don't really do that. It's fine for overcast days to add some contrast and saturation and when I've gotten good results that's been the case, but it's too darned slow for best use on those days. The 100 is workable. But dim overcast really wants a tripod for 50 or even 100 and for me that usually means I have my medium format or 4x5 gear along and that means I won't be projecting the results and that means black and white or C41...
