Velvia - twilight hour

[rayonline_nz]

Hi all

I just got a batch back from the lab, and going thru them. I have heard from at least one say that Velvia is best used when they is still some daylight left. With a dark blue sky many of the buildings are very black but if we shot it earlier the bright colors are not going to be that punchy. Given that in the day pro's shot slides, did they just accept this?


Thanks.

 

[derelict]

Samples?

 

[Hatchetman]

Did you project them or are you looking at scans?

 

[rayonline_nz]

Hi guys

I project with a carousel for the family then I use a Epson and scan them.

A few samples:
https://www.dropbox.com/s/wibhkukj7akr2zg/img034.jpg?dl=0

This one is underexposed but you can see the buildings are quite a bit more darker.
https://www.dropbox.com/s/wmcm2xobaoxpm43/img003.jpg?dl=0

This other one, I used a polariser. Do you guys overexpose by a bit? This was just my Nikon F100 using the builtin spot meter probably metered onto some grey houses up there. I find that it is quite dense.
https://www.dropbox.com/s/261r0pdqkvyz9o5/img021.jpg?dl=0

Yes the scanned images may be a bit darker so you can imagine some leeway for that in post. But re: the first image with the dark foreground. Was that the way it was in the day?

Cheers.

 

[Poisson Du Jour]

You are exposing RVP50 in very bright, clear light, so subject matter in shadow will be rendered densely with little to no detail.
This is not how RVP50 is used. RVP50 has a prime use of diffused light, not bright point light (clear sunny days) to fit its contrast to the scene.

Boatsheds
There is no observable effect visible using the polariser in this image.

Night scene
Long Bulb exposures over several minutes with RVP50, not via an onboard meter and not via a spot or incident meter.
For better results, use Provia 100F. RVP50 casts to purple over very long exposures.

 

[rayonline_nz]

Not sure, I will post the images here then .... the polariser is used with the 3rd photo of the boat sheds.

 

[rayonline_nz]

Ok, thanks for the feedback. The Night shot there are up to 8 or 15ses definitely not in the minutes. Yes, I started looking at them so far and my perception is that diffused light sunset with still ambient light works better or with golden light.

 

[Poisson Du Jour]

That much is correct.
The "Golden Hour" before and just after sunrise, and into sunset and the afterglow is where Velvia really, really delivers. Also scenes where there is evenly distributed illumination e.g. overcast to hazy light. The moment Mr. Sun comes filling out a big blue sky, you're going to have serious problems in getting around the contrast problem; I've experienced this too in New Zealand in Ka tiritiri O Te Moana (Southern Alps) with sun breaking through (and staying there), completely stuffing things up (open scenes and also enclosed featuring waterfalls).

Minutes for night shots, not seconds, and then you have to grapple with reciprocity to prevent the whole scene going belly-up in black. That's why I recommended Provia.

The use of a polariser with great swathes of blue sky is risky as it can result in uneven illumination in the frame (demo image below [Milford Sound Morning April '015] ). This image also demonstrates clearly RVP50's 'blue' tint when photographing in extensive shade. This was a "sunrise" pic: at 10am (it took a long, long time for the Sun to clear them thar hills!!)

 

[Trail Images]

I have used Velvia 50 for many years now most always during sunrise and sunset cycles. I've found that time period is it's best opportunity for bridging the gap between highlight & shadows. The exposure latitude is non-forgiving. I also recommend using the reciprocity chart to try and squeeze the best out of the fussy lack of forgiveness. It can also posses the color casts being displayed here. However, once you learn & accept the idiosyncrasies it is a wonderful film to use IMO.

 

[rayonline_nz]

I have Kodak E100G will shoot with this and then Provia in future for bright daylight.

Shot this at sunrise. RVP50.

 

[Trail Images]

My shots at sunrise and sunset are most always angled away from the sun. Anywhere from 30 to 180 degrees. However, I also have a complete array of graduated and reverse graduated filters to deal with shots toward sunrise or sunsets. In the posted image here the dramatic sunrise is being damped nicely by the cloud cover. I think this works well with the aid of the surrounding buildings & lights which provide an understanding of the overall scene.

 

[TSSPro]

RVP50 is a great film, just like everyone here has said. It's just a matter of know the limits of the film and the best practices and conditions under which this film shines. Best of luck and look forward to seeing more of your work with this great film!

All the best-

 

[Poisson Du Jour]

Love those rich burnished orange-red hues in post #10.
It is decades since I photographed a sunset or sunrise looking directly at or angled to the Sun. I get my kicks from the dawn light or afterglow in the evenings when the light is softer and colours tend more to pastels than bold hues. people often query why I am looking the other way when they are intently studying the horizon where the sun will be setting. For me, all the "action" is in the opposite direction! ☺

 

[Trail Images]

PDJ, very nicely completed image. That is the familiar look I get from many of my V-50 takes. Although it is considered "garish" to many, it is a look I've worked with for many years now and find it works for me.

(there was a url link here which no longer exists)

 

[flavio81]

Great shots here!

 

[Poisson Du Jour]

PDJ, very nicely completed image. That is the familiar look I get from many of my V-50 takes. Although it is considered "garish" to many, it is a look I've worked with for many years now and find it works for me.

(there was a url link here which no longer exists)

LOL!
Mate, you are dead right. They don't call me Garish Gary for no reason at all!
The colours are very intense on my Galaxy Tab S (unprofiled). The framed print was sold in 2013 for $1740 to a pub about 80km from the location of the shoot ( I stopped there to rant and rave to them about "that fabulous lake back down the road"! ). Two different scenes were sold to my Doctor -- he cuts and pastes, I relieve him of his motza. A dinkum win-win arrangement!

I am returning this weekend. I want to walk out into the water for a different perspective. It's only shin-deep.

 

[Alan Klein]

These are all Velvia 50 that I found works in different kinds of light.
https://www.flickr.com/photos/alanklein2000/tags/velvia/

 

[Huss]

Excellent work posted!

 

[Poisson Du Jour]

I am returning this weekend. I want to walk out into the water for a different perspective. It's only shin-deep.

Ha! After phoning the Sailing Club, I was told "you may need your floaties!". "Why?" "The Lake is 8 metres deep..."
Drrrrrat.

Meanwhile, another pastel-themed Vaudeville Velvia shot popped up during lunch; this is the Australian outback in the Northern Territory on a frigid June (winter) morning back in 2011. "Ghost Gum and Granite in pre-dawn light" (35mm) pretty much says what it is. Scenes like this are everywhere at that fascinating geological place.
We left mid-morning after a Dingo stalked us with teeth-bared: we learned from a Ranger that she explored almost 40km from her den seeking out food!

 

[rayonline_nz]

Just a question regarding Provia 100F. If I have to use it under bright bright midday sun. I read that it is the color temperature so I am to use a warming filter - that is fine but how is the contrast is it dense? if I have a bright midday blue sky with a lagoon water and buildings, I want to retain as much of the subtle tones.

 

[pentaxuser]

I quite like the almost "Batman Gotham City" look that Velvia seems to have given to your night shots but I can appreciate why it might not always be desirable.

pentxuser

 

[macfred]

Just a question regarding Provia 100F. If I have to use it under bright bright midday sun. I read that it is the color temperature so I am to use a warming filter - that is fine but how is the contrast is it dense? if I have a bright midday blue sky with a lagoon water and buildings, I want to retain as much of the subtle tones.

High noon with Provia 100F (FUJI GW670iii):

SAS Brug Harlingen -2 by Andreas, on Flickr

I use my Provia 100F with a Schneider Kreuznach / B+W KR1.5 SkyLight filter - I'm quite satisfied with my transparencies (in projection and scanned).

 

[Huss]

High noon with Provia 100F (FUJI GW670iii):

SAS Brug Harlingen -2 by Andreas, on Flickr

I use my Provia 100F with a Schneider Kreuznach / B+W KR1.5 SkyLight filter - I'm quite satisfied with my transparencies (in projection and scanned).

Yowza that looks good!