>Velvia is indeed more saturated than other slide
>films, but the very first roll *I* shot and got back
>from the processor, I went "WOW! **FINALLY**, a film
>that sees what *I* saw!" I love Velvia. Mind you, I
>also love Provia, and it's virtually on the other end
>of the scale in terms of saturation. It's also nice,
>but for different reasons, none having to do >with
"fidelity" to the colours in a scene.
>
>After all, in real life, colours change with the time
>of day, but I'm usually trying to reproduce what I
>saw in my mind's eye...
>
>Garth
>
>------------------------------
I think that Garth has a certain point here. How well
an image captures a visual scene accurately and how
well it captures the *impression* or *mood* of the
scene are two different things. I'm sure that most of
us are familiar with the experience of taking a
picture of an absolutely stunning vista, and then
getting the prints or slides back and thinking that
they just aren't as impressive as you remembered it.
For example, excluding technical errors (focus, DOF,
exposure) an 8x10 print (slides might be a bit better
in some cases) just can't have the same visual impact
that standing on the top of a 14,000 foot mountain
has, no matter how well it is composed or executed.
I would like to be able to capture the moment when you
finally step over that last false peak and reach the
summit and you gasp from the sheer impact of the
sight. An accurate representation may not necessarily
capture the days of hiking, sore feet, or altitude
sickness that are all part of the experience.
To me, extra saturated films are just one way to
capture that stunning beauty. A photo is merely a
representation of that scene, and in some ways it has
to make up for its defficiencies as a picture to
capture a scene beyond a few visual elements.
Marten
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