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Re: [OM] Holy Grail Velvia ?

Subject: Re: [OM] Holy Grail Velvia ?
From: "John A. Lind" <jlind@xxxxxxxxxxxx>
Date: Thu, 20 Feb 2003 01:07:34 -0500
At 00:02 2/20/03, Dan wrote:

OK so I have taken the advice from members to try Fiji Velvia here in
Hawaii.
So this is what I have learn: print film, 52 cent per 4X6,
Slide, 25 cents per slide. Priced based on local printer and purchase of
10/10 Velvia/Mailers
Print quality of slide on par if not better.
Any advice or tricks using Slide film in general or Velvia click away?
Is 25 cent on par with final quality process cost?
Anybody have a T 10 and controller for cheap? $

Dan

Sorry, can't help you with a T 10.

Many Velvia shooters use it at EI 40; 1/3-stop more exposure than its ISO rating. This creates a slightly thinner transparency, reduces the saturation slightly, brings up a little more shadow detail, and allegedly makes it friendlier for printing the trannies. Because it's a tranny film, it's also going to be much less forgiving of exposure error than you are accustomed to with color and B&W negative films. In general, meter for mid-tones and let the highlights and shadows fall where they will (even if you set your metering for the EI 40 that many users shoot it at). Others on the list will undoubtedly give their opines about EI 40 versus EI 50 with this film.

IMO and in my experience, prints from trannies, particularly large ones done direct printed using Fuji R and even more so using Ilfochrome have a glowing appearance one cannot achieve with prints from color negatives. The closest I've been able to come is Kodak's color metallic from color negative.

I will throw in my $0.02 worth on a related issue.
You should know you are taking a risk using a film that you haven't shot before. I usually advise against using unfamiliar films, equipment or techniques for critical work. You're pretty well committed, so at least realize this risk up front, work carefully (especially with exposure) and try to keep from going to far afield with exotic things you haven't tried before in other aspects of the work (i.e. try to limit the risks). The more risk you pile on, the more there is to consciously think about, and the greater the probability of error from brain overload. That said, a local friend of mine whose day job is pro photography work takes all manner of multiple risks with critical work that make me cringe, and somehow gets away with it at least 950f the time.

GL and hope you get some great shots.

-- John


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