On Tue, 25 Jan 2000, John Pendley wrote:
|John P.
|We have the same initials! To change the course of this thread a bit, I'd
like to deal with a
|more basic question. All my serious photography has been in B&W, and some
years ago. I burned
|out, then slowly crept back in using color, since I no longer had a darkroom.
I shot color neg
|material. The I started shooting Velvia, etc. fairly recently. My impression
is that Cibas
|made from transparencies are far better than anything I ever got from any
print film. Pricey,
|though. Actually, I did experiment a little with Ciba when I had my darkroom,
so I know I
|could do it again. Do you agree that Cibas are the best color prints?
They are the best I've seen. However, I'm not the best to ask since I
am mostly a slide guy. I only take color prints when I or a friend
wants portraits. There are alternative color printing processes out
there which I have not sampled yet.
|John A. Prosper wrote:
|
|> On Tue, 25 Jan 2000, John Pendley wrote:
|>
|> |
|> |
|> |Christopher Biggs wrote:
|> |
|> |> John Pendley <jpendley@xxxxxxxxxxxxx> moved upon the face of the 'Net and
spake thusly:
|> |>
|> |> > For B&W, it used to be Tri-X all the way--in HC110, 1 to 31. I've been
out
|> |> > of it for awhile, so don't know about T-MAX. A lot of people seem to
like
|> |> > it. But I got beautiful 11x14's with Tri-X, processed right.
|> |>
|> |> T-Max does magic with grain structure to give finer grain at the same
|> |> speed. The hidden cost is that it's less "tolerant" of exposure and
|> |> processing variations. Some people consider that the T-Max films are
|> |> best left for the studio where everything is under perfect control,
|> |> while Tri-X still rules in the field.
|> |>
|> |> > As for color, you can't beat Velvia.
|> |>
|> |> But not for people, and certainly not indoors!
|> |>
|> |> A low contrast portrait film like Kodak Portra or Fuji NPH is
|> |> indicated for that application.
|> |
|> |Hi, Christopher,
|> |Thanks for the feedback, especially re: Tri-X. I'd have spotted the
limitations of Velvia
|> |if I shot people, or if I shot indoors. (Actually, I do, but usually with
a Stylus and
|> |print film.) But almost all my "serious" stuff is landscapes/nature, etc.
I have tried
|> |the new Ektachrome 100VS. It's terrific, and faster, but it hasn't yet won
me over from
|> |Velvia. Given the difference in color rendition between the two, it'll
probably end up
|> |being a matter of choosing one or the other based on application.
|> |John
|>
|> For portrait photographic prints, try Agfa's Portrait 160, Fuji NGS
|> 160, or Kodak Portra. Both Fuji and Kodak also market 400 ISO
|> versions of these films. For portrait transparencies, try Fuji Astia
|> or Kodak Elite; both are 100 ISO.
|>
|> For landscapes/nature, the *BIG NEWS* is that Fuji has a brand new
|> transparency film called *Provia 100F (RDP III)* which is *the most
|> grainless film ever made*. RMS granularity index = 8!: Velvia's &
|> Kodachrome 25 = 9. It is also said to be extremely pushable: up to 2
|> stops! with little efect on color and tone. I am still awaiting my
|> first brick of this material from B&H. Undoubtedly, Fuji is going to
|> incorporate the new "Super-Fine Crystal" emulsion technology employed
|> in Provia 100F into all their professional slide films, including
|> Velvia, for even sharper slide films.
|>
|> I strongly suspect Kodak is trying to cook up a response to all this,
|> as evidenced by their very recent cancellation of their Kodachrome 25
|> & 64 lines.
|>
|> When the film giants slug it out, photographers win! ;-D
|>
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