At 17:10 3/9/03, Garth Wood (in response to Richard Man and Albert) wrote:
At 12:46 PM 3/9/2003 -0800, Richard Man (in response to Albert) wrote:
I shoot Provia 95owadays. When you see a blowup of it (for me,
scanning at 4000dpi and enlarge in Photoshop) and see practically no
grain, it's all worth it! This will teach you so much about your camera's
metering system...
Of course now we aew going to have Velvia 100F. Yummm.....
Yeah, my respect for Provia keeps growing as I use it more and more. I
love Velvia, but Provia's the "general-purpose" slide film for me
now. It's particularly nice with skin tones -- neutral, no
oversaturation, and crisp. All of which can be judiciously manipulated
digitally, too.
[snip]
It's the next best thing to Kodachrome and it's the "general purpose" film
I use in the medium format rig. I have noted one phenomenon with Fuji's
Astia and Provia. In night shooting, very bright small sources of light
(street lights and traffic signals) have a noticeable halo. I suspect it's
a form of "light piping" across the emulsion. Train shooters have noted
the same thing about Provia and the bright engine headlamps. The
Ektachromes and Kodachrome I've used don't do that. Still, I prefer Provia
100F (RDP III) to any of the daylight Ektachromes. I do use tungsten
Ektachrome occasionally (usually 160T).
Albert:
Keep shooting the chromes. You will ultimately be better for it. Don't
worry about medium format until you start printing 16x20 and larger. Films
such as Kodachrome 64, Provia 100F and Velvia easily print to 11x16 (about
12X magnification). IMHO 16x20 is a stretch, but can still be done. At
that size I do notice a difference in film format.
-- John
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