According to earlier information, Sensia is essentially Astia with a
different film-base. Astia is supposed to digitize a little better, but for
projection and/or light-table analysis Sensia is the same thing.
Also, there is that bit about aging... I believe Sensia has stabilizers
added and is produced slightly "green" and is allowed to ripen to the best
color about 1/3 the way into the "use-by" date. Whereas Astia is produced
to be at best color right away.
Back in the day when I used to shoot Fujichrome 50 and 100, I used to "age"
my film. I'd buy it in bricks and would sample rolls until I got the color
I wanted then I'd freeze the entire brick. A carefully aged roll of
Fujichrome 50 was nearly indistinguishable from Velvia. And it was a whole
lot cheeper--especially when bought in those 5-packs. A brick of 5-packs
was almost 1/2 the cost of Velvia per frame.
A side-note of Fujichromes: I was a big fan of the original Fujichrome 50
and 100 films. For shooting in Michigan, there was a marked difference in
coloring of tree bark. Northern hardwood forests will render grey bark when
shot on Kodachrome or Ektachrome, but will actually pick up tans and browns
when shot with Fujichrome 50, 100, Velvia and Provia. Astia renders it grey
like Kodachrome. The differences were significant. Fujichrome 100 was a
touch grainy and when Provia came out, we all quickly migrated to it as the
skies were much cleaner. Unfortunately, Provia didn't have the edge detail
and acutance which Fujichrome 100 had. For a short time there was a
consumer version of Provia that replaced Fujichrome 100, but I'm not
remembering what it was known as. Maybe Fujichrome 100-II. By the time we
really realized what was going on with Provia, it was too late to buy up any
significant stash of Fujichrome 100. Fujichrome 50 and 100 did not suffer
from the lateral halation issues which have plagued Velvia and Provia but
evidently not Astia.
AG
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