HHPhoto
Well-known
No one is denying that.
As I've said above in one of my posts, I am using both C-41 and E6 for decades. And I've used both also in a professional environment. Horses for courses.
Exactly. But if you want that you have to talk also about the strengths of this medium.
Especially to young photographers who don't know anything about slide film.
There is now a complete new generation grown up digitally, but nevertheless interested in film.
It is new to them, and new things are interesting
.There has been a lot of superficial slide film bashing on internet forums during the last years.
In this thread none of the (also) slide film shooters has said that he hates something.
This negative comments came from either the 'doom and gloom' sayers or some aggressive 'negative film only' or 'only digital' shooters.
+1.
And I also love modern film cameras
.Currently running a slide film project (long exposures and night shots on Provia 100F; long exposure times up to 2 minutes without reciprocity failure possible with this film).
I am currently shooting slide film every week.
And I teach film photography to younger photographers.
I will tonight.
Cheers, Jan
HHPhoto
Well-known
Had a talk about that with a Fuji rep recently: Most professionals which are using silde film today are mostly in the areas nature / landscape / wildlife, color art, and if printed books are needed (e.g. travel photography).
That correlates quite good with the professionals I know personnally. One I know is still using it for high-end advertizing jobs.
Cheers, Jan
Noll
Well-known
This is great inspiration, thanks for starting the thread.
A couple weeks ago I was flipping through a old magazine (something like "Country Living") from the 1990's in a thrift store - and I was blown away! The colors on the page were so vibrant and alive! It was all done on slide film! I couldn't believe how flat the colors in modern-day magazines seem in comparison.
Lately I've been stuck in the mindset of "I better save this slide film for when the light is REALLY good!", and this has been great motivation to get out and not worry about it. It's all good.
A couple weeks ago I was flipping through a old magazine (something like "Country Living") from the 1990's in a thrift store - and I was blown away! The colors on the page were so vibrant and alive! It was all done on slide film! I couldn't believe how flat the colors in modern-day magazines seem in comparison.
Lately I've been stuck in the mindset of "I better save this slide film for when the light is REALLY good!", and this has been great motivation to get out and not worry about it. It's all good.
ronnies
Well-known
I'm busy scanning my latest E6 film.
Ronnie
Ronnie
Ronald_H
Don't call me Ron
Received 5 rolls of the new Agfa CT Precisa 'made in Japan' slide film. Not interested in flame wars, just in making pictures, preferably with old cameras and with film.
For those hung up on color accuracy, please consider the shot below. I don't know what happened, only that it was poor, nearly expired slide film:
Anne, grass by Ronald_H, on Flickr
For those hung up on color accuracy, please consider the shot below. I don't know what happened, only that it was poor, nearly expired slide film:
Anne, grass by Ronald_H, on Flickr
kokoshawnuff
Alex
As a relatively recent film photographer (and too young to have tried anything in the past) I only realized the magnificence of E6 a few months ago, when I did I began doing all my color work in slide instead of negative. I love Ektachrome VS and when I heard it was being discontinued I bought a few dozen rolls, but after reading this thread I came to the conclusion that it's better I buy Fuji then try to source out back stock of Ektachrome.
Well I still have quite a few rolls of the Kodak but will here forward buy velvia and support the company still making high quality slide film.
M3, cron 50, E100VS
Well I still have quite a few rolls of the Kodak but will here forward buy velvia and support the company still making high quality slide film.
M3, cron 50, E100VS
dallard
Well-known
dallard
Well-known
Good man! Like you, I didn't get into film photography until 2007 then when I shot my first slide (Velvia 50) I was blown away. Then I tried Kodachrome and fell in love with its palette. It became my default choice for color work but got discontinued shortly after I started using itAs a relatively recent film photographer (and too young to have tried anything in the past) I only realized the magnificence of E6 a few months ago, when I did I began doing all my color work in slide instead of negative. I love Ektachrome VS and when I heard it was being discontinued I bought a few dozen rolls, but after reading this thread I came to the conclusion that it's better I buy Fuji then try to source out back stock of Ektachrome.
Well I still have quite a few rolls of the Kodak but will here forward buy velvia and support the company still making high quality slide film.
M3, cron 50, E100VS
I don't think it takes much to convince young photographers of the merits of slide film. You should also consider the Provia films. They're excellent all rounders, although nothing beats Velvia in landscape.
dallard
Well-known
wilonstott
Wil O.
Big spender.
Is that 120 or 35?
I have a roll of Provia 400 kicking around that's a few years old--how's the refrigerated life of that stuff?
Also--how are you metering your shots? (the other ones you posted)
Great posts Everyone!
Man it looks like summer!
dallard
Well-known
It's 35mm I just bought.
I never bother to refrigerate it because it's expensive enough that I can only buy about 5 rolls at any given time and I'll be through that briskly enough. The rolls I just got have a 3/2014 expiration date. I assume if you've kept it refrigerated it will be fine. It's my understanding that all the Fuji E6 stuff has something like 100 years of archival stability once processed so it might hold up better than the Ektachrome films. I guess your only option is to go shoot it and see what happens!
As for the other shots it's just my on camera center weighted metering avoiding the reading from the sky. But it was taken last October so I don't remember very well.
-David
dallard
Well-known
kokoshawnuff
Alex
Good man! Like you, I didn't get into film photography until 2007 then when I shot my first slide (Velvia 50) I was blown away. Then I tried Kodachrome and fell in love with its palette. It became my default choice for color work but got discontinued shortly after I started using it
I don't think it takes much to convince young photographers of the merits of slide film. You should also consider the Provia films. They're excellent all rounders, although nothing beats Velvia in landscape.
Im unfortunate (but in a way fortunte) to have only shot Kodachrome once as a child. It'll be a sad day when I shoot my last roll of Ektachrome, but the few rolls of provia and velvia I've shot in the past make me confident with the possibilities of the future.
And a very nice shot btw ^
wilonstott
Wil O.
Look back through the thread--Jan (HHPhoto) made a rather lengthy post about using various filters (warming, cooling, and whatnot) to approximate Kodak emulsions with Fuji films.
I suspect you could get close enough for government work with the info he's supplied.
Get shooting!
anjoca76
Well-known
Here are two from a roll of Velvia 50 I just got back today.
85330010 by smokeycalifornia, on Flickr
85330009 by smokeycalifornia, on Flickr
85330010 by smokeycalifornia, on Flickr
85330009 by smokeycalifornia, on Flickr
dallard
Well-known
Love those crazy Velvia colors. I've been thinking about picking up a warming filter as I find Fuji colors to be quite cool. Of course, when photographing blue stuff it's an asset.
retrochick
I <3 Analog So Bad
I just bought a 5 pack of Agfa CT Precisa. Can't wait!
HHPhoto
Well-known
Thanks.
Yes it is quite easy to adjust the Fujichromes to the Ektachrome look.
The main difference between the two is that Fujichrome is strictly neutral color balanced when shot under norm daylight of 5600°K, whereas Kodak is slightly or more pronounced warmer:
The difference between Provia 100F and Ektachrome E100G is very small: Use Provia 100F with a Skylight 1A filter and it will be very very hard to tell the difference between the two.
Elitechrome 100 is a bit warmer than E100G. Therefore using Provia 100F with a Skylight 1B filter (a bit warmer than the 1A version) does the job to adjust Provia 100F more to the Elitechrome 100 color balance.
Elitechrome 100 ExtraColor and E100VS are also more on the warmer side (and of course with higher saturation): Using Velvia 100F with its similar saturation in combination with a Skylight 1B filter does the job here quite well.
Furthermore you have finer grain and higher resolution with Velvia 100F compared to E100VS / Elitechrome ExtraColor.
At first after Kodak's announcement I was very sad. Then I did some 'replacement tests'. Now I am happy again: With the Fujichromes I can all do what I want and get the looks I need.
Cheers, Jan
wilonstott
Wil O.
Well there you go, kokoshawnuff--
All the info you need to give your Fujichromes a Kodak tan.
Thanks, Jan.
wilonstott
Wil O.
Oh, and another thing, Jan
And guys, I don't want to start a all out war here.
What about a Kodachrome balance with Fujichrome?
The closest I ever got was with Astia (alert: this is my opinion)--which is gone now.
I realize it's a completely different process, but Kodachrome had the ability (to my eye) to maintain proper skin tone (even with caucasians) but saturate other colors in the red spectrum. (hence "red hat photography" that dominated National Geographic in the golden age that was the 1980s)
Again, I may not be articulating myself properly.
Can we even approach the look with current e-6 emulsions and warming/cooling filters?
And again--please, please, please
no wars
And guys, I don't want to start a all out war here.
What about a Kodachrome balance with Fujichrome?
The closest I ever got was with Astia (alert: this is my opinion)--which is gone now.
I realize it's a completely different process, but Kodachrome had the ability (to my eye) to maintain proper skin tone (even with caucasians) but saturate other colors in the red spectrum. (hence "red hat photography" that dominated National Geographic in the golden age that was the 1980s)
Again, I may not be articulating myself properly.
Can we even approach the look with current e-6 emulsions and warming/cooling filters?
And again--please, please, please
no wars