Faster film - velvia qualities?

I have recently bought a Technorama 617 (untried as yet) and from

everything I read and see, Fujia Velvia 50 is the way to go for best

colour/saturation.

 

I am planning to take some aerial panoramas and am interested in a

faster film in order to keep sharp at higher shutter speeds.

 

Is faster Fuji film the way to go, or other brands better at faster

speeds? ANy suggestions?

You can try Velvia 100 or the one I am most familiar with, Kodak E100VS. I have not tried any of the new 400 asa slide films yet. That could be quite a challenge, and if successful you could end up with some very nice images. Good luck!

Thanks John. I guess I will try a few and see how I go. I know the best images will come at dusk / dawn when it's a bit darker, making it more important for faster film.

 

I'm new to this (bulletin board) but will try and post some images once they come through.

Velvia 100F pushed to 200 is my choice.

Hi again

Please can you explain the concept of 'pushing' film. For example, pushing 100 to 200 (as I read it all the time and am unsure exactly what it means).

Does this mean setting the light meter to 200, then requesting the lab to process at 200 (rather than the film's 100)?

Thanks again for your help.

Ian

Hi Ian - yes, just set your meter to 200 and tell the lab it was shot at 200 and you want it pushed one stop. They will probably charge a couple extra dollars per roll for the special processing. It also causes increased contrast and other side effects, so be sure to test a roll in various situations to be sure you like it. In dim low-contrast light when you're likely to be needing faster film anyway, the higher contrast and increased saturation can be a help. A lot of people like to push film for doing otherwise hazy aerials for this reason.

 

If you ever just need 100 speed you can choose between Velvia 100F or Velvia 50 pushed one stop to 100 - the pushed 50 may give you better results in situations where you want some extra contrast.

Provia 400F. I shoot 6x17 and frequently find myself using this film instead of Velvia 100f. Pushing Velvia can lead to unexpected (wild) results.

 

Also, pushing Provia 100 to 200 works well.

 

I've compared Velvia 50, 100 and Provia 100 in the exact same scene/lens with 4x5 and the difference in color is not as much as one might expect. If your printing digitally how you handle and enhance colors in photoshop will have a much bigger impact to the final print than the difference in films.

 

Don

Just curious, by pushing the film from 100 to 200, you are

practically underexposing it.

 

WHen you tell the lab to push it by 1 stop, are you asking them

to open up everything by 1 stop or are you asking them to

further underexpose by 1 stop ?

<p><i>Just curious, by pushing the film from 100 to 200, you are practically underexposing it. WHen you tell the lab to push it by 1 stop, are you asking them to open up everything by 1 stop or are you asking them to further underexpose by 1 stop ?</i></p>

<p>Yes, you underexpose the film by one stop.</p>

<p>No. Instead, pushing the film means extending the development to compensate for the underexposure (<i>pulling</i> is the opposite). Pushing and pulling must be done when the film is developed, and can be done to negative and transparency film. This is <b>not</b> the same as adjusting the exposure during printing, which is normally done to already developed, underexposed negative film.</p>

<p>I'm sure there are plenty of small (or not so small) technical errors here; I speak not from extensive knowledge of film development, but as one who has had his lab push his E6 a few times. Hence, I highly suggest reading some net resources written by people who are familiar with this stuff. You might learn something useful from it. ;)</p>