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My first color slide film


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<p>Hi Guys, I've been shooting with film for a long time, but I have always been just a "cheap" shooter. Meaning, that as I was growing up shooting film (80s and 90s) all I or my parents ever bought was the cheapest color print film. I still shoot a few rolls a year, and this year I ordered a few higher-end films. I have shot with Ektar 100 print color film and loved the difference in IQ. I ordered another roll.</p>

<p>I have also ordered my first roll of Velvia 50. I love taking landscapes, sunsets etc. I'm wondering if you have some tips to get the most out of my first roll of slide film. Also, when I take these to the lab, what am I looking for in terms of differences with processing?</p>

<p>I also ordered some Portra NC 160 for some portraits on film (which I haven't done in quite a while). Looking forward to using some film again. Thanks!</p>

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<p>Slide film is less forgiving than print film. You have to get the exposure very close. Also, its not color-corrected in processing so you will have to learn about color temperatures in sun, shade, clouds, morning and evenings. Velvia 50 is slow so use a tripod whenever possible.</p>
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<p>I love Velvia. I am presently shooting Velvia 50 in Olympus OM4 and Velvia 100 in a 1937 Zeiss Ikonta in 120 format. It is not a very forgiving but when you get it right, the image quality is quite astounding. Your metering needs to be spot on. Do a search on this forum on Velvia metering.</p>
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<p>By the way, if you are shooting Velvia, a camera body that supports matrix metering is useful although not essential. I do often go Sunny 16 in good weather but when not sure tend to stick to my OM4 multi-spotmeter.</p>
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<p>Erik: If you click my link to Tags, you can select Velvia to see Velvia 50's. The first two photos are Velvia 100's. Or you can click Ektar and Ektar 25's (no longer made). There are other film types there if you're interested including Portra VC160 and some old Agfa and Fuji print film. The Velvia 50's are too red for people - takes too much to try to get them normal after scanning. Ektar is very fine film. For landscapes I use a tripod and bracket +1 and -1 stop. I shoot at the box speed. I've always process in a professional lab and never told them what to do. </p>

<p>You didn't mention whether you intend to print chemically or scan and print from the scan. That may change your selection of film types to shoot.</p>

<p><a href="http://www.flickr.com/photos/alanklein2000/tags/">http://www.flickr.com/photos/alanklein2000/tags/</a></p>

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<p>Alan, Amazing Velvia photos. It has gotten me excited to get that box and start shooting! I've decided that instead of spending money on a FF sensor I would break out my film camera (a canon A2) and use that for my wide-angle landscapes.</p>

<p>I think bracketing will probably be a safe bet with my first roll of slide film. Since I don't personally own a slide-projector, I will most likely plan on scanning the slide film.</p>

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<p>I'll tell you about myself. </p>

<p>Some yrs ago, 2003 I took a night shool course on photography. We were given Superia 400 (neg film) for our workhop didn't learn a thing. We were taught ISO, aperture and shutter but wasn't told what was mid tone.</p>

<p>Anyway. All the yrs I have used a pro lab (considered). That also sell pro equip. The colors were bad IMO. But we knew no better. Until I did some research here on photo.net and learnt what was a Kodak Q Lab. A roll with them was v $$$ but colors were great on my first roll then of pro neg film - Kodak Portra 160NC. I took the same film to the old lab and same bad photo's. </p>

<p>Later I learnt that many pro's shot slide film and how it was a positive, no color adjustments etc. I bought a roll of film on a auction site, Kodak Ektachrome 200 and shot fireworks and wow the colors. Then I got into Velvia :)</p>

<p>Now for color I only shoot slides. They are more fine grained and the colors are better. If I do shoot negs, I process only and scan them myself. I find that high end flatbed scanners do a good job color wise.</p>

<p>You can just look at the slides behind white clouds with a reversed 50mm lens as a loupe or get a small cheap lightbox.</p>

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<p>When I began to appreciate photography a few years ago (before digital could compete with film), I read that pros used Velvia 50 slide film for its vivid, dreamlike colors. What I found to be the most appealing aspect of slide film though, is the adage of WYSIWYG (What You See Is What You Get). If you shoot slides, the labs can't manipulate your shots with standard processing- you either got it or you didn't. There is so little latitude with slide film that your results are entirely dependent upon your own understanding of light and film. This makes it very rewarding when you get everything right. <br /><br />For me: Velvia RVP 50 is where it's at. I only trust it up to 4-4.5 stops, but when shooting at sunrise and sunset, grads tame the sky very well and bring everything within the limits of the film - you just have to be able to read the light. <br /><br />If you're serious about slide film, I'd suggest you study <em>"The Zone System,"</em> buy a spot meter, and use a gray card. With the spot meter, you can determine exactly how many stops you'll need, and a gray card will tell you what falls into Zone 5. Once you know Zone 5, it's relatively simple to manipulate the light with grads and make sure everything important falls within those 4-4.5 stops. <br /><br />I shoot landscapes in Minnesota. You can see many examples of the colors of Velvia RVP 50 on my website: http://AjRagno.Zenfolio.com/</p>
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