new RDPIII

[jim_chow]

Here's something I picked up on the net for those who don't know...

supposedly, RDPIII has the saturation of velvia and smaller grain,

all at iso 100!

 

>PMA '99, Las Vegas, February 18, 1999 - Fuji Photo Film U.S.A., Inc.

is proud to announce the introduction of Fujichrome Provia 100F

Professional (RDP III), a new generation of daylight-type color

reversal film offering the finest grain of any color reversal

emulsion now available.

 

Taking advantage of a number of technological breakthroughs, the new

film achieves an unprecedented RMS granularity of 8*. It also

displays superb push-processing characteristics, maintaining

remarkably consistent color balance and tonal rendition at pushes of

up to +2 stops.

 

"Fujichrome Provia 100F (RDP III) promises to become the color

reversal film of choice for a wide variety of professional

applications, from product photography and landscapes to portraits

and fashion," said Steve Herstatt, Marketing Manager, Professional

Film and Cameras, Commercial Markets Division, Fuji Photo Film

U.S.A., Inc.

 

World's finest grain structure

In general, with conventional film emulsion technology, the higher

the speed, the coarser the grain. However, Fujichrome Provia 100F

(RDP III) is the first reversal film in the popular general-purpose

ISO 100 class to achieve an RMS granularity as low as 8, offering

photographers significantly finer grain than even low-speed films in

the ISO 25 and 50 range.

 

Consequently, Fujichrome Provia 100F allows for finer details, as

well as bigger enlargements than ever before. Even display-size

prints show excellent image quality and, skin and sky tones remain

smooth and virtually grainless to the eye. Particularly for location

work, the new Provia 100F film offers the convenience of 35mm

photography in situations that until now would have demanded the

detail and tonality of medium format.

 

The grain of the new Provia 100F film is not only extremely small,

but also highly consistent in size and shape. The result is

outstandingly smooth, high-quality reproduction and a new sense of

sharpness and crispness.

 

Breakthrough grain technologies Fujichrome Provia 100F (RDP III) owes

its exceptional grain structure to two new Fujifilm innovations:

Super-Fine Sigma-Crystal Technology, a further development of the

company's Sigma-Crystal Grain and Super Uniform Fine Grain; and

Micro-Grain Solubility Control Technology, a technique for preserving

optimal grain characteristics.

 

As grain becomes smaller, its ability to capture light inevitably

decreases, reducing its effective speed. Fujifilm's Super-Fine

Sigma-Crystal Technology dramatically improves both the

light-capturing ability and efficiency of the emulsion. The result is

a super-fine grain emulsion in a general purpose speed film.

 

Another challenge in attempting to reduce grain size is caused by the

silver halide grain solvent compounds used in color reversal film

processing chemistry to control interlayer effect and film speed. The

smaller the grain, the more it dissolves away into these solvents in

the processing chemistry. This can result in an emulsion that does

not appear fine-grained to the eye as would be expected from the

small size of the grains themselves. Fujifilm meets this challenge in

Provia 100F (RDP III) with its new Micro-Grain Solubility Control

Technology, producing grain that is not simply finer, but also

appears finer in the resulting image.

 

Enhanced performance for greater versatility

 

Excellent push/pull processing characteristics

Advanced DIR Technology, a further refinement of Fujifilm's patented

DIR (Development Inhibitor Releaser) technology, gives Provia 100F

(RDP III) extensive push/pull-processing capabilities. The new film

maintains natural color and contrast from a -= stop (EI 70) pull to a

+2 stop (EI 400) push. In addition, newly developed Yellow-Filter Dye

Technology plays a key role in minimizing changes in color balance

during push-processing. This technology also helps to optimize the

emulsion's response to the color spectrum, as well as improving

reproduction consistency over a range of color temperatures.

 

Enhanced color and tonal reproduction

Provia 100F (RDP III) builds on the reputation of Provia 100 (RDP II)

for subtly enhanced color and tonal rendition desirable in many

photographic applications. The new DIR technology in fact delivers

color reproduction surpassing even that of current Provia 100. Blues,

greens, and reds - the primary colors that first catch the eye --

show attractive brilliance and saturation. From these vivid colors to

the most delicate pastels, Provia 100F (RDP III) captures color the

way today's professional image-makers prefer.

 

Fujichrome Provia 100F Professional (RDP III) is compatible with

worldwide-standard CR-56/E-6 processing. This new film will be

available in early summer, 1999, and in the same ranges of sizes as

Provia 100 (RDP II), from 135 to sheet film formats.

 

For more information on Fujifilm products or services, please visit

Fujifilm's PMA '99 Booth # D101.

 

(EDITORS NOTE: FOR MORE INFORMATION ON THIS PRODUCT READERS CAN CALL

CONSUMER INFORMATION SERVICES AT 800/800-FUJI OR ACCESS THE FUJIFILM

WEBSITE AT HTTP://WWW.FUJIFILM.COM.)

 

Fuji Photo Film U.S.A., Inc. is the U.S. marketing subsidiary of Fuji

Photo Film Co., Ltd. of Tokyo, a leading manufacturer of imaging and

information products.

 

 

 

*RMS (root mean square) granularity is a widely used standard method

for measuring and expressing the apparent graininess of photographic

films and prints. Statistical density fluctuations in film

granularity are measured, and then converted into numerical values.

The lower the number, the lesser the fluctuation and the smaller the

apparent grain.

[dave_kemp]

Wow, I'm looking forward to trying some of this stuff. Thanks for the information.

[jack_malipan]

In the eternal balance of good and evil comes Provia Jnr.

Great! Bye Bye Velvia! but resistant to +2 stops pushing? Stock up on

RDPII quick before we lose that wonderful contrast at +2 and +3. Is it a conspiracy against modern fashion Photography? By the way...any suggestions for c41 in e6? Forget the other way round, check out VPS and Super G Pushed +2 and overexposed +2 and weep.

[scott_eaton]

Usually when Fuji makes a technological advancement in one reproduction area it soon trickles down to the rest. Maybe this "breakthrough" with Fuji's chrome technology will lead to a REAL commercial pro neg film from "Big Green".

 

Just one question though: I have no issue with improved grain and the outstanding RMS measurements of this new film, but in all seriousness, does the world really need another hyper saturated slide film?

 

//scott

[mark_lewis1]

To answer Scott's question, "does the world really need another

saturated film"? Well, Kodak keeps sending me advance samples of

their various failed attempts to make even ONE well saturated film.

 

The most recent batch of Kodak 100VS that I recieved a month or so ago

looked completely flat next to the Velvia frames of the same subject.

The remainder sample rolls are now in my local landfill. Apparently

they think there is demand, and I certainly know most of my clients

and editors REQUEST that Velvia be shot to enhance the existing colors

in any photos that don't fall into the portrait category.

 

If you're after reality, thats fine. But there is plenty of room and

demand for a film that may to some people seem more colorful than

reality. I long for the pre-'89 fuji RFP, now that was saturated!

 

One last thought, a lot of people said the same about having a B&W

reversal film. Scala seems to be selling just fine in stores and

paying a number of my bills.

 

A films existence doesn't require purchase.

[jim_chow]

I heard from another source, who spoke to the Fuji rep at PMA '99 and

viewed sample shots, that the RDPIII is better than velvia in terms

of grain, but not tremendously better. Also, the velvia still wins on

saturation, especially with the greens, so it'll probably still be

the film of choice for landscapes.

[scott_eaton]

>>If you're after reality, thats fine. But there is plenty of room and demand for a film that may to some people seem more colorful than reality<<

 

I can see that niche market need since I've complained about the lack of a true, Velvia equal on the neg films side for commercial work, but I'm still baffled at what's driving the general demand for higher saturation chrome films. Fuji and Kodak have been pushing higher saturation amatuer level neg films films on that market segment for the past several years, much to the frustration and protest of commercial/pro lab operators and befuddlement of consumers who are beginning to complain more and more that their pictures have wild color casts and poor fleshtone response. Even the point -n- shooters are starting to complain.

 

On the reproducion side, both standard reversal print and CMYK ink to paper the dye's have long ago saturated out. With digital to plate, saturation can be easily manipulated via the colorspace. I've seen many an occasion where Velvia "clips" in the high saturation areas losing detail compared to a more subtle film. Well have to see if 100F is any better maintaining detail.

 

Ah, perhaps it's digital after all. You see, there is a growing proliferation of consumer level films scanners and a big problem with these is saturation and color sensitivity. Provia 100F could excel in that area. Same with commercial Photo CD scanning.

 

Statistical surveys on photographic habits have concluded that 90% of all photographs taken including both pro and amatuer are of people. I can't see the new Provia filling that need, especially in the analog domain, but perhaps that's for another thread.

 

//scott

[twmeyer]

I talked with a Fuji Exec today. His description was "finer grain than Velvia <i> without</i> the saturation". He said the saturation was very similar to current Provia 100. I thought this was good since many editorial and corporate photographers would use Velvia (for it's fine detail) if it didn't give such excessive response to skin tones. He agreed...t

[scott_eaton]

Fuji has really been catching a lashing for the excessive fleshtone bit. Superia a fine example.

 

I'll be honest, any film that can't make a human being look like a human being isn't a worth a you-know-what in my opinion.

 

You simply cannot grind up the saturation in current emulsions without radically altering the dyes in the film and changing the E-6 process. The reason that Velvia loses detail in high saturaion areas and begins to look like "plastic" is because of this limitation.

 

//scott

[scott_gant]

J. Chow was the one that suggested that RDP III had the saturation of Velvia...NOT the statement itself.

 

Re-read the announcement from Fuji and you'll see that it's the finer grain that is the big news.

 

To break it down, it's RDP II (Provia) with a much finer grain structure. It is NOT "Velvia 100". Yes, it will probably have a slightly higher color saturation that RDP II, but I think I can live with that. I can't really be sure until I shoot some though.

 

But my sources indicate that they're aiming for the pro shooter who wants the grain of Velvia, but without the over-saturation. I hope they pull it off...but if not, I still love RDP II as it is and have been enjoying Kodak's E100SW.

[ellis_vener_photography]

Actually most of the magazine/editorial and advertising shooters I know (including myself) use both RVP and RDPII for photographing people.

[jim_chow]

It was initially suggested to me that the film was supposed to have nearly the saturation of velvia. After demo shots were released at PMA 99, it was verified that Fuji wasn't aiming to make this a velvia substitute. However, the article does suggest that it is a saturated

film with the flavor of E100, etc.:

 

>The new DIR technology in fact delivers color reproduction >surpassing even that of current Provia 100. Blues, greens,and reds >-the primary colors that first catch the eye -- show attractive >brilliance and saturation. From these vivid colors to the >most delicate pastels, Provia 100F (RDP III) captures color the way >today's professional image-makers prefer.

[scott_gardner2]

Scott Eaton wrote:

>" . . . I've complained about the lack of a true, Velvia equal on the neg films side for commercial work . . . "

 

This may take this thread too far off the track, but have you tried Agfa Ultra 50 (print)? When I got my first couple rolls back from the lab, I said, "Wow! This is like Velvia print film!" The lab owner gave me one of those, 'Where have you been?' looks and said, "We've got a lot of people shooting it for just that reason." FWIW.