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If Astia is gone, then how much longer for Velvia and Provia


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<p>So, what does the loss to the film market of Kodachrome and Astia mean to you? I hadn't realized their loss was such a "positive" sign for the future of film-silly me.</p>

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<p>As a positive, what about Kodak bringing out Ektar 100 in 35mm only then due to popular demand, releasing it in 120 then amazingly, again due to demand, producing it in large format sizes?</p>

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<p>film is considered thoroughly obsolescent - much more obsolescent than any digital camera</p>

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<p>You should ask my digital camera how often it gets used! </p>

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<p>You guys are preaching to the choir, there is nothing more to be said.</p>

<p>"I hereby accept and swear loyalty to all things film and will agree to say that film sales and usage is increasing and thereby boost the sales of these products until the world returns to its pre-digital heaven."</p>

Robin Smith
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<p>...Silly me...</p>

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<p>Glad <em>you</em> said it, not me.</p>

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<p>We look forward to not hearing it!</p>

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<p>Exactly, Steve. Nothing I can add!</p>

<p>I've always heard good things about Astia, but got hooked on E100s, then E100g, and never looked back. Sublime stuff. I remember at the only two workshops I'd attended, both instructors (both successful and well known in their specialties) peeking at my results on the light table and wanting to know what film it was; both were impressed with these emulsions. The first guy was ordinarily shooting Provia, the second was digital. But of course, it's sad to see Astia go; I'd never heard anything bad said about it.</p>

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<p>Asim, In reference to my last post, the fact that he was curious about the film I was shooting didn't seem to dissuade that instructor from Provia, as he was still shooting it last I heard. The digital guy was hopeless:)! Of course he now teaches the course with a certain word incorporated in the title, with a photo equipment retailer right there;).</p>

<p>You can't worry about it, and I do see much more interest in film photography than there may have been a few years ago. I think that just might bode well for the future, and I know that I tried a couple of different negative films out this fall for nature, and at least imho, there is no substitute for transparencies in this area, especially. And I'd agree with a previous poster that the best outdoor portraits I've made were on positive film.</p>

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<p>No they did not. What they threw away was the Rolex copy that no longer was worth selling even at a loss. Not slamming Kodachrome but how much did you use in the last 10 years? I don't own a watch but I use B&W film and develop it myself I can tell you that the loss of Kodachrome did no effect my photography or my use of film. If you want my Color well it is Ektachrome emulsions along with all the great advancements the color negative fils have made.</p>
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<p>Exactly Larry. Spot-on, as usual, I think. Having shot film for about fifteen years but using the "digital darkroom", afraid I still haven't learned B&W developing, but do look forward to doing so. I shoot BW400cn presently, though, and really like it, but the few times I've tried T-Max, I see something special.</p>

<p>Modern Kodak films are great, imho. The photographer I learned from switched from Kodachrome 64 to E6 about ten+ years ago, saying that the various modern emulsions were far better. About seven years ago, a very interesting conversation with an experienced individual at Kodak also helped make this clear to me. I never really missed K64, but do miss K25. But the last couple of generations of Ektachrome seem to have their own wonderful charms; overall, I think they're the best yet.</p>

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<p>"But Provia appeals to the type of folk who want to do that same "shooting the picture" thing with landscapes, architecture, and product, and might actually avoid digital, with its tremendous retouching ability."<br>

Interesting, because I think Provia gives the most accurate skin tones of any color/neg film I've used, ever.</p>

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<p>I'm not going to argue about velvia's aesthetic merits because it's as love-it-or-hate-it as hdr is, but if you're expecting to get a full five stops of dynamic range out of it that's your own fault.</p>

<p>Highlights blow out at +1.5 stops. Shadows start to block up about a stop under. If you get a good scan or use contrast masks you can do a stop better than that shadow-wise, though. If you have more contrast than that, use filtration or wait until the light changes.</p>

<p>I also like how it looks so of course I'll defend it. If you shoot it, you know what you're getting into. I won't pretend it's color accurate, though. It's bad by film standards and any film is bad by digital standards.</p>

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