ross_martin4

Hi Adam! Look forward to shooting alongside you again this year!

Thanks for thoughtfully weighing in on this issue.

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And to everyone else who has shared, especially Kerry in his

typically thorough and well-researched way, thanks again. All of

your opinions have been valuable to me, though I got a chuckle at

how "dreadful" these saturated films appear to some of you :)

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I have decided that for now I will carry both E100VS and Velvia along

with their respective Quickload/Readyload holders and will use both

films as the scene and my personal taste dictates.

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Best regards to all,

For incident readings, place the dome in the same position as your

subject--facing the camera lens, and in a plane parallel to your

film. You must make sure that the light you are holding the dome in

is the same brightness level as the light that is falling on your

subject. So if your subject is a sunlit mountain and you are in

complete shade, you cannot take an incident reading but should

instead rely on interpreted reflected spot readings.

Thanks to everyone for the interesting comments and observations. I

realize that many of you do not care for super-saturated films like

Velvia/VS and I respect the fact that we all have our own tastes and

opinions, but for the color landscape work I do Velvia has been a

vital ingredient over the years, both to please my own eye and more

recently to compete in submissions to publsihing clients. I have run

my own personal tests on Astia, Provia F, E100S/SW, EPP and a few

others, but every time it was Velvia that, for me, captured more of

the heart and soul of the landscape I experienced. Apparently it has

done so for other shooters as well, as Velvia is the film of choice

for fine art master Christopher Burkett and for numerous other pros

making their living from both fine art prints and publsihing clients

(such as Dykinga).

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Then along came the seductive Kodak E100VS...in my direct comparisons

with my beloved Velvia, the VS was singing louder in the warm colors

yet with bright greens that were also pleasing, and yes the blues

were out of ths world. In a direct comparison shot of wild

Rhododendrons in a forest, the brighter colors of VS stole the show

and actually made Velvia look a bit dull! Other compositions

produced similar results and I was soon enticed into using E100VS

exclusively and enjoying the excitement of seeing the results after

every shoot, much as I did years ago when Velvia first shocked and

delighted the world.

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But now that the honeymoon is over I have been hearing talk of VS

having lots of grain, less color depth than Velvia, less effective

rendering of subtle tones, an unrealistic blue, and a tendency to

block up in saturated color. So I am re-examining all my comparison

shots again and gathering observations from all of you, to see if

there are indeed serious faults lying beneath the surface of this

seductive film.

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Thanks again for sharing from your experience.

Hi all,

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Looking for opinions, observations, comparisons, comments, subtle pros and cons of these two transparencies films, especially for landscape photography. Let me say that I have used Velvia almost exclusively for the last several years, but have recently gone through a couple hundred sheets of E100VS. In direct comparisons from the same composition, I'm seeing the VS pull out intense color in browns, reds, oranges that Velvia doesn't and to my eye the VS really pops on the light table. Jack Dykinga and other landscape pros have reported that VS is slightly less contrasty than Velvia. But we all see differently and I would love to hear from some of you regarding one or both of thes two films, which one you prefer for landscapes and why.

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Thanks for your input to this discussion,