I got a chance to shoot some slides in the F6. Not a fan of many of the film stocks I’ve tried in 135, just for the added grain, but slides in 120 are pretty much grainless. I have been excited to shoot a roll and see how good they might be. In fact, I’d have tried this before, but everyone was out of stock on Velvia in 135 until recently, when I found it at some random photo business at a bargain price of about a dollar less than other stores’ list price! So, still about twice as expensive as negatives, both for the film stock and for the developing. Shit’s not cheap, yo.
Results are spectacular, though. It takes a bit of thinking to shoot. I mean, it’s still iso50, so not exactly action film, but that’s not too much slower than Ektar, which I have to overexpose 2/3 of a stop for consistent scans. And holy crap are the results spectacular. Don’t get me wrong, I loves me some Ektar, but geez the hyper-real, over saturated colors of Velvia are special. And it’s grainless enough I’d be glad to make some pretty large prints from these slides.
Of course, it’s still slides. You’ve heard all the warnings. Better for low contrast scenes, not a lot of dynamic range, just straight up blows out highlights negative film would be a lot more gentle with, so you’d better get your metering right, and all that. I shot in full sun, cloudy, night, crappy light, and a variety of subjects just to get a sense of it, so the gallery is totes random. It’s fussy in bad light, but when the sun’s out it’s holy shit beautiful. Does amazeballs things to the sky at sunset, too. The sunset shot here is just the scan shrunken down to a webbable jpeg, nothing done in the photo shops to boost the colors. The slide itself is actually MORE vibrant.
I have had a roll of Velvia in the GX680 for a month or more, so I took some pictures of guitars to burn it off the last couple images. I used the tilt-shift to get the entire neck in focus in an attempt to learn how that works and I’d like to claim that I now have it perfect, but you can see I cut the end off of my new bass, so obviously I tilted but didn’t appropriately shift. That sounds like a metaphor of some variety. Alas, it’s literal.
By new, I mean the bass is only new to me. It’s actually 35 years old. I snagged it at a yard sale two weekends ago. It was filthy. So filthy I am kicking myself for not taking before pictures now that it’s done.
It had been hanging neglected for two years since it’s previous owner, Phil, passed away, and was completely covered in dust and grunge, displayed lying in the dirt. I wanted a P Bass to replace the Squier I have now, and literally decided to start looking 3 days before the yard sale, so I was primed to buy. I figured a mid-80s Made in Japan jazz neck was exactly what I would get if could choose anything at all, so I snagged it figuring it would be an ugly duckling that played great. Except, when I washed the grunge off, it isn’t ugly at all. The hardware is near mint and the paint is as good as you’ll find for a 35 year old instrument, only showing its age by having been sun-tanned to a darker, golden cream that’s even nicer than the original cream color (which I can compare as it is hiding under the pickguard). Not a bad score. And it plays perfectly after I set it up. I took Phil’s ridiculous chickenhead knobs off and returned it to it’s appropriate dress, but I left the shamrock sticker. A random sticker and ridiculous knobs pretty much summed up Phil’s entire aesthetic. He was eccentric, and a good guy. It’s nice to have something of his around the house, so it will continue to wear his random decorating as a small tribute.
The first four images are on Velvia 50, which I love more than I can adequately express. The slides are even more amazing than these tiny, compressed files can begin to show. This film stock is amazeballs. The last three are digital images, just depth of field tests, here so I can show them to a friend.
Shots of the dredging in Agua Hedionda and afternoon at the park on Buena Vista. Can’t believe I didn’t notice the dredging barge had moved so far while I was swapping out film and I cut off the flagpole. Dammit! Someone was chatting with me while I was working and I wasn’t paying enough attention. I now know that she has a Mamiya and took photography classes in the 90s, and that I should recompose my damned shot when I look away from the scene for more than a few minutes.
Last week, during the sunny weather, I shot a roll of Velvia. It was just after the Provia, but I didn’t finish the roll until yesterday, so I didn’t get the chance to develop it until now. While doing some of the shots I had Ekar in the other back so I could get a direct comparison. Have I mentioned how much I love slides? Like love love them. I like looking at them on a light table with a loupe, they have a quality even these scans can’t reproduce. The sharpness, the saturation, the colors cool and vibrant, they’re a totally different animal than the negative films.
Slides aren’t for everything. The Kodak films have way more exposure latitude, for example. I shot two frames of sleeping tiger each with Provia and Ektar, one frame about 1/3 stop over the incident light, the next one stop up from that. The Ektar scans might as well be the same, you can color correct them in software to be identical and nothing is lost. The Provia that’s 1 stop over has washed out color and the sky color is just plain gone.
Velvia is the same, and the shadows go black extremely quickly, so you had best plan on that. And 50 speed is mighty slow. Shots of the cooling pond have what looks like grey clouds, but they aren’t clouds. They are pelicans. Even in full daylight, if you’re looking for extra depth of field you’re going to hold the shutter open way longer than any Portra. Even the extra stop of Provia and Ektar is appreciated. The trade off is almost no grain, and saturation that is more real than real.
Enough yammering. Here are the photos. Sleeping Tiger, the cooling pond, and the tree were all taken back to back for direct comparisons. The Velvia shot of the dredge was taken before the sun started to pop on the powerplant, so even though it’s only a couple minutes before the Ektar, it is not a direct comparison. The light just got better over the course of 5-10 minutes before dying off completely. I might have gotten a better shot in the good light on the next roll. The Ektar is using 1 stop GND on the sky, but pretty much straight out of the camera, so I’m really hoping I got something as nice on the next roll of slides.
Velvia is the standard for landscape photography. Or at least it was when I was taking pictures on film in the ’90s. I seldom used it as much of my photography was out the window of a glider and the combination of low speed and dynamic range made shooting slides a fraught endeavor. But since I’m always on a tripod these days, why not try?
Well, I’ll tell you why not. Medium format is expensive. It’ll cost me $4 a shot for film, develop, and scan, so I practiced with more forgiving negative film stock before I tried the slide film. Velvia is 50 speed, has significantly less exposure latitude than negative film and digital, and is prone to reciprocity failure on longer exposure shots. You have to nail the exposure, and either have a lower contrast scene or be fine with certain shadows going pure black or highlights pure white.
I have two backs for the GX680, so I loaded one with Velvia, the other with Portra 400 (it was in the back already, else I would have shot Ektar as my comparison negative stock) and went to the village for some experiments.
First, here are the scans straight up. Minimal editing makes a better comparison. Note, the liquor store I took from the middle of the street, so I was running into the street, snapping the shot, then scurrying out of the way of the cars, so the unedited scans needed a little rotation and composition hygiene.
And edited comparisons below. Note, these are minimal edits, just a touch of optimization and a little rotation and cropping for the most part on the liquor store. It was a perfect scene for this test being well lit with a variety of interesting colors, and shows how much warmer Portra is, as well as how much the blues and greens pop on Velvia. The Village Kitchen and Pie Shoppe with extra Ps and Es to make it fancy I chose for the opposite reason, the light was washed out and there were some shadows and bright clouds so I could see the dynamic range. This isn’t the raw scan, I pulled the sky back about 1/4 to 1/3 of a stop in editing to see what there was to be found in those highlights, and it has a little dynamic contrast boost, too. You can see the sky is blown out on the Velvia in the lower right corner where there’s detail to be pulled out on the Portra.
I don’t have any direct comparisons from later in the day. Instead I was just trying much more challenging shots. The clouds turned a crazy pink and red after the sun set and, though I understand that Velvia is not a high contrast film, I tried some high contrast shots. The blacks are black. I mean, there’s NOTHING to be pulled up there. But I was shooting for the sky and the highlights, so I expected that. These long exposure shots really show the weirdness of Velvia. The sky was blue and pink, and it did hint toward purple, though the Velvia just made everything… extra. A digital shot of the same scene is below to compare to the Velvia version.
I am also including a few other shots I got back. The sunsets and pictures of the Village are from a roll of Ektar I ran through the F6. I am shooting most everything up 2/3 of a stop and the scans seem to come back better. I’m also pretty darned happy with the sunset scenes, considering how contrasty the exposures are. You can definitely see the grain with the tiny little baby negatives, but it’s not distracting in these shots.
The train was with the GX680. I’d lost the light so the bush wasn’t as bright as it had been, but I like the composition. I converted it to black and white because, if I like B&W, then the composition feels good to me. The last image is a from the same roll of Portra 400, and I liked it so I thought I might as well share.
So… Velvia. It’s something. I’ll have to shoot more of it, maybe find some other fun colors. And if in town, I should bring the 100mm or 135mm so I don’t have to stand in the street to take a picture. I love that 50mm lens for landscapes, the view is expansive, but it’s about the equivalent of a 22mm lens on digital as far as field of view. I could definitely use more reach for a walking around lens.
