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03-24-2009, 06:06 PM   #16
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[QUOTE=Jimfear;535556]Pictures speak louder than words... so I thought I'd post some examples of slides. I love slides!

These are all unprocessed straight out of the scanner, only resized. So they are only as good as my settings while scanning, but should be somewhat consistent. Usually you would want to do a little PP to get the most out of the slide.

Sensia and Velvia are the two I use most. Sensia is a good value film, but when you want vivid colours try Velvia.


Jim, the photo of the Pyramids is FANTASTIC, man I would love to see them someday.....

03-24-2009, 06:22 PM   #17
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FWIW Kodak Carousel projectors are dirt cheap now.

My advice is to try Kodachrome before it goes away.
Otherwise you may never know what you missed...

Chris
03-24-2009, 06:52 PM   #18
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QuoteOriginally posted by ChrisPlatt Quote
FWIW Kodak Carousel projectors are dirt cheap now.

My advice is to try Kodachrome before it goes away.
Otherwise you may never know what you missed...

Chris
I agree totally, the best stuff ever.

But Kodak will give plenty of warning before it goes away, and I doubt it will happen all that soon. It's been their signature product.

I think there's only like one one lab in the U.S. still processing it now in 35mm still (correct?), but I'm pretty sure it's still used for film work, where the chemistry is the same.

I'm a raging liberal, but I still have a real bug up my ass about using American-made Kodak. Can't explain why--just part of my upbringing and film experiences.

And E6 is one thing. Kodachrome is another.

Last edited by Ira; 03-24-2009 at 07:20 PM.
03-24-2009, 07:37 PM   #19
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I'm a fan of the provia as well.



03-24-2009, 08:55 PM   #20
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I’ve been shooting slide film for 35 years now, so here are my pros and cons.

I always use slide film when I’m on vacation and shoot negative film at home or when I’m experimenting. Just to note I’m stuck in the 70’s and still have slide shows, using a projector & screen. So preferring slide film over negative is the same as colour vs b&w, it’s a matter of taste.

Slide film will cost you more, especially if you pick the professional version over the consumer version. Kodak has both versions in some of its transparency lines. The colour balance will be better in the professional version, but you have to store it properly and process it quickly after use.

Here are the prices of slide & negative film in my last purchase from Beau Photo Supplies in Vancouver. (Prices are in Canadian dollars)

First two are negative, last two are slide film.

Kodak Ektar 100 - $4.58
Kodak Portra 400VC - $10.17
Kodak Professional Ektachrome E100G - $14.59
Kodak Professional Ektachrome E100VS - $15.02

I used to use Kodachrome 64 exclusively, but it’s too hard to find and can only be processed in a lab in Kansas. I mostly use Ektachrome now and there are four versions: E200, E100G,
E100GX & E100VS. The Kodak web site will list which film is for best for a particular use. The Kodak E100VS is really good colour wise. I’m a Kodak user, so I’m biased; Fuji also has some great slide film.

For B&W reversal film your only choice is Fomapan R 100. It’s the replacement for Agfa Scala, but it requires special dr5 processing in a lab in Denver. It’s also hard to find, so it’s like Kodachrome film. I just got 10 rolls back today and I’m very impressed. I will start a separate thread in this forum later on and include some scans.

Processing of slide film is cheaper if you just get them mounted, compared to negative processing and a set of prints. If you skip any prints the negative processing will be slightly cheaper. You will need to find a good E-6 lab for processing; I have one two blocks from where I live, so I’m lucky. Slides are also easier to store, especially if you keep them in Kodak Carousel trays.

Slide film is also less forgiving than negative. So you need to get your exposure right, otherwise you will probably get more duds using slide film. However when you get everything “right”, the results are amazing. There’s a reason slide film is still around and when you get a shot right you will see the light!

Try some out and enjoy!
03-25-2009, 06:26 AM   #21
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dr5 can slide process any black and white negative film!
and i guess you're trying to support your local shop, but film (esp pro-grade stuff) is so much cheaper when bought in bulk from the states
03-25-2009, 08:40 AM   #22
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Yeh I know, everything seems to be cheaper in the states. For me it’s the convenience of walking one block to Beau and being able to get any slide/negative film I want, including in bulk. (The prices I listed were for a single roll.) They can also order the Fomapan R 100 film as well. Plus I also do like to support my local shop and lab.

Yes you can get any B& W negative film processed in dr5, however the Fomapan is a true reversal film. See the dr5 review of this film:

dr5 CHROME - Black and White transparency process + THE ONLY RELIABLE SCALA PROCESSING WORLDWIDE
03-25-2009, 10:21 AM   #23
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Here are a few examples. For fun they were all shot on something not Pentax--wierd--Hasselblad XPanII shoots panoramas on 35mm film. They are about the width of a 67 shot but only the height of a standard 35mm film frame.

Sunset image is on Fuji Velvia 50
Horses on the sand is on Fuji Velvia 100F (discontinued in the "F" version).
Pink church and cemetary is on Kodak E100VS

No argument that slide film is not the least expensive option, nor that it can be quite temperimental regarding lighting conditions. And it may not be the most convenient either. But it's hard to argue against the overall image quality. And most important for me is it's more fun! The light table is way more enjoyable for me than any other viewing method before it becomes a print.

All three shots push the envelope for highlights and shadows and document that slide film has enough exposure latitude to hang in there pretty well.

Attached Images
     

Last edited by Ron Boggs; 03-25-2009 at 10:32 AM.
03-25-2009, 10:31 AM   #24
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QuoteOriginally posted by Ron Boggs Quote
The light table is way more enjoyable for me than any other viewing method before it becomes a print.
Here here. Seeing those little gems of intense colour scattered on the light table is pure magic. Of course, a good loupe is a must!

PS Great shots everybody!
03-25-2009, 11:06 AM   #25
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QuoteOriginally posted by Ron Boggs Quote
Here are a few examples. For fun they were all shot on something not Pentax--wierd--Hasselblad XPanII shoots panoramas on 35mm film. They are about the width of a 67 shot but only the height of a standard 35mm film frame.
i hate you ron!! ... but this could easily be fixed if you send me that XPanII
nice photos
03-25-2009, 11:27 AM   #26
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There's always the scanning part - just what color balance etc, and even the scanner software gives different results. A royal pain if you ask me.

To illustrate, one wintery dawn I went to Sandy Hook on the Jersey Shore with my K100D, a Yashica Mat 124G loaded with Velvia, (and my Ansco Shur Shot box camera with Fuji 160S, and ... a Fujica St605 plus a couple of Takumars). Too much gear, I don't like going with so much. But there were things I wanted to test out.

I never did get a scan I'm happy with, but then seems like MF in general I have this problem with.

Some samples:



Velvia, Yashica Mat, last scan w/VueScan





K100D, DA 16-45




Velvia, Yashica Mat, earlier scan w/VueScan



Velvia, Yashica Mat, Epson scan
03-25-2009, 01:23 PM   #27
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Nice pictures everyone! I agree with you on scanning slides, the colours never seem to be as good as the original slide. I have even had drum scans done over 100MB and the blues are still off. It's too bad you can not get internegatives done any longer. They always seemed to be a better option.
03-25-2009, 02:03 PM   #28
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QuoteOriginally posted by gofour3 Quote
Nice pictures everyone! I agree with you on scanning slides, the colours never seem to be as good as the original slide. I have even had drum scans done over 100MB and the blues are still off. It's too bad you can not get internegatives done any longer. They always seemed to be a better option.
Viewing pictures on a computer screen is never as good as viewing them in real life. Especially slides, which can be almost miraculous to behold. But a slide + colour-balanced lightbox + decent scan + levels = pretty damn close.
03-25-2009, 03:47 PM   #29
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I love velvia !!!

03-25-2009, 05:19 PM   #30
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Listen to Ron, he truly knows and as K100d says you will be thinking “I got to try bigger.” Slide film is not overwhelming, bracket ˝ to one stop over and under. Any currently available slide film is great. If you take a color negative to five different color labs, you will get five different colored prints. With positives the lab knows what color it is obligated to match. Request your E6 lab (check out Photo Craft in Boulder, CO) return sleeved clear uncut (saves money.) I would suggest a Gepe Pro Slim Viewer, an 8x12 sells for 97.50 at B&H. For a loupe, I would recommend either a Fuji, Calumet, or Rodenstock 4X. These sell on eBay for $70-$80. Don’t worry about buying a scanner, you are going to be thinking “I got to shoot more and start building a chrome library.” For now you can have your favorites scanned and keep an eye on eBay for a Minolta Multi Scan Pro. Chrome has color, sharpness, and 3d imaging that I don’t see in my A700 digital files. Why are 60s and 70s rangefinders so hot? Because when shooting slides these cameras compete with today’s most expensive digitals. Once you start getting blown out of your socks with chromes you are going to be thinking bigger and there Pentax has an answer for you called 67II and 645N. For far less money and still a lot of fun is a TLR such a Yashicamat D, Minolta Autocord, or even a $17.00 Ciro Flex that will compete with my Sony A700. Just wait until you start viewing your own 4x5 chromes on a light box and start printing nothing smaller than 30x40”. Slide films are very archival; my father’s 50 year old Kodachromes look great. The most archival is Black and White and you may have not known but you can process B&W as a positive, (check out dr5.com). When you view B&W positives on a light table you’re going to see why many say digital in camera B&W sucks. If Kodak E100VS or Fuji Velvia blows your socks off, you’ll find dr5 B&W positives will blow you out of your rubber waders.
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