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Danny Johnson wrote: > Although I've heard many negative comments about Velvia's super-saturated, > unrealistic color, I may try it to punch up what few colors there are. Danny, I think that those comments come from people that only tried a roll or two of Velvia, didn't expose it right, and reported what they thought from what they saw. Velvia is very sensitive to color temperature. You have to shoot the stuff at 32 or 40 EI outside unless you have one of those brilliantly bright crystal clear days that never exist. The ISO speed printed on the box is a guide, not a law. In the studio, the stuff is perfectly accurate with 5500K strobes, so that should be your clue right there. You can also use this quality to alter your color saturation depending upon how you expose the film. That is another tool to work with, but maybe it's something that some train shooters find too much to have to remember while their camera is on auto-DX everything? Ever wonder why there is only a professional version of Velvia... And Velvia is contrasty, so it is not a harsh and contrasty light (high sun) film. You can use its contrast and color saturation to your advantage in flat light as well as proper light. You have to think about every aspect of what you are doing when you are shooting to get the most out of your film, your gear and your subject. Let's not blame photographer error or unfamiliarity with film and gear for what looks like bad results on film. Velvia is 50 ISO at 5500K, but we rarely have 5500K light outside, people. Open up your exposure and surprise yourself. Once you learn how to shoot it, Velvia is an excellent film, a lot more accurate and useful than some people would have you believe. > As far as shooting in the summer goes, I usually restrict my photography to > early morning and late afternoon. The heat, haze and humidity down here in > the south, along with the severe summer sun angle, make for truly > disappointing results during other times of the day. Same here in St. Louis. I'd like to see some good stuff shot at high-noon, but It's just not physically possible with the angle of the sun. I use that time to scout out locations for afternoon (or future) shots, eat lunch, fuel the vehicle, and move to an afternoon location (or go home), but if I can find a depot or tower or something that I am allowed into, then there may be some other railroad related interior shot opportunities with a tripod and some fill-flash. Resist the urge to dilute the quality of your photography by only shooting what is a correctly lit shot, not just what is in front of you at the moment. If the light stinks in front of you, it won't be any better on your film. Just can't stop shooting when there is a train in front of you, you say? You're on the wrong list then. Dave Dave Cohen Photographer, Member ASMP Action Photographic Webmaster [EMAIL PROTECTED] http://www.anet-stl.com/acphotog/home/ ======================================================= -> SPORRS: 'Serious Photographers Of Railroad Related Subjects' -> Web Site: http://www.anet-stl.com/acphotog/sporrs/ -> Message © 1998 SPORRS® - All Rights Reserved =======================================================
