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#11
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Pictures of architecture
This is my first job (I ever made pictures for myself before now) and
I'm worried a lot. They asked me for colors, I thougth using Velvia slides But someone told me not to use slides for two reasons: 1) low latitude (i dont't know the exact translation... I mean you cannot differ exposure a lot...) Velvia would be my last choice for traditional architectural photography or for reproduction as the colors are super saturated and the contrast is high. If you client is specifically looking for such an effect, fine, otherwise in the Fuji slide line Astia would be a much better choice. John |
#12
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Pictures of architecture
Ken Burns wrote:
"Michael Scarpitti" wrote in message om... "Ken Burns" wrote in message link.net... I use 4x5 Ilford HP5+ for everything: landscapes, portraiture, architecture. There's nothing any better! Unless you need color. Color? Who needs color? If you want to see it in color, don't shoot a photo of it. Just go look at it in person! If you want a real photo of it, shoot it in B&W. I love this sense of humor, exquisite! I hope that you will get that B/W television and B/W computer monitor at a resonable price! |
#13
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Pictures of architecture
Quoth Gordon Moat :
| Carlo wrote: .... | They asked me for colors, I thougth using Velvia slides But someone | told me not to use slides for two reasons: | 1) low latitude (i dont't know the exact translation... I mean you | cannot | differ exposure a lot...) | | Latitude refers to how much you can be off and still get a usable print I have never printed anything from Velvia, but I have the impression that you could be dead on and still not be so lucky as to get a usable print. Latitude would depend partly on the subject, though, as it would seem that a subject with a narrow range of values would probably be printable even if slightly under or over-exposed. .... | Saturated choices: Fuji Velvia and Velvia 100F, Kodak E100VS | | More even choices: Fuji Astia 100F, Kodak E100GX, Kodak E200 Better prints without heroic efforts: any color negative film. Donn |
#14
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Pictures of architecture
"John Horner" wrote in message ...
This is my first job (I ever made pictures for myself before now) and I'm worried a lot. They asked me for colors, I thougth using Velvia slides But someone told me not to use slides for two reasons: 1) low latitude (i dont't know the exact translation... I mean you cannot differ exposure a lot...) Velvia would be my last choice for traditional architectural photography or for reproduction as the colors are super saturated and the contrast is high. If you client is specifically looking for such an effect, fine, otherwise in the Fuji slide line Astia would be a much better choice. John I'll probably make pictures in light bad conditions so I thought using an high contrast slide could be a good choise (isn't it?). I Also think usina an 81C Filter. So confused... slide or negative... at end I'll use a coin! Carlo |
#15
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Pictures of architecture
HI Carlo,
In my experience, a high contrast slide in poor lighting conditions does not yield a good print. I recall trying to make a print from several high contrast slides and never getting it right. Printing from slides involves Ilfochrome paper that is also high contrast. While I could see subtle detail in the slide, I could not get it onto the paper. In bad lighting conditions (e.g., inside of a cathedral), negative film - color or B&W - should yield a better print. Besides, in B&W there are ways to increase negative contrast, and in color printing, there are ways to increase color saturation in the print. Francis A. Miniter Carlo wrote: I'll probably make pictures in light bad conditions so I thought using an high contrast slide could be a good choise (isn't it?). I Also think usina an 81C Filter. So confused... slide or negative... at end I'll use a coin! Carlo |
#16
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Pictures of architecture
Donn Cave wrote:
Quoth Gordon Moat : | Carlo wrote: ... | They asked me for colors, I thougth using Velvia slides But someone | told me not to use slides for two reasons: | 1) low latitude (i dont't know the exact translation... I mean you | cannot | differ exposure a lot...) | | Latitude refers to how much you can be off and still get a usable print I have never printed anything from Velvia, but I have the impression that you could be dead on and still not be so lucky as to get a usable print. I suppose that usable is in the eyes of the beholder. However, I have seen some nice gallery images from using Velvia. My personal feeling is that I do not like the overdone green, except for some landscape images. Latitude would depend partly on the subject, though, as it would seem that a subject with a narrow range of values would probably be printable even if slightly under or over-exposed. Sure, and lighting can flatten out that range . . . sometimes. ... | Saturated choices: Fuji Velvia and Velvia 100F, Kodak E100VS | | More even choices: Fuji Astia 100F, Kodak E100GX, Kodak E200 Better prints without heroic efforts: any color negative film. Donn You probably do more chemical colour prints than I did. Most of my images that get printed come off a commercial press, which is very different. In that situation, I find it more convenient to scan transparencies. I get better printed results on chemical prints from my transparencies. Mostly, those have been portfolio images, or for display in galleries. Quite likely it has more to do with my choice of lab, and that is the reason that I recommend anyone discuss this with their lab first. I have never seen good results from one hour places, and if that is all you have, avoid prints from transparencies. Ciao! Gordon Moat Alliance Graphique Studio http://www.allgstudio.com |
#17
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Pictures of architecture
Quoth Gordon Moat :
| Donn Cave wrote: | Quoth Gordon Moat : | | Carlo wrote: | ... || They asked me for colors, I thougth using Velvia slides But someone || told me not to use slides for two reasons: || 1) low latitude (i dont't know the exact translation... I mean you || cannot || differ exposure a lot...) || | | Latitude refers to how much you can be off and still get a usable print | | I have never printed anything from Velvia, but I have the impression | that you could be dead on and still not be so lucky as to get a usable | print. | | I suppose that usable is in the eyes of the beholder. However, I have seen | some nice gallery images from using Velvia. My personal feeling is that I do | not like the overdone green, except for some landscape images. Oh for sure, there are great Velvia prints, maybe the best color prints of all time for some people's tastes. I'm just speculating that there are also a higher than average proportion of hopeless losers too. I believe emulsions marketed for commercial photography tend generally to have wider exposure latitude, not because the photographer is less likely to have his act together there - I think they're the people who are testing batches and really getting it right - but because wide exposure latitude also means it works for a wider range of subjects. || Saturated choices: Fuji Velvia and Velvia 100F, Kodak E100VS || || More even choices: Fuji Astia 100F, Kodak E100GX, Kodak E200 | | Better prints without heroic efforts: any color negative film. | You probably do more chemical colour prints than I did. Most of my images | that get printed come off a commercial press, which is very different. In | that situation, I find it more convenient to scan transparencies. | | I get better printed results on chemical prints from my transparencies. | Mostly, those have been portfolio images, or for display in galleries. Quite | likely it has more to do with my choice of lab, and that is the reason that | I recommend anyone discuss this with their lab first. I have never seen good | results from one hour places, and if that is all you have, avoid prints from | transparencies. I am indeed thinking of chemical prints, though it has actually been some time since I have been set up to do it. I don't know what the original poster intends to do, but today it would be fairly commonplace to scan the film and work with it in digital form. That's what my local lab does. I would expect color negative originals to work well here too. I would say better, but maybe that's partly a matter of personal taste. I don't know if digital manipulation is better for dealing with the ``cross-over'' problems that people used to have with Cibachrome. Donn |
#18
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Pictures of architecture
Thanks a Lot Francis,
I'll surely use negative films! "Francis A. Miniter" wrote in message ... HI Carlo, In my experience, a high contrast slide in poor lighting conditions does not yield a good print. I recall trying to make a print from several high contrast slides and never getting it right. Printing from slides involves Ilfochrome paper that is also high contrast. While I could see subtle detail in the slide, I could not get it onto the paper. In bad lighting conditions (e.g., inside of a cathedral), negative film - color or B&W - should yield a better print. Besides, in B&W there are ways to increase negative contrast, and in color printing, there are ways to increase color saturation in the print. Francis A. Miniter Carlo wrote: I'll probably make pictures in light bad conditions so I thought using an high contrast slide could be a good choise (isn't it?). I Also think usina an 81C Filter. So confused... slide or negative... at end I'll use a coin! Carlo |
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