FUJI PROVIA 100F PDF

A Test Report by Jonathan Sachs Introduction Fuji Velvia and Provia F are two of the most commonly used films for professional quality landscape and nature photography. Soon after its introduction a number of years ago, Velvia became the film of choice for many professional landscape photographers because of its high resolution, fine grain, and saturated colors. With the recent introduction of Provia F I decided to test it as a successor to Velvia from the standpoint of the quality of digital images scanned from the film. Since Provia F is rated somewhat paradoxically as having finer grain than Velvia but lower resolution, it was not clear which film would produce more detailed scans.

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Scary indeed. Over the last decade, labs which once proudly processed slide film have either dropped support for E-6 or shuttered entirely, and manufacturers have unceremoniously axed once-loved slide film emulsions from their rosters year after year.

Fortunately, our crazy community of film enthusiasts have kept the aged heart of slide film sluggishly pumping. Like all great duos, Velvia and Provia balance each other out. Velvia can be thought of the swashbuckling, take-on-all-comers protagonist, while Provia is the calm, more calculating sidekick. Quite the contrary. It looks the same as any other slide film emulsion, with a slow box speed of ISO that promises extremely fine grain, neutral color rendering, and excellent sharpness. Where things start to get interesting is when we observe just how far Fuji went in trying to perfect all these parameters.

To start, Fuji endowed Provia with some of the finest grain ever seen in a film, measured at an 8 on the RMS granularity scale. This probably signifies something incredibly interesting for more technical photo geeks, but for myself, I let the results speak for themselves.

For anybody involved in color photography, both of the negative and positive kind, this might seem like crazy talk, but Provia delivers. Its remarkable color balance gives many modern digital sensors a run for their money, especially when scanned properly by a dedicated and professional photo lab.

Slide film is unforgiving, and often only allows for a half stop of either under- or over-exposure. Fuji improved this as much as they could, allowing for the film to be over-exposed by as much as two stops.

Impressive for slide film, but still pretty dismal compared to even consumer-grade color negative film. Even with the added latitude, I would recommend shooting this film through a camera with an accurate auto-exposure mode, or at the very least, an accurate light meter.

Fuji also engineered Provia to excel at long exposures. It allows for an astonishing seconds of exposure before reciprocity failure kicks in, perfect for long exposures of city lights, stars, or whatever tickles your long exposure fancy. Its insane accuracy and balance begets an incredible versatility, making it perfect for almost every shooting situation. Why shoot Provia? Absolute neutrality, virtually invisible grain, incredible reciprocity failure characteristics, all these things sound like things we want and get in a digital sensor.

Which begs the question — why shoot Provia? Why spend ten dollars on a roll and double that for development and scanning when you could just invest in a good digital camera and be done with it?

To answer these questions is to get to the very heart of why Provia , and film in general, is worth shooting. One look at a well-exposed slide of Provia tells us as much. The colors come ready-made with the kind of punch and nuanced saturation people spend hours trying to replicate in Photoshop.

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