At 11:49 AM 5/9/2002 +0100, Roger you wrote:
As far as RSX goes, I've only shot one roll, but (and I think someone
else mentioned this as well) the shadow detail is excellent. Much wider
latitude than Velvia. Examples online:
http://www.worldtraveller.f9.co.uk/travel/lapalma/photos/lp05-s05-33.jpg
http://www.worldtraveller.f9.co.uk/travel/lapalma/photos/lp05-s05-34.jpg
http://www.worldtraveller.f9.co.uk/travel/lapalma/photos/lp05-s05-28.jpg
All three were taken in very contrasty morning light down at 28 degrees
north on La Palma in the Canary Islands. A shot taken on Velvia
demsonstrates the complete disappearance of shadow detail with that film
under similar circumstances:
http://www.worldtraveller.f9.co.uk/travel/lapalma/photos/lp03-s03-28.jpg
Despite these experiments in 50 speed films I'm still very much a Sensia
100 photographer. Seems to work best for me.
Roger
The third example seems like the more direct comparison of similar light,
and the Velvia and 3rd RSX-II shot seem rather close to me. Keeping the
detail in the clouds in the Velvia shot means the shadows have to go a
bit. I think the highlights are slightly off the scale in the third RSX
shot, which has allowed the shadows to come up somewhat, but they haven't
really come up all that much.
Could be just my poor reading of the web images, my monitor, etc.
I think I preferred the previous version of RSX -50 (was just "RSX" and not
"RSX II"). It lacked the latitude of RSX II which you describe, but it was
a very sharp film. I couldn't see the point of the formulation of RSX II
except to try to out-Velvia Velvia.
I have been comparing recent Velvia and Kodachrome shots from Utah and
Velvia really crushes Kodachrome at holding shadow detail, so I am seeing
that film as my wide-latitude slide film. Nevertheless, sometimes the
Kodachrome shots remain the stronger images anyway. The tonalities of the
shadow area are not always attractive and reveal a coloration that is not
neutral or which is even slightly bizarre.
Thanks for sharing your images, Roger!
Joel W.
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