As an architecture and landscape photographer, my clients expect optimum image quality. I output a lot of my work as large-format prints for architects’ boards and office displays at 30”x40” or larger. My landscape photography is sold as exhibition prints, where buyers expect and deserve superior image quality.
So, while I shoot digitally for my “production” work, those images are inadequate for high-end use. The large amount of information captured on large-format film, coupled with the perspective and focus controls of the view camera, are a winning combination.
All of the film I shoot, daylight and tungsten, positive and negative, is by Fuji. At a time when other film manufacturers are stopping production of many of their films, Fuji is introducing new ones. Their emulsions are sharp, rich, natural, and in many cases, longer lasting than their competitors. So when I heard that Fuji was introducing a new tungsten transparency film, I couldn’t wait to start working with it.
From the start, my T64 prints had a very natural look, with subtleties of color and tone coming through well. The tungsten emulsions I had previously worked with often overrode the subtle tones with an aggressive “over neutralized” look. The images would come back very cyan and green, with the colored lights in a scene drowned out by this cast.
The colored portions of the scenes I’ve shot on T64 have remained true to the scene. This is probably due to the MCCL (Multi-Color-Correction-Layer), which was introduced in Velvia 100F and Astia 100F. The MCCL provides green and red color-correcting layers to allow for a neutral image in mixed-lighting situations.
When I shot the Montgomery Park sign, I expected the reds of the image to be negatively impacted, but they really shone through to create one of the client’s favorite images.
The next qualities I noticed were the extreme sharpness and ultra-fine grain structure. Sharpness and grain are very apparent in large prints, so these qualities are of paramount importance.
The large prints I have created from this film have been incredibly sharp and detailed, with no visible grain! They actually rival prints from many of the daylight films Fuji is famous for!
Another progressive and beneficial feature of this film is PSHC (Pure, Stable + High-performance dye-forming Coupler), which is formulated from yellow, magenta, and cyan couplers to provide the most accurate color image. This formulation also exhibits extended image permanence.
I want my images to look natural, reproduce a scene well, be sharp, fine grained, and last a long time. You get it all with this new emulsion.
After many shoots using this film versus other emulsions, it is my opinion that Fujichrome T64 is the finest tungsten emulsion available. I have thoroughly enjoyed the results. It’s the only tungsten emulsion I’ll be using from now on to produce my work! I highly recommend the new Fujichrome T64 to anyone who is currently using or considering using Tungsten film.