I rarely take time when traveling to test films side by side, especially when I’m in the Caribbean. I am shooting for pleasure, and I’m there to relax, so I am not likely to take the time to shoot the same subject in two films to compare and contrast. On our January 2020 trip to Anguilla, I decided to walk the beach from end to end, about 1.5 miles in total. It just happened that I was at a particularly picturesque location when I ended a roll of Kodak Ektar 100 and popped in a roll of Fuji Velvia RVP 100. So I had a chance to compare how each film looked under the same lighting conditions, and with the same camera and lens.
Comparison of Ektar 100 and Velvia 100
For those who like to challenge themselves, I’ll show you two very similar images, one with Ektar 100 and one with the Velvia 100, giving you an opportunity to give your best guess as to which is which. Below the next paragraph, discussing the camera and lens used, you’ll see the images with captions denoting the film used. All film was processed and scanned by Richard Photo Lab. I adjusted the color temperature in Lightroom to match the two as closely as I could using the water color as my guide.
Image 1Image 2
Camera and Lens Used
I took two cameras for my beach walk, my Canon EOS R with the Canon 50mm f/1.2 lens, and my Canon 1v with the Canon 135mm f/2 lens. For fun, I have included a digital shot following the film images. I use digital for convenience, to take video, and under other circumstances where digital is the better tool, such as very low light. However, with the gorgeous full sun in the islands, you can see why I go to the trouble of taking film cameras and film along for the journey.
Both are beautiful, but I have to say I prefer the Velvia, although I may be biased because I love looking at the vibrant color of a positive image. I could probably accomplish the look with a few sliders in Lightroom, but whenever I get slide film back from the lab, I am convinced to pack more slide film on the next trip.
Price Comparison?
Although I prefer the Velvia, the price comparison is pretty startling. As of the time of this writing, a 35mm roll of Ektar is going for $8.99 at B&H Photo ($8.69 a roll at the Film Photography Project Store!), and a 35mm roll of Velvia 100 is going for $18.49. Seriously? Ten dollars different? That’s nutty. I guess I’ll use up my stock carefully, and then it’s back to Ektar.
How About Digital?
And the digital image? Keep in mind that a different lens was used and the image was cropped to compare subject to subject, so it’s not a terribly fair comparison, but I don’t change lenses on the beach. Tropical breezes, seawater, sand, and fine electronics don’t mix. But the comparison reaffirms my decision to shoot film.
Canon EOS R, Canon 50mm f/1.2
What’s your experience using these two films? Do you prefer other 100 speed color films? Feel free to share your thoughts in the comments.
I love shooting film, in part, because of the thrill of seeing what you captured. Unlike digital, where you have immediate feedback, you never quite know what you’ve got until you either develop your film or receive it back from your lab. With double exposures, the excitement is that much better. It’s not just a matter of what you have captured, but how you lined up the two exposures to reveal an entirely new composition. Here’s a super quick step-by-step guide on how I shoot double exposures on film.
Exposure #1: Mamiya 6 on my picnic table in full sun. You can see the shadow to the foreground and to the right. Exposure #2: Trees in my backyard. Shot on the Canon AE-1 Program and Fuji Velvia 100 RVP.
When you think about a double exposure on film, you have to know the basics of how exposure works. When you take the first shot, the areas which are white or very light are fully exposed. You will not be able to see anything in this area in the second exposure because essentially the film is spent in those areas. The are fully exposed and the film has nothing more to give. What is darker in your first exposure still has potential. When you make that second exposure, what was dark in the first exposure will be where the second exposure will materialize.
Exposure #1: My daughter, shot from below looking up to set her profile against the sky. Exposure #2: Beautiful hibiscus found on the island of Nevis. Shot on Canon EOS 1v with Kodak Portra 400.
Exposure #1
For my first exposure, I look for high contrast subjects. You can shoot a skyline against a bright sky, a person’s profile against a white or light-colored background, or a dark shadow surrounded by bright sunlight. What is white or light in color will be washed out. What is darker in the image is your canvas for your second exposure. It’s not necessary to have an object in silhouette or high contrast, but I like this look. Double exposures can also be effective without a silhouette, but the final product will have more of each exposure retained. When you make the first exposure you have to keep in mind what is fully exposed and what is left for your second exposure.
Exposure #1: Villas and palm trees at Belmond Cap Juluca, Anguilla. Exposure #2: Maunday’s Bay , Anguilla. Both shot at sunset. Shot on Canon EOS 1v with Kodak Portra 800.
Exposure #2
For your second exposure, you are looking to fill those dark spaces from your first exposure. Anything white or light in the second exposure will likely be blown out in the final image. The challenge is placing the second exposure when the first exposure is only in your memory.
Exposure #1 is the camera, my Mamiya 6. Exposure #2 is the pile of film. Bottom photo is the final product. If I did it again, I would eliminate the rolls of film which are predominantly white as the shape and detail of the camera is lost in the lower left. Shot on Canon AE-1 Program with Fuji Velvia 100 RVP.
What settings should I use?
Depending upon the sensitivity and latitude of your film, you may have to make adjustments to your exposures to make sure that your final image appears as you like. With slide film, the exposure latitude is pretty tight, so consider underexposing so that the final image is not completely blown out. I would suggest doubling your speed or stopping down a full stop for each exposure. I have had success with shooting at box speed with most of the color negative film stocks used, but it takes some experimentation and the need to make adjustments will vary depending upon the circumstances and what you desire in the final image.
Exposure #1: Palm tree in full sun. Exposure #2: Beach and ocean along Maunday’s Bay, Anguilla. Shot on Canon EOS 1v with Kodak Portra 800.
I should point out that although commonly called “double exposures,” a more accurate name is “multiple exposures.” You are not limited to two exposures on each frame, although you should keep in mind that the more you shoot on a single frame, the more potential for overexposure and losing details.
Exposure #1: Palm tree at Belmond Cap Juluca, Anguilla. Exposure #2: Sailboat on Maunday’s Bay, Anguilla. Shot on Canon EOS 1v with Fuji Provia RDP III.
Are all film cameras capable of double exposures?
No, although some which don’t have the feature have some workarounds to allow for double exposures. For example, my Canon EOS 1v is very easy when it comes to doing double exposures. You open the side door, push the multiple exposure button (it looks like two photos stacked upon one another), rotate the camera’s dial to the number exposures desired, and start shooting. It automatically resets to normal shooting mode when the multiple exposure is complete.
Canon EOS 1v
On my Mamiya 645 Pro TL, there is a switch on the side of the camera which has two positions. Switch the camera from the unlabeled normal position (the white box) to “MULTI.” In this position, the film will not advance, but the shutter will be recocked, allowing for multiple exposures. You have to manually return the switch to the normal position and advance the film to exit the multiple exposure mode.
Mamiya 645 Pro TL: Left photo shows the position of the multiple exposure switch with the grip removed; Right photo shows the position of the switch on the Mamiya WG401 Power Drive Grip.
With my Canon AE-1 Program, it was not designed to offer double exposures as a feature, but I have been able to create a workaround. After you shoot the first exposure, press and hold in the rewind button on the bottom, and move the advance lever forward, but don’t release it. Then release the rewind button and allow the advance lever to return to its normal position. Then fire the second exposure and advance normally.
Canon AE-1 Program
I haven’t found a workaround for my Mamiya 6, so if anyone has any ideas, I would be glad to give it a try!
Exposure #1: My daughter’s profile, taken from a low angle to have the sky as a background to fully expose the area behind her face. Exposure #2: Palm berries on the island of Nevis. Shot on Canon EOS 1v with Kodak Portra 400.
I’ve had failures as often as successes, but I find double exposures to be loads of fun and I will continue to try them in the future. Give it a chance and you’ll be hooked!
Postscript: One more from the island of Grenada, shot on Fuji Provia 100F RDP-III, and developed with my own sous vide:
This post originally appeared on our Caribbean travel website, My Irie Time. Give it a look for more posts on our travels through the islands.
