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Velvia
RVP[1]
MakerFujifilm
SpeedISO 50/18°
TypeColor slide
BalanceDaylight
ProcessE-6
Format35mm, 120, 220, 4×5 in, 8×10 in, 13×18 cm, Super 8†, 16mm†
†Third party
GrainRMS 9
Exposure
latitude		±½ stop
Saturationvery high
ApplicationNature
Introduced1990
Discontinued2005[2]
Velvia 50 (Velvia II)
RVP50[1]
MakerFujifilm
SpeedISO 50/18°
TypeColor slide
BalanceDaylight
ProcessE-6
Format35mm, 120, 220*, 4×5 in, 8×10 in*, QuickLoad 4×5 in*
*Discontinued[3][4]
GrainRMS 9
Exposure
latitude		±½ stop
Saturationvery high
ApplicationNature
Introduced2007
Velvia 100
RVP 100[1]
Fuji Velvia 100 film cartridge
SpeedISO 100/21°
TypeColor
Format35mm, 120, 220, 4×5 in, 8×10 in
GrainRMS 8
Exposure
latitude		±½ stop
Saturationvery high
ApplicationNature
Introduced2005
Velvia 100F
RVP 100F[1]
SpeedISO 100/21°
TypeColor
Format35mm, 120, 220, 4×5 in, 8×10 in, 9×12 cm, 13×18 cm
GrainRMS 8
Exposure
latitude		±½ stop
Saturationhigh
ApplicationNature
Introduced2002
Discontinued2012 (Eur. NOAM)[5]

Velvia is a brand of daylight-balanced color reversal film produced by the Japanese company Fujifilm. The original version of the film, was introduced in 1990 as "Velvia for Professionals", and given the classification code "RVP" meaning "Reversal/Velvia/Professional series".[1] It is known for its extremely high level of color saturation and image quality.[6][7] It has brighter and generally more accurate color reproduction, finer grain, twice the speed, and a more convenient process (E-6). Kodachrome 25 fell out of popularity a few years after Velvia was introduced (in part because of Kodak's lack of interest in promoting their film); Kodachrome 64 and 200 followed more slowly. Kodachrome 25 had previously been considered the film to which all other films had been compared, and cannot fairly be compared to Velvia, as Kodachrome is an entirely different process, in which the image is produced with "color clouds" more so than grain.

Velvia has the highest resolving power of any slide film.[8][9] A 35 mm Velvia slide can resolve up to 160 lines per mm.[10]

Appearance

[edit]

Velvia has very saturated colors under daylight, high contrast, and exceptional sharpness. These characteristics make it the slide film of choice for many nature photographers.[citation needed]

Speeds

[edit]

Original Velvia

[edit]

The original Velvia was an ISO 50 film. In practice, many photographers used an exposure index (EI) of 40 or 32 to increase exposure slightly (one or two thirds of a stop respectively) in order to yield less saturated colors and more shadow detail.[11] It was discontinued in 2005.

Velvia 50

[edit]

Velvia 50 (RVP50) was reintroduced, on the new film base, in 2007, after announcements, under the provisional name Velvia II. The original Velvia had been discontinued because of difficulties in obtaining some of the raw materials needed to make the emulsion. Fuji R&D created a new emulsion which substituted different materials in its manufacture yet retained the appearance of the classic Velvia.[12]

Velvia 100

[edit]

Velvia 100 was introduced in 2005, to replace the discontinued original Velvia.[5] It is about as saturated as the original version but was designed to be more accurate in color reproduction.[13] It used the new "Super-fine Sigma-crystal" technology which ended the need for larger grain size to achieve greater film speed. The newer speed also has finer grain (an RMS granularity value of 8), and uses the color correction layers found in Provia 100F. The Advanced DIR Technology releases developer inhibitors release compounds that regulate interlayer and edge effects yielding dramatic improvements in color reproduction. The color rendition of Velvia 100 was designed to record all colors even more accurately. Reciprocity failure was reduced for long exposures and dye stability extended. Fujichrome F transparency films held color accuracy for years of archival color stability, while Kodachrome films faded in less than 20 minutes of accrued projection.[citation needed]

On July 6, 2021, Fujifilm announced the discontinuation of Velvia 100 within the United States, effective immediately. The chemical phenol, isopropylated phosphate (3:1) (PIP (3:1)) (CASRN 68937-41-7), the use of which is banned under the EPA's Toxic Substances Control Act (TSCA), is present in minuscule quantities within the layers of the film. While Fujifilm believes the trace amount is not harmful to the environment, they opted to discontinue the film within the United States in compliance with the regulation. Their statement does not make it clear if the film will continue to be sold in other markets.[14]

Velvia 100F

[edit]

Velvia 100F offers saturated colors, better color fidelity and higher contrast. It was introduced in 2002.[15] It was discontinued in 2012 in most formats and markets, and is now only sold as sheet film (4x5" and 8x10") exclusively in Japan.[16][17][18] Velvia 100F is less saturated than RVP50 and is accurate in color rendition with the exception of yellow. It exaggerates this color, especially when there is a slight yellowish cast in the scene. On film, this will be a deeper and more noticeable yellow. Skin color was rendered better.[19]

Long exposure problems

[edit]

The original Velvia suffered much more from reciprocity failure than most other films. Exposing the film for as little as 16 seconds produced a color shift, typically to purple or green, depending on shooting conditions. Anything over four seconds requires the use of magenta color correction filters if correct color balance is required, exposures of 64 seconds and longer are "not recommended" by Fuji.[8]

Velvia 100 is much better with long exposures: no reciprocity failure compensation is required for exposures shorter than 1 minute.[20]

Velvia in cinematography

[edit]

Velvia film stock was available through 2006[citation needed] and was used for many commercials, but rarely for feature films. Its main use in movies was for shooting stock landscape shots and special-effects background plates. One example is the 1998 film What Dreams May Come, which took place largely within a painting. After being discontinued, the closest replacement for the original Velvia film stock was Eterna Vivid 160, which produced roughly the same color effect while being more easily processed. In 2013, Fujifilm ended production of all motion picture film.[21]

Since 2006, Velvia 50 D (also sold as Cinevia) is available in Super 8 via three independent companies, Pro8mm in the US, and GK Film and Wittner Kinotechnik in Europe. Spectra Film and Video has also been loading Fuji Velvia into Super 8 cartridges and for 16 mm. They recently modified the Kodak-supplied cartridges to ensure a smoother transport of Velvia film through the cartridge.

See also

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Velvia

View on Grokipedia
from Grokipedia
Velvia is a renowned of daylight-balanced color reversal films produced by , first introduced in as a professional-grade option celebrated for its vivid color reproduction, high saturation, and fine grain structure. Designed primarily for photographers seeking exceptional image quality in natural settings, Velvia films excel in rendering rich tones, neutral grays, and detailed shadows, with superb granularity that supports high-definition results in formats such as 35mm and 120 . The original Velvia, often referred to as Velvia 50, features an ISO speed of 50 and delivers world-class levels of color vibrancy, making it particularly suitable for capturing the intricate details of landscapes, , and artwork. Subsequent variants, such as Velvia 100 with its ISO 100 sensitivity, built on this foundation by offering super-fine grain (RMS granularity of 8) and flexibility for push/pull up to ±1 stop, while maintaining anti-fading properties for long-term image stability. These s have been staples in professional for their resolving power and tonal depth, though Velvia 100 was discontinued in the United States in 2021 due to regulatory changes regarding trace chemical components. Fujifilm's Velvia line emphasizes precision in , allowing for fine adjustments during E-6 reversal processing, and has influenced standards in and commercial imaging by prioritizing saturation in reds and greens without compromising overall balance. Despite the shift toward , Velvia remains available in select formats, continuing to attract enthusiasts and professionals who value its analog heritage and unparalleled chromatic intensity.

History and Development

Launch and Initial Reception

introduced the original Velvia, designated RVP, as a professional color in 1990, initially available in 35mm format with an ISO 50 sensitivity rating. This daylight-balanced transparency film was positioned as a high-performance option for E-6 , targeting demanding applications where image quality was paramount. Marketed explicitly as "Velvia for Professionals," the film emphasized its exceptional color saturation and vivid rendition, making it ideal for and among professional users. Fujifilm highlighted its ability to deliver punchy, realistic hues that enhanced natural scenes, distinguishing it from more neutral-toned predecessors in the reversal film category. Upon release, Velvia received immediate acclaim for its superior color rendition and resolution compared to earlier films like Fujichrome (Pro 50) and Kodak's 25. In the June 1990 issue of Outdoor Photographer, renowned landscape photographer described it as "the best of all existing worlds," noting that controlled tests showed its resolution exceeding that of competitors, which prompted his swift adoption for wilderness imagery. This enthusiasm extended to the broader community, where Velvia rapidly gained traction in advertising, fashion, and , eroding the dominance of through its easier E-6 processing and heightened saturation that aligned with emerging preferences for more vibrant aesthetics.

Evolution and Updates

Following the foundation laid by the original Velvia in 1990, Fujifilm soon expanded its availability to include 120 and sheet formats in 4x5 and 8x10 sizes in the early , enabling its use in medium- and large-format where high saturation and fine were prized by and specialists. In 2003, Fujifilm introduced Velvia 100F as a fine-grain iteration of the line, incorporating Multi-Color-Correction Layer technology and advanced formulations to deliver ISO 100 speed alongside super-fine (RMS 8) and enhanced sharpness for professional applications requiring nuanced hue reproduction without compromising the vivid color palette. Building on this, released Velvia 100 in 2005 as a direct successor to the ISO 50 original, offering greater low-light versatility through its higher speed while preserving the intense color saturation that defined the series and addressing demands for broader exposure flexibility in challenging conditions. These updates reflected 's response to photographers' feedback, prioritizing enhancements in speed, control, and reciprocity performance to suit diverse lighting scenarios—from handheld shooting to extended exposures—while upholding the core attribute of exceptional saturation that had established Velvia's reputation. In response to strong demand, reintroduced Velvia 50 in 2007 with a reformulated on a new film base, maintaining its signature characteristics.

Characteristics

Color Saturation and Appearance

Velvia is renowned for its exceptionally high color saturation, particularly in greens, blues, and reds, achieved through Fujifilm's proprietary dye-forming couplers that enhance chroma density without artificial post-processing boosts. This technology incorporates advanced , , and yellow couplers designed to produce vivid hues while maintaining color fidelity across the spectrum. The film's signature "Velvia look" features punchy, saturated colors that render landscapes with dramatic intensity, including deep blacks for rich shadow detail and luminous highlights that preserve subtle tonal gradations. This aesthetic is supported by a limited of approximately 5 stops, which emphasizes contrast for a bold visual impact but requires precise exposure to avoid clipping. In comparison to more neutral transparency films like , Velvia exhibits an intentional bias toward warmer tones and elevated contrast, resulting in more dramatic and saturated renditions rather than balanced, grayscale-accurate reproduction. Photographers often recommend slight overexposure by about 1/3 stop to optimize saturation and highlight rendering, enhancing the film's inherent vibrancy. Variations in ISO speeds, such as between Velvia 50 and 100, can subtly influence color balance by altering the emulsion's response to light wavelengths.

Sensitivity and ISO Speeds

The original Velvia, introduced as a daylight-balanced color , features a nominal ISO speed rating of 50, optimized for high saturation and fine grain in bright lighting conditions such as daylight landscapes. This sensitivity provides excellent exposure latitude in sunny environments, allowing for precise control over color rendition, but it limits usability in low-light scenarios where faster films are preferred. Subsequent variants, such as Velvia 100, increased the base ISO rating to 100 through refinements in the layers, enhancing versatility for a broader range of shooting conditions while maintaining the film's signature vivid color profile. This adjustment allowed photographers to capture scenes with slightly reduced light without resorting to slower shutter speeds, though the effective speed relies on accurate metering to preserve optimal results. Velvia films exhibit a narrow exposure latitude, typically tolerating about 1/2 stop of underexposure to +1 stop of overexposure with minimal shifts in and gradation, necessitating precise exposure metering for consistent outcomes. Push-processing can extend the effective speed up to ISO 200 (or EI 400 for Velvia 100), but this often introduces noticeable color shifts, particularly in saturation and balance, making it suitable only for select high-contrast scenes. Regarding reciprocity characteristics, the law of reciprocity holds accurately for exposures from 1/4000 second to 1 second, beyond which compensation for both speed loss and becomes necessary, typically starting with +1/3 stop at 4 seconds for ISO 50 variants. This deviation underscores the film's design for standard daylight exposures rather than extended times.

Grain Structure and Resolution

Velvia films exhibit one of the finest grain structures among color reversal films, with RMS granularity values ranging from 8 to 9, enabling large-format enlargements with minimal visible texture. The original Velvia at ISO 50 achieves an RMS of 9, while ISO 100 variants improve to 8 through refined technology, resulting in even subtler grain patterns across the product line. This ultra-fine grain stems from Fujifilm's multi-layer design, which incorporates precisely sized crystals to minimize density fluctuations while preserving detail. In terms of resolving power, Velvia demonstrates exceptional capabilities, rated at 80 lines per mm for low-contrast subjects (1.6:1) and up to 160 lines per mm under high-contrast conditions (1000:1). In practical applications with optimal and exposure, this translates to 100-120 lines per mm, allowing the capture of intricate textures in landscapes and fine details in subjects. The multi-layer structure contributes to this performance by optimizing light transmission and contrast within each color-sensitive layer, outperforming competitors like Agfa CT Precisa, which records an RMS granularity of 10 and lower resolution of around 60-140 lines per mm. These attributes make Velvia particularly suited for high-end reproduction workflows; its fine grain and superior resolution facilitate drum scanning at 4000 dpi or higher without introducing artifacts, yielding digital files suitable for inkjet prints up to 24x36 inches from 35mm originals with sharp, noise-free results. The enhanced perceived sharpness from color saturation further amplifies detail rendition in projected or printed outputs.

Variants

Original Velvia

Fujichrome Velvia (RVP), introduced by in 1990, is a professional daylight-type color rated at ISO 50/18°. Initially launched in 35 mm format with 36 exposures per roll, it was later made available in 120 (producing 12 exposures on 6x6 cm) and sheet film sizes including 4x5 inch, 5x7 inch, 8x10 inch, 9x12 cm, and 13x18 cm, allowing versatility across medium and . The film uses a base, with thicknesses of 127 μm for 135 rolls, 104 μm for 120/220 rolls, and 205 μm for sheets, ensuring dimensional stability and compatibility with standard holders and processors. The employs a multi-layered structure optimized for , featuring , , and couplers that deliver exceptionally high color saturation and vibrant reproduction, particularly in reds, greens, and blues. This design yields the film's signature "Velvia effect," a term widely used in circles to denote its intense, vivid color rendering and enhanced contrast, which revolutionized landscape and nature imaging by providing unmatched chroma levels for its era. With extra-fine (RMS granularity measured at 1.0 using a 48 μm ) and resolving power of 80 lines/ at 1.6:1 contrast (or 160 lines/ at 1000:1), it excels in sharpness and detail retention. Processing requires the E-6 chemistry or equivalent systems like CR-56, with standard development times including 6 minutes for the first developer at 38°C (100.4°F), 8 minutes for the color developer, and 3 minutes for the pre-bleach, to achieve optimal , saturation, and archival stability. The film can be push-processed to ISO 100 for one stop more exposure latitude, though this may slightly increase contrast and grain. Later variants, such as Velvia 100, built upon this foundation with refined sensitivities.

Velvia 100

Velvia 100, officially designated FUJICHROME Velvia 100 [RVP 100], is a daylight-balanced color introduced by in 2005 as a higher-speed evolution of the original Velvia line. With an ISO rating of 100, it doubles the sensitivity of the ISO 50 predecessor while preserving the renowned ultrahigh color saturation and vivid reproduction that define the series. Available in multiple formats including 35mm (135), (120 and ), and large-format sheet films (4x5 inch and 8x10 inch, including QuickLoad options), it catered to professional photographers requiring versatility across shooting scenarios. This variant incorporates advanced emulsion technologies, such as new dye-forming couplers and processes like Primary Super High-sensitivity Coupler (PSHC) and Color Enhancing Layer (CEL), to enhance color fidelity and stability without compromising saturation. It achieves superb granularity with an RMS value of 8, enabling high-resolution results suitable for detailed scenic work. Exposure latitude is expanded compared to the original Velvia, supporting push/pull processing from –1/2 to +2 stops (up to EI 400) with minimal shifts in color balance or density. The film excels in mixed lighting conditions, delivering consistent and vibrant tones even under varied illumination. A major improvement lies in its reciprocity performance, which requires no exposure or compensation for shutter speeds ranging from 1/4000 second to 1 minute, far surpassing earlier Velvia films and enabling reliable in low-light environments like dusk landscapes. Targeted primarily at and scenery photographers, Velvia 100 reinforced the line's appeal for high-impact, saturated imagery during the mid-2000s shift toward digital alternatives.

Velvia 100F

Fujichrome Velvia 100F (RVP100F) was introduced in as a medium-speed, daylight-balanced color with an ISO rating of 100, designed to deliver exceptional color saturation and fidelity while prioritizing ultra-fine for applications. This iteration built upon the foundational Velvia line by increasing sensitivity to ISO 100 without compromising the vivid color reproduction that defined the series. A key advancement in Velvia 100F was its RMS granularity of 8, measured at a of 1.0 using a 48-micrometer , which represented one of the finest structures available in reversal films at the time and made it particularly suitable for high-magnification enlargements. The film's resolving power reached 80 lines per millimeter at a contrast of 1.6:1 and up to 160 lines per millimeter at 1000:1, enabling sharp detail capture essential for demanding needs. Emulsion innovations included Multi-Structured Crystals (MSSC) technology, which contributed to the ultra-fine grain by optimizing arrangement for reduced visible texture; Pure Coupler (PSHC) technology for enhanced color purity and stability; and Multi-Color Correction Layer (MCCL) technology to improve overall color fidelity and minimize shifts in subtle hues. These developments resulted in sharper edge definition and reduced color fringing compared to earlier Velvia films, particularly in complex scenes with fine details. Velvia 100F targeted commercial photographers and professionals requiring high-quality transparencies for scanning, large-format , or detailed product and interior , where minimal and maximum resolution were critical for output quality. Its improved color stability also supported long-term archival uses in and work, outperforming predecessors in fade resistance.

Technical Limitations

Long Exposure Reciprocity Failure

Long exposure reciprocity failure in Velvia films refers to the breakdown of the , which states that photographic exposure is the product of light intensity and duration, in reversal emulsions under low-intensity, prolonged illumination. This phenomenon causes a loss of effective , reduced maximum , and unbalanced color reproduction, manifesting as a magenta cast due to differential sensitivity decay in the blue- and red-sensitive layers compared to the green-sensitive layer. In Velvia films, these effects become noticeable beyond 1 to 4 seconds, with the original Velvia (ISO 50) showing pronounced issues starting at 4 seconds, while later ISO 100 variants exhibit milder shifts only after 1 minute. Fujifilm provides specific compensation guidelines to mitigate these effects. For the original Velvia, photographers must increase exposure and apply magenta color correction filters for shutter speeds of 4 seconds or longer, as detailed in the table below:
Exposure Time (seconds)Exposure Compensation (stops)Color Correction Filter
4+1/35M
8+1/27.5M
16+2/310M
32+112.5M
Exposures beyond 64 seconds are not recommended due to excessive color imbalance and contrast buildup. For Velvia 100 and 100F, the failure is less severe, requiring no correction up to 1 minute, then +1/3 stop at 2 minutes, +1/2 stop at 4 minutes, and +2/3 stop at 8 minutes, with minimal color shifts that rarely necessitate filters. The practical implications render Velvia films suboptimal for applications involving extended exposures, such as or night landscapes, where the cast and speed loss can degrade image quality despite compensation. Photographers often recommend using or neutral filters to counteract the cast or switching to alternatives like Fujichrome , which maintains better reciprocity up to several minutes without significant shifts. Fujifilm's published characteristic curves for the original Velvia demonstrate an effective speed reduction to approximately ISO 25 at 1 minute, underscoring the film's limitations in low-light scenarios.

Other Processing Challenges

Velvia films require precise conditions to achieve optimal results, with the first developer step demanding a of 38.0 ± 0.3°C to prevent uneven development and color crossover, where unintended shifts in hue occur due to imbalances in the color layers. The color developer follows at 38.0 ± 0.6°C, and deviations as small as 0.3°C beyond these tolerances can lead to density variations or crossover effects, particularly challenging for Velvia's fine emulsions that amplify subtle processing errors. Laboratories recommend using a heated water bath or immersion circulator to maintain this stability throughout the multi-step process, including reversal bath, bleach, and fixer stages, all conducted at controlled temperatures between 33–39°C. Proper storage of unexposed Velvia is essential to preserve its sensitivity and color fidelity, as it is prone to degradation if exposed to , , or ; advises keeping it in a cool, dark place below 15°C for short-term use or below 0°C in a freezer for long-term storage, allowing it to acclimate to for 3–6 hours before opening to avoid damage. The recommended unexposed lifespan aligns with the package expiration date, typically 2–3 years from manufacture under ideal conditions, after which stability may decline, leading to increased fog or color shifts upon development. For processed slides, archival storage in the dark at ≤10°C and 30–50% relative is critical to minimize fading, with Velvia's couplers offering resistance comparable to contemporary films but still vulnerable over decades if conditions are suboptimal. Cross-processing Velvia in C-41 chemistry, intended for color negative films, produces a negative image rather than a transparency, often resulting in desaturated colors, pronounced contrast, and heavy color casts that undermine the film's signature vivid saturation. This approach is generally not recommended for Velvia, as the E-6 emulsion's structure leads to unpredictable outcomes, such as muted tones or dominant / hues, diminishing its strengths in color reproduction. To safeguard Velvia's fine-grain during development, labs emphasize the use of fresh E-6 chemicals to avoid or exhaustion that could cause streaking or uneven densities, with replenishment rates strictly monitored to maintain and activity levels. A pre-wash step with at approximately 38–41°C for 1–2 minutes is advised prior to the first developer, helping to remove anti-halation dyes, equalize emulsion swelling, and reduce the risk of scratches or air bubbles on the delicate surface. Gentle handling throughout, including minimal agitation and clean processing tanks, further protects the film's high resolution from physical artifacts.

Applications

Landscape and Nature Photography

Velvia gained widespread popularity among professional landscape photographers for its exceptional ability to render natural scenes with heightened color saturation and contrast, particularly excelling in the vivid depiction of foliage greens and expansive skies. Renowned photographer , known for his extensive work in nature and cultural imagery, frequently employed Velvia, citing its superior color range that enhanced the vibrancy of outdoor subjects without compromising detail. This film's strengths in saturation made it a staple for pros seeking to capture the dramatic intensity of environments like forests and mountain vistas, as noted in professional photography associations where it became the preferred choice for a significant number of practitioners by the late . Photographers utilizing Velvia in landscape work often employed specific techniques to optimize its color rendition, such as bracketing exposures to account for the film's narrow latitude and pairing it with circular polarizers to deepen sky blues and enhance foliage textures. Landscape photographers rated Velvia at EI 40-50 and combined it with polarizers to manage high-contrast scenes around waterfalls and granite formations, ensuring balanced highlights in midday light. Similarly, in Patagonia’s rugged terrains, landscape specialist Bruce Percy used Velvia 50 during shoots to capture the saturated hues of glacial ice and Andean peaks, producing slides that captured the region's stark beauty with remarkable fidelity. These methods maximized Velvia's inherent saturation strengths, allowing for images that conveyed the scale and mood of remote natural settings. The film's influence extended to a distinctive "hyper-real" aesthetic that defined much of in the 1990s and 2000s, where scenes appeared more intensely vivid than everyday perception, contributing to its prominence in popular media. Photographers using Velvia contributed to publications featuring oversaturated depictions of American that inspired public appreciation for environmental conservation. In coffee-table books and annual publications, such as those showcasing national parks, the film's output fostered a trend toward heightened saturation. Even after its discontinuation, Velvia's legacy persists in digital workflows through Lightroom presets designed to emulate its signature look, enabling modern photographers to replicate the film's vibrant saturation and fine in post-processing for images. These tools, often calibrated to boost greens and while maintaining detail in shadows, allow users to apply a Velvia-inspired profile directly to RAW files from outdoor shoots, bridging analog traditions with contemporary editing. Popular free and commercial options, such as those mimicking Velvia 100, have become essential for nature enthusiasts aiming to evoke the film's timeless appeal without physical .

Use in Cinematography

Fuji Velvia, a reversal slide film renowned for its exceptional color saturation and fine grain, was occasionally adapted for cinematographic purposes, particularly in sequences and plates requiring vivid, high-contrast imagery that standard negative stocks could not easily replicate. Its use as a camera original allowed filmmakers to capture highly saturated scenes directly, bypassing some of the limitations of motion picture negatives while providing a positive image suitable for . This application was most prominent in the late , before the widespread adoption of digital intermediates. In productions like the 1998 fantasy film What Dreams May Come, directed by Vincent Ward, Velvia served as the primary stock for key sequences depicting the afterlife's paradise realms, where its intense color rendering enhanced the surreal, painterly desert and landscape visuals. The film's cinematographer, Eduardo Serra, ASC, utilized the film's properties to achieve bold, layered tones that evoked 19th-century paintings, contributing to the movie's Oscar-winning visual effects. Similarly, Velvia's high resolving power—capable of up to 160 lines per millimeter—made it suitable for large-format projections, as seen in its integration into effects-heavy narratives demanding sharp, vibrant backgrounds. The technical workflow for employing Velvia in 35mm motion picture production involved shooting the to generate transparencies, followed by contact printing these positives onto internegative stock (such as or Fuji intermediates) for enlargement and duplication into the main negative chain. This process preserved Velvia's rich color palette during optical printing stages, facilitating precise and with live-action footage shot on negative , though it required careful exposure to avoid the film's noted reciprocity failure in extended takes. In smaller-scale , such as Super 8 formats, Velvia was loaded into custom cartridges for direct processing, simplifying workflows for independent filmmakers and yielding high-resolution results ideal for short documentaries and experimental nature pieces. Notable projects leveraging Velvia include nature-oriented documentaries, where its fine grain and saturation supported expansive scenic shots projected on giant screens, emphasizing dramatic landscapes. Beyond feature films, Velvia found use in Super 8 nature documentaries and experimental works, where its daylight-balanced formulation excelled in capturing outdoor environments with minimal . By the , the shift toward digital capture and CGI supplanted analog stocks like Velvia in mainstream , as virtual environments offered greater flexibility without the constraints of chemical . However, archival Velvia footage persists in restorations and hybrid productions, valued for its authentic, irreplaceable vibrancy.

Discontinuation and Legacy

Reasons for Phase-Out

The discontinuation of Fujifilm's Velvia film line, particularly in the United States, was primarily driven by environmental regulations targeting phenol, isopropylated phosphate (3:1) (PIP 3:1), a chemical used in trace amounts within the film's layers to prevent fading. In January 2021, the U.S. Environmental Protection Agency (EPA) finalized a rule under the Toxic Substances Control Act prohibiting the processing, distribution, and release to water of PIP 3:1 and products containing it. For articles, the compliance date was January 1, 2022. Fujifilm discontinued sales of Velvia 100 in the U.S. effective July 6, 2021, citing the EPA's ban despite believing the minimal quantities posed no environmental risk, as the company could no longer legally import or distribute the product. This U.S.-specific action marked the beginning of a broader phase-out across the Velvia lineup, influenced by overlapping global regulatory pressures and declining market viability. In October 2021, announced the global discontinuation of Velvia 50 in sheet film formats (4x5 and 8x10 inches), ending production and shipments as part of streamlining its professional film portfolio amid low . Meanwhile, 35mm rolls of Velvia 50 continued availability outside the U.S., primarily in markets like and , amid ongoing supply constraints. Compounding these regulatory challenges were significant market pressures from the post-2010 digital photography boom, which led to a sharp decline in analog film sales. By the mid-2010s, traditional accounted for less than 10% of Fujifilm's imaging revenue, prompting the company to pivot resources toward instant film formats like —which generated over 150 billion yen in sales by fiscal 2023—and sensors. This strategic shift reduced investment in legacy color reversal films like Velvia, accelerating their phase-out as production became economically unsustainable.

Current Availability and Alternatives

As of November 2025, Velvia 50 in 35mm format remains in limited production exclusively in , with no manufacturing occurring in the United States. Availability outside is restricted to backorders through select retailers in and , often at premium prices ranging from $20 to $35 per 36-exposure roll due to recent increases and supply constraints. Sheet film and 120 medium format variants of Velvia 50 and Velvia 100 have seen their stocks largely depleted, with the last major production runs occurring in 2021 for most sizes. These formats are no longer reliably available new, though occasional restocks of remaining inventory appear intermittently in specialty markets. For photographers seeking substitutes, Kodak E100 offers a comparable color with fine grain and daylight balance, though it exhibits less saturation and vibrancy than Velvia. Digital alternatives include Fujifilm's built-in Velvia film simulation mode on X-series mirrorless cameras, which emulates the film's high-contrast, vivid color rendition in post-capture JPEGs or RAW processing. Expired Velvia stock from various formats can still be sourced through resale platforms like and dedicated shops, often at discounted prices. When stored in cool, dry conditions—ideally refrigerated—such maintains for up to five years beyond its , with minimal loss in color fidelity or sensitivity if unexposed.

References

  1. https://holdings.fujifilm.com/special/90th/en/history/
  2. https://www.fujifilm.com/us/en/business/professional-photography/film/velvia-50
  3. https://www.fujifilm.com/us/en/business/professional-photography/film/velvia-100
  4. https://www.kenrockwell.com/tech/velvia100f.htm
  5. http://www.wilhelm-research.com/pdf/HW_Book_18_of_20_HiRes_v1c.pdf
  6. https://photobyfujifilm.co.uk/about-us
  7. https://www.photo.net/forums/topic/50861-new-fuji-velvia-100f-professional-to-be-launched-at-pma-2003/
  8. https://www.shutterbug.com/content/fujifilms-velvia-100-professional-replacing-venerable-50
  9. https://www.kenrockwell.com/fuji/velvia100.htm
  10. https://www.kenrockwell.com/fuji/velvia-50.htm
  11. https://asset.fujifilm.com/master/emea/files/2020-10/2f3c7f90a0b0c6e605e84f98b7d489c2/films_velvia-100_datasheet_01.pdf
  12. https://www.freestylephoto.com/static/pdf/product_pdfs/fujifilm/Velvia100F_Data.pdf
  13. https://www.imaging-resource.com/news/fujifilm-film-simulations-definitive-guide/
  14. https://photo.stackexchange.com/questions/69999/what-are-the-dynamic-ranges-of-commonly-available-35mm-film
  15. https://thedarkroom.com/ektachrome-vs-fujifilm-slide-film/
  16. https://www.photrio.com/forum/threads/velvia-50-iso-40.55196/
  17. https://emulsive.org/articles/effectively-shooting-fuji-velvia-50-and-other-slide-films
  18. https://asset.fujifilm.com/www/us/files/2020-03/64873257f4644939d7bd75d95600a561/AF3-960E.pdf
  19. https://asset.fujifilm.com/master/emea/files/2020-10/a71dda63e2662f012b3b74110794918a/films_velvia-50_datasheet_01.pdf
  20. https://asset.fujifilm.com/www/us/files/2020-03/3ab271f46f8d71c7e4c91bcedb7de050/ProfessionalFilmDataGuide.pdf
  21. https://www.popphoto.com/gear/2008/12/velvia-100f-best-slide-film-ever/
  22. https://www.fujifilm.com/ca/en/business/professional-photography/film/velvia-50/specifications
  23. https://www.bhphotovideo.com/c/product/1041282-REG/agfa_ap6c1360_agfaphoto_ct_precisa_100.html
  24. https://www.photo-lovers.org/pdf/velvia50.pdf
  25. https://emulsive.org/reviews/film-reviews/fuji-film-reviews/film-stock-review-fujifilm-fujichrome-velvia-50-professional-rvp-50
  26. https://emulsive.org/reviews/film-review-fuji-velvia-100-rvp
  27. https://bluemooncameracodex.com/film-fridays/ffvelvia100
  28. https://www.ephotozine.com/article/new-fujichrome-velvia-100f-available-mid-summer-1315
  29. https://125px.com/docs/film/fuji/velvia_100f_datasheet.pdf
  30. https://www.brucepercy.co.uk/blog/2008/05/06/reciprocity-chart-for-fuji-velvia-50-rvp
  31. https://www.largeformatphotography.info/forum/archive/index.php/t-39588.html
  32. https://asset.fujifilm.com/www/nl/files/2021-05/3b66e59738c725cc366e4d03f9320329/TB_E6_E01_10-20.pdf
  33. https://thedarkroom.com/cross-processing-film/
  34. https://shootitwithfilm.com/introduction-to-cross-processing-film/
  35. https://emulsive.org/articles/darkroom/a-guide-to-developing-your-own-e6-film-arista-e6-by-kikie-wilkins
  36. https://mountainzone.com/artwolfe/magazine/faq.html
  37. https://nanpa.org/wp-content/Files/Expressions/ExpressionsPDF/NANPA_Expressions_2013.pdf
  38. https://photographylife.com/film-considerations-for-landscape-photography
  39. https://www.brucepercy.co.uk/blog/2015/9/4/zqp1doyuvsu49g6nno9gxioh3njtor
  40. https://jimdoty.com/learn/Tips/Fall_Color/fall_color.html
  41. https://luminous-landscape.com/the-real-factor-evolution-revolution-in-the-digital-world/
  42. https://www.presetpro.com/velvia-film-inspired-lightroom-preset/
  43. https://www.freepresets.com/free-lightroom-preset-inspired-by-fuji-velvia-100-film/
  44. https://www.federalregister.gov/documents/2021/01/06/2020-28692/phenol-isopropylated-phosphate-31-pip-31-regulation-of-persistent-bioaccumulative-and-toxic
  45. https://petapixel.com/2021/07/06/fujifilm-forced-to-discontinue-velvia-100-film-in-the-u-s-by-the-epa/
  46. https://petapixel.com/2021/10/16/fujifilm-ends-the-fujicolor-pro-line-and-velvia-50-sheet-film/
  47. https://emulsive.org/articles/news/discontinuation-notice-fujichrome-velvia-50-slide-film-in-4x5-and-8x10-and-120-format-fujicolor-pro-160ns
  48. https://www.dpreview.com/news/2889771704/fujifilm-discontinues-velvia-100-in-us-after-new-epa-regulations
  49. https://www.reuters.com/business/fujifilm-once-struggled-sell-cameras-now-it-cant-keep-up-with-demand-2024-06-27/
  50. https://www.cnn.com/world/asia/fujifilm-instax-popularity-spc
  51. https://www.fujirumors.com/fujifilms-instax-business-to-break-all-time-sales-records-in-2024/
  52. https://www.imaging-resource.com/news/fujifilm-ceases-sale-of-velvia-100-film-in-the-us-due-to-new-epa-regulation/
  53. https://petapixel.com/2025/04/04/fujifilm-hikes-japanese-film-prices-by-21-to-52/
  54. https://hazen.film/en/fujifilm/489-fujifilm-fujichrome-velvia-50-35mm-36-exp-4547410246131.html
  55. https://kosmofoto.com/2021/10/fujifilm-axes-large-format-velvia-50-and-pro-160ns-120/
  56. https://www.photrio.com/forum/threads/what-is-going-on-with-fujifilm-velvia-and-provia-availability.211689/
  57. https://www.jmpeltier.com/fujifilm-velvia-vs-astia/
  58. https://emulsive.org/articles/rants/how-to-shoot-expired-film-or-no-you-do-not-need-to-add-one-stop-per-decade
  59. https://www.ebay.com/b/Fujifilm-Velvia-Photography-Film/4201/bn_153174
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