Fujifilm Velvia 50 vs Fujifilm Provia 100F

Updated October 14, 2026 · 8 figures compared

Velvia 50 and Provia 100F are both Fujifilm slide films for E-6, still in production: Velvia sold on “the world’s highest level of image color saturation”, Provia as Fujifilm’s neutral, general-purpose slide film A1 B1 B3. Provia is one stop faster and slightly finer on paper, RMS 8 against 9 under the same conditions, while Velvia resolves more: 160 lines/mm against 140 at high contrast A1 B1. On Fujifilm’s graphs, Velvia’s usable range is shorter and its shoulder more abrupt (read from the datasheet graphs) A1 B1, and Emulsive’s Roger Harrison writes of its “very limited exposure latitude” A6.

A GA — 014 Slide

FujifilmVelvia 50

In production

Film sheet Preset GA — 014 / P

B GA — 015 Slide

FujifilmProvia 100F

In production

Film sheet Preset GA — 015 / P

Compare other films

From the Fujifilm Velvia 50 sheet, on Fujifilm Provia 100F: “Fujifilm's other slide film in production: one stop faster, RMS 8, less saturated and less contrasty”
From the Fujifilm Provia 100F sheet, on Fujifilm Velvia 50: “Fujifilm's saturated slide film: more color and contrast, one stop slower, RMS 9”

Side by side

3 of 8 rows differ

Jump to the renderings

Fujifilm Velvia 50 and Fujifilm Provia 100F, documented figures side by side
Identity
	A Fujifilm Velvia 50	B Fujifilm Provia 100F
Brand Same	Both Fujifilm
Manufacturer Same	Both Fujifilm
Type Same	Both Slide
Process Same	Both E-6
ISO Differs	50	100
Fujifilm Provia 100F is rated 1 stop faster than Fujifilm Velvia 50 (ISO 100 against 50).
Formats Differs	135, 120	135, 120, sheet
Both are listed in 120 and 135. Only Fujifilm Provia 100F is listed in sheets.
Status Same	Both In productionchecked September 29, 2026 [A2]: source 2 of Fujifilm Velvia 50 [B2]: source 2 of Fujifilm Provia 100F
Character
Grain Differs	RMS granularity 948 µm, 1.0 above minimum density [A1]: source 1 of Fujifilm Velvia 50	RMS granularity 848 µm, 1.0 above minimum density [B1]: source 1 of Fujifilm Provia 100F
Fujifilm Provia 100F has the lower granularity figure (8 against 9, same conditions); lower means finer grain. [A1]: source 1 of Fujifilm Velvia 50 [B1]: source 1 of Fujifilm Provia 100F
Contrast	High; the curve steepens toward the shadows (datasheet)	Medium, per reviews; 'Standard' in Fujifilm's own chart
Latitude	Narrow: about 5 stops of usable range	About 5 to 6 stops; one to two stops of overexposure in reviews
Resolving power	80 lines/mm at 1.6:1 chart contrast, 160 lines/mm at 1000:1 [A1]: source 1 of Fujifilm Velvia 50	60 lines/mm at 1.6:1 chart contrast, 140 lines/mm at 1000:1 [B1]: source 1 of Fujifilm Provia 100F
Reciprocity	No correction from 1/4000 to 1 s; 5M and +1/3 stop at 4 s, up to 12.5M and +1 stop at 32 s; 64 s not recommended [A1]: source 1 of Fujifilm Velvia 50	No correction from 1/4000 to 128 s; 2.5G and +1/3 stop at 4 min; 8 min not recommended [B1]: source 1 of Fujifilm Provia 100F
Look	Extremely saturated, deep blues, a leaning toward magenta and purple	Neutral and faithful, slightly cool; saturated, but less than Velvia
Best for	Nature, fashion, products, interiors and artwork (Fujifilm)	Products, outdoors, fashion and portraits (Fujifilm)
Datasheet and preset
Datasheet	AF3-0221E2, edition 2007-03 (PDF)	AF3-036E, edition 2000-10 (PDF)
Spectral curve	Published	Published
Preset	GA — 014 / P · darktable and Photomator	GA — 015 / P · darktable and Photomator
Both have a preset.

Source numbers carry the film: A3 is source 3 of Fujifilm Velvia 50, B3 is source 3 of Fujifilm Provia 100F. Not published: none of the sources on file gives this figure.

Same scene, two presets

SceneBeach cabinBeech forest

Beach cabin under storm clouds, with the preset inspired by Fujifilm Velvia 50 (GA — 014 / P) applied (simulation). — **A · GA — 014 / P** · Fujifilm Velvia 50

Beach cabin under storm clouds, with the preset inspired by Fujifilm Provia 100F (GA — 015 / P) applied (simulation). — **B · GA — 015 / P** · Fujifilm Provia 100F

The same beach cabin under storm clouds, base development without a preset. — **Reference** · base development, no preset

Same RAW file, two presets · rendered in darktable 5.6 · simulations on a digital RAW, not film scansPhoto: seume on discuss.pixls.us, CC0 1.0 · Photo credits

Both images start from the same RAW file, with the same base development: darktable’s default exposure and sigmoid. Each side then has one The Grain Archive preset applied. They show our interpretation of each film, not scans of real negatives. Real film also depends on exposure, processing and scanning.

Look and color

Saturation. Fujifilm’s 2006 chart of its slide films rates Provia 100F “Natural color”, with “High” saturation and “Standard” contrast B3. Analog.cafe describes Velvia’s colors as “strongly saturated”, with “starker blues and reds” A5; Wikipedia and reviews place Provia below it B4 B9 B12.
Casts. Velvia leans toward magenta and purple: “the famous (or notorious, depending on your taste) magenta cast of Velvia” A8, “purple and pinkish hues, even when they weren’t there” A7. Provia is slightly cool, rendering “a cooler mood” B8.
Skin. Fujifilm promises “vivid skin tone reproduction” for Velvia A1, but the retailer Analogue Wonderland warns of “a red tint on skin tones” A11. Richard Haw prefers Provia for portraits, where subjects do not look like “boiled prawns” B9.

Tonality and exposure

Range. On the datasheets, about 5 stops separate densities 0.3 and 3.0 on Velvia 50, about 5.8 on Provia 100F, whose shoulder rolls off gradually where Velvia’s stops abruptly (read from Fujifilm’s graphs) A1 B1.
Push and pull. Fujifilm allows −1/2 to +1 stop on Velvia 50, and −1/2 to +2 stops on Provia 100F, with minimal change A1 B1.
Long exposures. Provia needs no correction up to 128 seconds. Velvia needs magenta filtration and more exposure from 4 seconds, and Fujifilm does not recommend 64 seconds B1 A1.
Which way to err on Velvia is disputed: Analog.cafe advises underexposure, because overexposed spots “quickly turn pure white”, while Emulsive’s Roger Harrison advises the opposite A5 A6.

Which one for what

Velvia in soft light. Alex Burke finds Velvia “great at bringing out the vibrant detail” in open shade and overcast scenes A9; in contrasty scenes, it loses shadow or highlight detail A8.
Provia for people. The Darkroom calls Provia its favorite portrait slide film, because it does not make skin “go to red” B6.
Formats. Fujifilm announced in October 2021 the end of Velvia 50 in 8×10 that year and in 4×5 by March 2023 A3; its US site lists Velvia 50 in 35 mm and 120 A2, and Provia 100F in 35 mm, 120 and sheet film B2.

Real film, side by side

For On Landscape, Tim Parkin shot the same scenes on large-format sheets of the color films available to large-format photographers at the time, including Velvia 50, rated at ISO 40, a third of a stop over, and a film the article lists as “Fuji Provia 100”, then drum-scanned them E1. Tim Parkin’s only written remark on the pair: “Velvia 50 is a great film with a shadow response almost as deep as Provia (when scanned on a drum scanner anyway)” E1. The rest of the comparison is in image sliders.