Want to sell the chemicals? I have lots of paper but no chems. Might be interested in the whole thing. Please email me at email@example.com Thanks, Don
I have about one season of Ciba supplies left, but don't know when I'll get to it. Even if I could go back, I wouldn't. A beautiful medium, but very expensive and now basically superseded quality-wise,
in terms of both permanence and color reproduction characteristics. RA4 chem bothers me more, because one could almost instantly neutralize Ciba bleach. Extremely small amts of RA4 bother me,
so if there's a deal-breaker that would be it. But oh, those true darkroom prints can sure look way more
convincing that the alternatives. Color neg printing no longer needs to be that bland stepchild it once
was, suitable only for low-key subjects like portraiture or "artsy" off-color things. It's really grown up.
Hello? Do you know anything at all about those processes?
And what makes you think the abominations are inkjet prints? Can you name the three processes?
And no, Ilfochrome prints do NOT fade or discolour "after several decades due to residual couplers" regardless of conditions.
Please check your facts and research before coming across as A diety on all things from Ciba to alternative processes. Not all of us stand convinced by a few things you have said here.
Drew did not relate Ilfochrome to couplers.
Poisson - please read what I actually wrote. It's chromogenic prints which contain residual couplers,
and obviously not chromolytic. And yes, I do know a thing or two about Ciba, as well as accelerated
aging methodology and its limitations. I do not pretend to be a dye chemist, but have individually tested the characteristics of certain media for decades under quite a range of display and mounting conditions. I realize that the web is a very democratic field of conversation where everyone speaks
their mind, but I am not bluffing. Anyone familiar with my methods knows that I test things thoroughly
and that I am offering tidbits of information for everyone's general benefit, that is, if they want to
take an analogous route. This has nothing to do with "alternative processes" which I would interpret as
handmade. This is simply mainstream information, and not by any means unique to me. My Cibachromes has been either displayed alongside or outright purchased by some of the most famous photographers who have ever lived, as well as with major international painters. I have no aspirations to be a household name - could care less about that nonsense. But I'm not a little league printer either. So yes.... I do happen to know something worthwhile about these processes, at least in practical terms. And I think that forty years of printing experience with Ciba would consitute a bit of
background, along with the fact I've personally designed at built some of the most color-accurate enlargers in the world. But 'scuse me ... cause I've got to soon change a lightbulb in one.
It is perhaps somewhat off topic on APUG to discuss a purely digital color methodology, namely inkjet.
Aardenburg is probably doing the most comprehensive stability testing on such materials. The archival
issue of inkjet is the sheer complexity of all the potential ingredients and combinations of substrates.
Accelerated aging testing is better than nothing, but is no substitute for an actual track record, which
simply doesn not exist with inkjet at this point in history. If you study the patents, you will realize a
lot of the pigments are simply lakes of otherwise ordinary dyes which might or might not be superior to
their original ingredient. By contrast, the characteristics of the three primary azo dyes in Ciba are very
well known at this point in time, and the steady evolution of typical chromogenic papers (now RA4) has
quite a long precedent. The term "abomination" should be completely fair on a forum allegedly dedicated to analog practice. I was generically referring to how, given how inkjet has now taken over
the majority of amateur printing needs, it has basically replaced all the hideous image qualities once
provided by the corner Photomat. There are obviously very skilled practitioners of inkjet too, just as
many world-class printers previously chose Cibachrome or dye transfer as a premier medium. Visually,
optical prints still have certain seamless characteristics that can nearly be mimicked by top-end laser
printers, but not yet by inkjet, though it has its own appeal. This being APUG, one would at least
of imagine that there are some potential color darkroom workers tuning in here who will take advantage
of my own learning curve.
I always smile (usually only inwardly) when someone refers to their inkjet print as a Giclee print. Obviously the french-ified sort of word must be 'better', but it also translates as ejaculation-print.....