It absolutely does NOT require Cp-49e chemistry. I've used it in CP-49e chemistry in a frontier 340, CP-48s in a frontier 370, and I belive it was labled as CP-47L? on an SFA. On the SFA test prints swung drastically magenta untill the machines master balance was corrected for the new type two paper, but it was completely correctable. My personal understanding is that the CP-49e chemistry is Ra-4 but designed to work at a higher temperature than usual. If memory serves me developer and blix were at 40 degrees C instead of 38.5 degrees C using the SFA and the stabilizer was at 45 degrees C in the frontier, dont remember what it was in the SFA.
Originally Posted by Photo Engineer
I've just checked with Fuji's web site, [ http://www.fujifilmusa ] and the data sheet for "Fuji Crystal Archive Professional Paper Type PDII" states in section 6:
"This paper is designed for use with Hunt CP-RA, FUJIFILM MINILAB process CP-48S or RA-4 Type process."
Type PIII (Brochure - I couldn't find a data sheet) states "This RA-4 professional base paper is easy to use in the lab...". I'm not quite sure what they mean by "professional base paper, but..., all other Fuji Type P and C papers are described as "RA-4" with occasional references to additional process.
I certainly HOPE Fuji is not having some sort of brain spasm and introducing a paper incompatible with the widely accepted RA-4 processes. We "color" types are engaged in enough of a struggle as it is.
As an aside ... I REALLY, REALLY LIKE this paper, so far. The color balance and general aesthetic characteristics are beautiful - at least in my eyes. Some may not like the *extremely* glossy finish ( like unto a mirror), but to me that is more than compensated for by the skin tones. Truly "alabaster - like", something I've been trying to obtain for years. (Note 1)
Now, if the lot-to-lot and size-to-size - uniformity and stability can come close to my dear, deceased Ilfocolor, I will have one less "search" to worry about.
Note 1: So the syntax isn't quite elegant ...
Ed Sukach, FFP.
I am merely reporting from a presentation. In that presentation, the Fuji reps said that the new paper was not compatible with the old paper in terms of process. They showed data related to new couplers, new sensitization and new emulsions which made this so, and showed a development, blix and wash time series to 'prove' their point.
Perhaps they are just trying to sell the new kits. IDK. It was actually a series of 2 or 3 teams that showed this data which included Tellurium sensitization and a new dye type for better dye stability.
Since they report that the new process is incompatilbe, I also hypothesized that this might be why there is an apparent color balance shift with some Fuji papers and processes. I have no evidence beyond their presentation than this to prove it.
I can say this. They have decreased the silver coated in the new paper, and have increased the development rate. This, they indicated, allowed for shorter development times, and a more dilute blix, among other things. It would also allow the developer to be more dilute or less powerful for the type II paper.
They said they took an environmentally sound approach to process design. Assuming this to be dilution, I expect that the old process would overdevelop the new paper, and the new process would underdevelop the old paper and would leave silver behind in the coating.
Just some thoughts from hearing the talk, and reading these comments here. I reread the article and they support some of your observations and my thoughts, but actually without tests they prove nothing either way.
On another matter.
About 3 years ago, Kodak did much the same when Endura paper replaced Supra III paper. The Endura paper needs less development and can survive a longer development time without fogging. The paper also seems to keep better at room temperature than Supra III.
The Endura papers have new emulsions and new couplers as well.
Kodak apparently did not change the process, nor did they recommend a change in process. The basic color balance of the paper did change by about 15 magenta.
That is another reason why I felt there was some kind of link here to the change in products from both companies.
I use Fuji Crystal Archive matte , and Fuji Crystal Archive Flex material , on Dichroic Enlargers, as well with Lambda laser output device, with no problem whatsoever.
Sponsored Ad. (Subscribers to APUG have the option to remove this ad.)
What chemestry, speed and temp -- all standard RA4?
Originally Posted by Bob Carnie
FWIW With CA I never have unusal filter packs when doing normal negs.
Same Chem, Same speed, and Same temp, just different exposing devices.
Originally Posted by mrcallow
Fuji: FC Professional Developer 800711
Fuji: Colour Print P1R Developer Starter
Fuji: Colour Print RA Bleach Fix 822570 A & B
35.6 degree celcius
Normal speed for RA4 Paper product
I think that we have to differentiate between CA I and CA II product as there appears to be two different products on the market. We also have to differentiate the two processes and all possible product and process combinations if we are to find out what is what here.
So, Bob, you say CA, but is it CA I or CA II?
right now it is Fuji Crystal Archive DP
As best I can tell by the article, the DP uses the old process.