thanks for the tips guys, if anyone else has something to add, please do!
p.s. i wish that SE was available in 100sht boxes, not just the 50 sheeters
I have used Fuji RA paper in the past, but use Kodak almost exclusively.
I started doing so because Kodak had Ultra Endura, Portra Endura, and Supra Endura (plus Endura Metallic). It was kind of like having three grades of paper. Fuji only had two.
I find that Fuji films print great on Kodak paper, and the opposite is a bit more tricky.
Fuji has more sizes available at Freestyle, so for big paper, I have always got Fuji. However, recently, I have seen 20x24 Kodak return to Freestyle.
Also, Kodak only has Supra Endura left. What a horrendous shame in my book.
At the same filtration, I find that Fuji paper is cooler than Kodak (or vise versa; whichever what you want to state it). It is even so if you bring a sheet of each out into the light unprocessed. The Kodak is pink, and the Fuji is blue. This does not mean that both cannot be made neutral; just that one is inherently different than the other as far as color balance.
I prefer Kodak, but they have pretty much got rid of all the reasons why I prefer it. In the past year or so, they have eliminated 3/4 of the emulsions on which I relied (well, Metallic is still around, but only in rolls), have eliminated certain sizes and certain surfaces (8-1/2x11 surface N, for instance), and I cannot see them reversing any of this at this point. I have considered switching to Fuji, as two emulsion choices are better than one, the same way that three emulsion choices were better than two when I started using Kodak.
"Truth and love are my law and worship. Form and conscience are my manifestation and guide. Nature and peace are my shelter and companions. Order is my attitude. Beauty and perfection are my attack."
- Rob Tyner (1944 - 1991)
If I'm not mistaken, the pink and blue are either antihalation layers, or there simply so you can tell the paper is loaded correctly in a minilab style magazine. They should wash out completely while processing.
Originally Posted by 2F/2F
Ultra Endura is still available but only in roll form. My favorite paper.
Originally Posted by 2F/2F
The dyes in paper are there to serve as acutance dyes and to adjust the paper speed so that each batch has the same color balance and speed on-easel. Both Kodak and Fuji use the same method. They wash out in the process.
Sponsored Ad. (Subscribers to APUG have the option to remove this ad.)
Crystal archive turns my developer green and supra endura turns it red...it also stains the tongs those respective colors.
I have a room temperature setup and I'm now selling my remaining Crystal archive. When used in the room temperature setup, the new fuji paper has nasty magenta crossover in the highlights. I don't recall noticing it with the older enlarger optimized version but I'm not going to try to keep two paper's filtrations written down. I don't know how many of you this will effect.
AFAIK, the Kodak paper with kodak films is awesome and a wise man once said, if it ain't broke don't fix it. My reply when someone asks me why I shoot film is to show them a print. Full Frame camera, but much cheaper to print on awesome glossy paper.
Kodak paper with kodak films is awesome
STRONGLY AGREE why is it that even with technology progressing at the rate it is, people seem to discard all these terrific cameras that could give them many and many more years of faithful service, but they discard them for these pieces of crap(digital) that they will end up replacing a few short years? film is at the best place it could be at the current moment, with all the current emulsions available, excluding kodachrome
"if it ain't broke don't fix it"
1. I'm not sure. There is a difference, but I'm not sure what it is. I can see it, but it's not like pen versus pencil or anything drastic.
2. Not sure. I remember doing some longish exposures, but I forgot which paper it was on.
3. Don't know. I only had one batch for class. Sorry. You don't need an analyzer. Trust your eyes.
4. Both. I'm not sure why. I just like them. The Fuji had really nice blues and greens though.
5. No idea. I'm still looking for someone who can use the paper I have left over from class last summer.
As far as help/recommendations go: Keep an open mind. Good luck and have fun.
Both Kodak and Fuji , are very , very , very good in their colour neg paper offerings.
I switched over to Fuji from Endura three years ago, main reason availability and supply.* Having a rep from the company is critical for us , as they solve many problems face to face, Unfortunately Kodak has fazed out these men and women in our area and it probably has hurt them tremendously.*
Most custom labs will use one product over the other for economic, supply and bargaining for support reasons. Having direct technical, marketing support is also a key reason for using one over the other.
In Toronto , labs can deal with Fuji direct , which is a blessing and for this reason most of the labs are using their product.
This may be the biggest reason from my perspective , as we cannot predict demand for colour paper and having inventory four hours away is compelling.
I have moved from paper to paper over the years and never once felt that I was compromising quality by using one Manufacturer's product over the other.
I've always used Kodak RA4 papers, mostly Kodak C41 print films, and only few Fujicolor neg films, and thus had very few problems with dialing in color in my D/R.
But I wonder if more regular users of Fuji neg films find that the "4th" magenta layer for mixed lighting sources causes a cross-over problem when printing optically in their own wet lab on Kodak papers (Kodak not having this same layer in their own emulsions)?
Commercial and mini labs are scanning now, even many of those with optical wet chemistry output; I'd think dedicated channels or digital profiling would obscure this cross-over much or at least some of the time. (But then I've also seen hideous color crosses with certain films from some labs).
Any thoughts on this?