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  1. #1

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    Fuji Crystal Archive Type DPII printed with enlarger

    I'm looking for some information regarding printing on Fuji Crystal Archive Type DPII paper ("digital only" according to Fuji) with an enlarger. I heard that some people do that and I wonder if they could share their experiences.

    DPII is supposed to be superior in quality to the regular CA and CA Supreme papers, both of which are "analog friendly". Does any of this superior quality come through when it's used with enlarger, i.e. is there a benefit in switching to DPII?

    I hear that DPII has higher contrast than regular Crystal Archive paper. What is the contrast difference between these two in terms of grades (or grade fractions)?

    Also, has anybody had good results processing DPII in Kodak Ectacolor RA4 chemistry? Or is it better to use Fuji chemistry for optimum results?

    So far I've only had experience with regular Crystal Archive paper processed in Fuji X-press kit at high temperature. But I'm really tempted by the much lower prices for DPII rolls and Ectacolor chemicals.

  2. #2

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    I only can talk about the "digital" version of the Kodak paper, and trust me: there is a reason why they call it "digital only". Dyes and sensitation do not match the actual film dyes, and the prints show strong color shifts. It may work out if there is only one important color in the picture, and the print can be filtered for this, and the other colors dont matter (or if colors do not matter at all, because it is some weird, experimental stuff anyway). If one needs an acceptable balance of different color hues, he's completely lost.

    Georg

  3. #3

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    Crystal Archive Type II works superbly printed optically. It is slightly less contrasty than the previous
    Super C, yet more contrasty than Type P. The tweak for digital printing involved increasing the sensitivity to green light, since this tends to be the weakest laser in digital systems, but it's only a few cc's different than Super C and it took me only a couple of test strips to rebalance. I use Kodak RA/RT chemistry one-shot in drums. I have printed mostly large-format Ektar and Portra 160VC negs lately, and admit that I
    do use a specialized RGB additive enlarger, but see no reason why excellent results would not be obtained
    using a conventional colorhead and a variety of color neg films. When necessary, I tweak the contrast up or down using unsharp masking. This is damn good paper.

  4. #4

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    I should have qualified my remark by stating that I have not worked with any of the funny Fuji papers like the metallized or digital "Pearl" stuff, just the conventional Type II. But all one would have to do is compare the spectral sensitivity of the tech sheets between these and the typical RC paper. Initially,
    Fuji tried to state that their paper were digitally improved, but did so in a way that confused analog
    printers. Since then, some of the marketing statements have been revised to include the thought of
    analog compatability. The Type II papers got some bad rap on certain review sites from inexperienced
    indivduals who probably would have mucked up any kind of paper. But as Fuji claims, hues do tend to
    come out crisper, and the white base is cleaner than previous papers.

  5. #5

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    Thanks a lot for the reassurance and the details!
    I ordered a roll of Type DPII, plus Kodak chemistry.

  6. #6
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    Is DPII the same as Type II? I use Fuji Crystal Archive Type II optically but thought the DPII was a different paper, "Digital Pearl" which I haven't used.
    Harry Pulley - Visit the BLIND PRINT EXCHANGE FORUM

    Happiness is...

  7. #7
    L Gebhardt's Avatar
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    Quote Originally Posted by DREW WILEY View Post
    Crystal Archive Type II works superbly printed optically. It is slightly less contrasty than the previous
    Super C, yet more contrasty than Type P. The tweak for digital printing involved increasing the sensitivity to green light, since this tends to be the weakest laser in digital systems, but it's only a few cc's different than Super C and it took me only a couple of test strips to rebalance. I use Kodak RA/RT chemistry one-shot in drums. I have printed mostly large-format Ektar and Portra 160VC negs lately, and admit that I
    do use a specialized RGB additive enlarger, but see no reason why excellent results would not be obtained
    using a conventional colorhead and a variety of color neg films. When necessary, I tweak the contrast up or down using unsharp masking. This is damn good paper.
    Thanks for that info. I've been worried about the switch to Type II. A box arrived yesterday, but I haven't printed on it yet. Maybe this weekend. If it's really lower contrast I may order some more sizes and keep the remaining Type C for where I want the contrast. With Ektar it's usually too much contrast without a mask.

    Of course I don't have an additive enlarger, so we will see.

  8. #8

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    The type II paper has a distinctly whiter base, and perhaps certain dye improvements too, and this really
    helps render certain hues more cleanly. Additive printing is yet another tweak which renders cleaner color
    by eliminating residual white-light spillover and hitting each color layer spot on. But these kinds of color
    heads are much more difficult to engineer.

  9. #9

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    Re additive color: not that hard to engineer really... Just buy a nice beseler minolta 45a head from ebay. I use one of these, and like it a lot. I have only printed with endura so far (havea big stockpile) but I imagine CA-II should do ok too.

  10. #10

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    Type DP is not the Digital Pearl paper. Digital Pearl is high gloss, Type DP comes in gloss, lustre and matt. And I also suspect Type II and Type DP might not be the same paper.

    The UK range of Crystal Archive papers seems to be different from the US range. The names are all different. Type DP is not listed on the Fuji USA site and Type II is not on Fuji UK site. Very confusing. Can anyone shed any light on this.
    Last edited by iranzi; 08-10-2011 at 06:34 PM. Click to view previous post history.

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