Quote Originally Posted by psvensson
I use this in my darkroom, and I have nothing but good experiences. I've tried a few Kodak papers with mixed results. Most recently it was Supra Endura, which was muddy and had terribly low saturation compared to CA. I use Fuji film, which may have something to do with it, at least according to some recent discussions on photo.net.
Using Fuji film,I have recently used both Fuji Crystal Archive and Kodak Supra Endura for prints and have seen no difference in the quality of either except that the Kodak paper requires me to turn up my Magenta dial on my Philips colour analyser to about 19 which is almost maximum.
Fuji CA paper required only about 14 as did the older Kodak Supra III paper.

Has anyone else experienced this large difference in magenta dial setting for Kodak Supra Endura and any ideas on why this should be?

Reading books on colour printing, seems to suggest that on each pack of paper there should be a Yellow, Magenta, Cyan coding which is designed to help the user with re-calibration required by new packs.

There appears to be no such coding on the packs I have bought. There is what may be coding but which means nothing to me.

As Fuji CA is the paper used by minilabs and maybe also Kodak Supra Endura, is the code now geared to minilabs which do not use YMC?

Finally I have been told the following story by a colleague of a very experienced home processor. He used to use Fuji CA. This person actually exposes 4 prints at a time protecting each from light before processing in a Nova slot processor. He has noticed that the prints that had been waiting longest for processing had actually had their colour balance changed.

When he changed to Kodak this problem disappeared. His theory was that Fuji CA was designed for minilabs where there was no such delay between exposure and processing so no problem arises.

Any comments which can cast light on the above points would be appreciated.


Pentaxuser