Quote Originally Posted by Poisson Du Jour View Post
The USA is a big place, I'm sure there is a lab somewhere in it that does short-run machine Ilfochrome prints from their last remaining stock. But I would caution: I would personally angle for masked Ilfochrome prints, not machine prints: these give the very best result, done by hand, of selectively contrast masking the image prior to matching with one of the two contrast grades of Ilfochrome media. Not all images require masking; an assessment is done by a very skilled printer.

Ilfochrome is a manual media technique. Scanning, colourimetrics, profiling, grading and RIP printing is a digital process. Each uses a very different skill set, one honed through years and years of darkroom practice and procedure; the other learnt through technical/further education, university, job experience and/or professional qualification (more commonly the latter). Comparing scans to Ilfochrome prints is like comparing an apple to a banana (at least in taste!). Ilfochrome is in a league of its own, without any real comparision. The fact we are making great strides in alternative processes and quality media means we should not be holding out for a return of Ilfochrome; just move along to other techniques.

Kodachrome is a considerably flat, less vivid media to start with when Ilfochrome's selling point is to bring out the vibrancy and punch of modern emulsions e.g. Velvia 50, 100, 100F (even early Ektachrome emulsions make an impact). Well-exposed and executed images on these emulsions will leave a lasting impact on each and every viewer who stands before a spot-illuminated Ilfochrome. Of Kodachrome, I have only seen four very large (3m across) Ilfochrome prints on display from PKL-200 in 20 years or so (with such visible and distracting grain that it was entirely forgettable). Think of the alternatives available today with modern, fine-grained emulsions and work towards skilling up in processes and just moving on. We cannot sit and tug and cry at the forelocks of a bygone era.
I'm sure that tree in the Grand Canyon slide you mention is worthy of positive commentary. After all, the simplest compositions are often the most successful!
Well, I don't know where to start looking for a lab. Have any suggestions?

As far as the Kodachrome thing, I'm hoping to publish a book on the adventure, so I just would like to compare, I'm interested to see how a direct print compares to how it looks on a light box and how it scans, and then of course to hang above my desk

Thanks, I'll move on I just need to complete this project first. In fact I've already moved on, I only own 5 rolls of new Kodak Tmax and 10 of old expired ektachrome EPP and the rest is Fuji/Ilford

Any leads would be great, honestly it would be cooler to have an APUG member personally do it that would make it doubly special and I could plug APUG in the book!


Mamiya: 7 II, RZ67 Pro II / Canon: 1V, AE-1, 5DmkII / Kodak: No 1 Pocket Autographic, No 1A Pocket Autographic | Sent w/ iPhone using Tapatalk