To follow up: printing texture with color neg film and paper is analogous to doing it in black and white.
It depends on holding the microtonality of the midtones etc while still squeezing the entire subject range onto your print. There are various ways to do this. But this topic can easily be confused with
the whole gamut question of resolving subtle distinctions between related hues - the chroma equivalent
to texture, and something which is inevitably directly related to the same variables of contrast and
tonality. A lot depends on your personal sense of color vision. That is why I referred to "noise". Too
much saturation can actually destroy all the nuances of color which make it effective. Now I'm not advocating soft films or paper as the means to solve this, but understanding how color actually works.
You can just as easily lose it by printing bland. That's why I implied you need to discover some magical
intersection where all the ingredients come together. And this differs from person to person, depending
on what you are trying to achieve. But the web is the last place on earth you want to learn about color,
or try to evaluate it, visually that is. It's an abominably crude vehicle. Do you have any art background
mixing pigments etc? or per color theory?