Quote Originally Posted by polyglot View Post
Some do actually have issues, for example Crystal Archive seems to suffer from green (highlight) /magenta (shadow) crossover. For digital printing it doesn't matter at all because they supply the paper with calibration data so it always comes out of the lightjet looking good, but you get issues under the enlarger.

For lack of (Portra) Endura sheets, I've found the Aristacolor paper to be pretty good for optical enlargements. I haven't done side-by-side comparisons, but I've found it a bit easier to print with than FCA. I suspect it is Supra Endura but don't know for sure.
Finally someone who speaks from experience and not just out of their trollish hat! Fuji CA ii has atrocious cross-over and (you forgot to mention) dismal dmax. Fuji PD has better dmax but even worse cross-over. Kodak Premiere is marginally better but still not sufficient for producing a fine print. Kodak edge and royal are hobbled by the same problems as Fuji CA ii, namely that they're both cheap minilab papers. As for the metallic stuff...never mind.

Polyglot, what you say about Aristacolor intrigues me. I have not used it but I'll definitely try it out per your recommendation. I'd be shocked if it were the same as the old Supra Endura as that emulsion disappeared four years ago. Who do you suspect is manufacturing this paper?

Their was hope post-supra and post-original fuji CA with the DNP stock a few years back (which was eerily similar to Supra Endura but with a thinner base). But they only had one distributer in the states and it vanished just as quickly as it arrived.

Mr. WILEY, maybe you haven't heard of them, but do you consider world-class labs, like Duggal, Lamont, LTI, Color Services and modern age, "mom and pop shops"? Do you really think that the many world-renowned photographers who work one on one with their printers at these labs to painstakingly tweak their images and who sell these prints to museums and to the most discerning collectors in the world are actually rubes who can't tell the difference between a good print and a bad one? Actually, never mind... I already know what your response will be.

As someone who used to get paid very handsomely to work one on one making c-prints for name brand artists I can tell you that since 2010 even the most recalcitrant of analogue snobs have moved to making digital c's as it's the only viable way to get the kind of color fidelity they expect out of the current crop of professional RA papers.