Ilfochrome (aka Cibachrome) has been around since 1963! I don't know why people are asking about its future. It still has a commanding take up amongst professionals exhibiting in galleries (myself among; I am not finished with the spot lights in my own gallery). Treat pritns-to-Ilfochrome as part of an holistic approach to beautiful photography: shoot, develop, print, frame, exhibit, sell and don't just print any photo you have to Ilfo' print only the best.

Ian Grant: CIbas/Ilfochrome had the foundation objective of adding significant punch to reversal film (prints); that's why you expose the film in consideration of the end result (project or print); often slightly overexposed (typically, but not universally, +0.3, +0.5 or +0.6 for me). Ciba has long achieved this 'punch' with aplomb with contrasty, 'touchy' films such as Velvia, but such film must, must, must be exposed correctly (a more appropriate term might be sympathetically (i.e. in diffuse light and within the film's narrow dynamic range). Velvia (or any slide film) shot in bright sunlight looks just awful, and much worse if printed to Ciba where shadows will be huge slabs of black. Of the thousands of Cibas I have seen beautifully framed and spotlit in galleries, desert landscapes, sunrise, sunset and twilight, rainforests, open woodland, rivers and mountains have all been exploited very successfully by many photographers and immortalised on the Ilfochrome/Ciba media.

I am intrigued by comments about "Magentas and especially purples are often garish on Ciba/Ilfochrome, often freakishly so from Velvia 50 originals." Really? How is this attributed to Ciba? Pronounced reciprocity failure on Velvia 50 (whether intended or not, but more often enthusiastically exploited) will cast to magenta; so too, will Velvia 100F given this film's flashy, avant-garde palette; if there is a cast, don't print to Ciba, as that process will by default add "oomph" to it.