Quote Originally Posted by Poisson Du Jour View Post
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.
Not quite sure why you're addressing that to me.

As you know there were various work arounds to lower the contrast of Cibachromes, masking, alternative first developers etc but the high contrast was always acknowledged to be a problem.

The "oomph" as you call it is also a matter for personal preference, I happened to prefer the Fuji Reversal paper which gave more subtle accurate colour and tonal rendition, but of course saw many superb Cibachromes over the years.

Whether it was Ciba's intention for Cibachrome to be such a high contrast colour paper or not many commercial labs spent a lot of time and effort into significantly reducing the contrast to make the paper more usable with a wider range of transparencies, something that they shouldn't really have had to do if the paper had been better matched to reversal films.

Ian