Best negative film and color paper for autumn color

[thomas_a_ferko]

I plan to make 16x20 and larger size prints from color negatives this fall. I have already seen Fugi Velvia film printed on Ilfochrome paper. What color saturated 120 negative film and what printing paper can match the Velvia/ Ilfochrome combination for great color, and grainless glossy prints? What lab do you use to do your printing with the film/paper you recommend? I will greatly appreciate all input. Contact me directly at: talltandj@aol.com Thanks, Tom

[jack_congson3]

I personally like the color saturation of Fuji Reala ASA 100, available in 120 format. My lab prints on Kodak paper though.

[j._law]

To the best of my knowledge, _NO_ neg film on any paper will match the saturated, natural look of RVP.

 

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Agfa's Ultra 50 doesn't do it; neither do the poppier Fuji neg films (Superia, Reala). Sometimes, Super-G (Superia) on Kodak Ultra II RA-4 paper, or the polyester Fujiflex paper (very pricey!!) will be pretty good, but I've never seen any neg that has the saturation, pop, and tonality of a ciba off an RVP.

 

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Someone, please correct me... I'd love to have a neg/paper combo that emulates this. =)

 

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-jon

[scott_eaton]

Jon,

Baloney.

"Saturated natural look?" Velvia and Ilfochrome are two materials that produce colors that don't exist in the original scene, so how could they be called "natural"?

I'll say it again; evaluating film and paper on the basis of color saturation is like evaluating a high-end stereo strictly by how loud it is.

 

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I've *NEVER* been able to produce the subtle tonal values of a professional color print film printed on kodak Portra or Fuji's FA/5 or Crystal Archieve on *ANY* combination of Ilfochrome/Cibachrome/slide film without complicated masking and chemistry modifications. Ilfochrome is used because it's "loud" - period. There are only so many fire-hydrants and hot-air balloons you can print on reversal paper. The dynamic response of Ilfochrome in the highlights looks like a mirror and isn't even in the same ballpark as RA-4 papers. Reversal papers have fallen seriously behind the RA-4 papers in technology.

 

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Thomas,

I'd advise picking up some of Fuji's Crystal Arcieve type "C". It's easily the most advanced RA-4/ color print paper being manufactured today. Colors are striking and detailed, and the tonality is rich and warm. Kodak papers are "hard" looking by comparison and will block up in the saturated areas. Avoid them.

 

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If your shooting fall scenery then you should use two different films for both sunny and overcast conditions. Use Reala for sunny days and Kodak PRN, PPF or Agfa stuff if it's overcast. Reala is untouchable in highcontrast conditions.

 

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Visit my web page http://www.mindspring.com/~wseaton/gallery.htm to see an example of the Fuji papers. The 57-Chevy near the bottom was scanned from a 8x10 Crystal Archieve print.

 

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//scott

[j._law]

Natural as compared to crossprocessed RVP or Agfa Ultra 50.

 

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Sure, crossprocessed RVP will give you a printable neg, with a LOT of saturation and punch... but it's less natural than RVP on ciba.

 

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*shrug*

 

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That's my opinion of natural.

[tim_brown]

My kingdom for a brick of 120 Royal Gold (or Ektar) 25!

[andrew l. booth]

Tim, According to Kodak, Royal Gold/Ektar 25 is being killed off in 35mm too! Apparently it's too slow for the majority of Kodaks (point and shoot) customers. Take a look at the posting on the photo.net thread <a href="http://db.photo.net/bboard/q-and-a-fetch-msg.tcl?msg_id=0008aY">What 25 ISO films are still available?</a>.

[ivan_i._singer1]

Many people in this thread have sung the praises of Agfa Ultra 50 and I beg to differ. Sure, it has tight grain, but at 16x20 from 2-1/4 negs what decent film wouldn't? I have printed my own 6x9 negs from this film and cannot stand to print it. The color pack leans too red and produces very strange results on either Ultra II and Supra II. The color saturates, but at the cost of natural tones. I prefer any Fuji 100 film over this one any day of the week.

[scott_eaton]

Thomas

Ultra II and Supra II are optimized for Kodak's dull, professional films so I can see your problem with Agfa-50. Had the same exact problem with customers who insisted on shooting Agfa also. Bizarre filter factor settings are another problem with automated printers and Agfa stock. It's that "alternative film" mentality I guess.

 

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I'm still baffled why so many people still use Kodak paper, and then complain about it - don't use it. Kodak Portra is the only somewhat decent stock made by "Big Yellow" and it's far behind Fuji type "P".

 

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//scott

[lennart_estrvm]

Velvia and Ilfochrome produces Walt Disney--like pictures. Use Kodak Ektar 25 or Gold 100 instead and make the prints on a professional laboratory (if you are not a copyist yourself). This would produce prints much more natural than the once you4ve seen.