I don't believe any C41 film has ever been considered archival but I've been wrong before.
Four colour carbon or three colour black and white separation negatives are the only sure things.Well at least we got pigment prints if the marketing is to be believed.
Silver retention? What are they on about?
"Silver retention"problem, sounds like they aren't processing it correctly.
I don't believe any C41 film has ever been considered archival but I've been wrong before.
It's the thing with information, a misleading lead in a part of the chain could spread lots of misinformation.It might just be their marketing arm talking, so their customers think that they are getting an inside tip. Let me ask, would you have swallowed it if you didn't have Apug to turn to?
I'm quite certain I've been involved with more Portra 160 than they have, except that it was an earlier generation. Very clearly, if they have retained silver then Matt is right - it's a processing problem.
THE expert here at Apug on silver retention is PE.
It might just be their marketing arm talking, so their customers think that they are getting an inside tip. Let me ask, would you have swallowed it if you didn't have Apug to turn to?
I'm quite certain I've been involved with more Portra 160 than they have, except that it was an earlier generation. Very clearly, if they have retained silver then Matt is right - it's a processing problem. The classic finisher tests are 1) inspect with an IR scope - the film should be perfectly clear (the color dyes are transparent to IR); the slightest trace of a ghost image means there is retained silver. 2) the control strips have a good method to check performance of the bleach, and 3), if one suspects that they might have a bleach/fix problem, then they should cut a test strip in half, give one half an extended bleach and fix, etc., then see if there is any visual (or measurable) difference between them; there should not be. There is no reason for Portra 160 to have any "normally" detectable retained silver, except by inadequate bleach and fix steps.
We recommend scanning this film on the Noritsu.
Why not just use a digital camera in the first place? Then scanning worries will be eliminated.
Arivval experts are discussing this item since decades.But discussing is not so correct for this.They are more reffering with final conclusions to the archival options with color prints and films.I don't believe any C41 film has ever been considered archival but I've been wrong before.
Maybe, but we ran something like a master roll of film every week or so, in fully seasoned processors, with the support of an on-site chem lab. And vastly greater amounts of paper which also has to be bleached and fixed. Let's just say that we were licensed formulary users from more than one major manufacturer, which entails a great deal of inside information.
Now that I think about it, I designed the bleach aeration system we used in our 50 ft/min cine processors. C-41 (and its bleach, which I think perhaps PE was intimately involved with) was new at the time, and our bleaching capability was falling off as we processed. I worked from Kodak recommendations with respect to bubble size; too small produces foam, which can build up and possibly overflow into. Too large and much of the air inside of the bubble doesn't contact the bleach, so is not effectively used. So the trick was to come up with an optimum hole size and placement, plus an airflow spec and pressure that would cover the surface of the bleach with pea-sized bubbles that pop easily. Then while running test film we pull samples for our lab to do analysis of the Fe3/Fe2 ratios to see if we're keeping up or losing ground.
So this is part of the real-world experience I have; I don't invent systems, but from the user standpoint I get them to work adequately. I don't invent analytical methods, but I use them. I have worked with the practical applications of these things on a very large scale. I'm gonna show a bit of arrogance here, and say, as the onetime QC manager of that outfit, with a staff of five or six people (including a full-time chemist), I kept a finger on the pulse of an outfit printing, inspecting, dust spotting and shipping A GREATER VOLUME OF PAPER IN ONE DAY than virtually ANYONE HERE HAS IN THEIR CAREER. (Give me an estimate of what you've done and I'll tell you how it compares.)
PE is a rarity, a treasure, and a terrific asset to both to Apug and home emulsion makers, in general. But at the same time, posters should see that it's dismissive to someone like me, who gives a comprehensive answer only to have someone say, "Well, the REAL EXPERT here is..."
It is not that difficult to remove "virtually" all (trace amounts may not come out) of the silver; all it really takes is following the instructions and knowing how to confirm. The need for "experts" can be reserved for more difficult problems.
Interesting.So, I just talked to a 2nd lab and they actually reported the same problem. The issue is the Digital ICE, so when they have to scan P160 on a Fuji Frontier they turn off ICE and dust by hand.
>>>>>A GREATER VOLUME OF PAPER IN ONE DAY than virtually ANYONE HERE HAS IN THEIR CAREER. (Give me an estimate of what you've done and I'll tell you how it compares.)<<<<<<
Well not to be a braggart but when I worked at Jones and Morris Photo Murals I would personally expose and process over 5 - 100 ft 50 inch wide a day of colour paper RA4. and this would be the norm for months on end on the busy days and we did have a quality control department analysing the chemicals on a three hourbasis , E6 was a real concern for plotting and this was done on a hourly basis.
I really doubt that your above claim apply's to me as my paper supply room was a walk in freezer filled to the roof with colour paper, and I did this for over 15 years before I decided to start my one man pony show that I am still running today.
Custom Colour Lab- - Jones and Morris Photo Murals- BGM Colour Labs -Scarboro Colour Labs- Colourgenics. all these labs were the cream of Toronto printing industry during this period and I spent 3 years at each location .
You can click on my website to see what I am doing today, tomorrow teaching a workshop on Gum Bichromate Printing.
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