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Michael Benveniste -- mhb-offer@clearether.com
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>> Somebody..???
>
[quoted text clipped - 8 lines]
>enlargements. The next time I use them for 160S, I'll
>add in a 160NC shot and take another look.
So far, I did not try the new Kodak films. The Fuji films are extremely
sharp, but the grain is not as nice as the old 160NC. However, 160NC is
not as sharp as 160S.
From the datasheets is looks like the new 160NC is less sharp than the old one.
Sometimes grain of the Fuji films gets a bit too ugly. I guess I have to
try a roll of 160NC some time.
(I judge film by how it scans on an LS-4000)

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That was it. Done. The faulty Monk was turned out into the desert where it
could believe what it liked, including the idea that it had been hard done
by. It was allowed to keep its horse, since horses were so cheap to make.
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Bill Tuthill - 01 Sep 2007 21:54 GMT
Thanks Michael and Philip! Interesting datapoints.
Weird that the Nikon scanner makes Pro 160 look grainier than Portra 160.
In Ctein's article, Pro 160S was slightly less grainy than Portra 160NC.
Whereas Portra 800 was noticeably less grainy than Pro 800Z, all colors.
I was going to buy these four films from B&H, but they were sold out
of the camera I wanted, so I guess it'll have to wait. My test would've
been done on a Fuji Frontier and HP Photosmart scanner.
Also it would be worthwhile to compare Pro 400H and Portra 400NC. Fuji
has no film to compete with Portra 400VC, so I guess that one could be
tested against Ultra Color 400. I've heard/seen nothing but good things
about the new Portra VC films.
Philip Homburg - 01 Sep 2007 22:55 GMT
>Thanks Michael and Philip! Interesting datapoints.
>Weird that the Nikon scanner makes Pro 160 look grainier than Portra 160.
>In Ctein's article, Pro 160S was slightly less grainy than Portra 160NC.
>Whereas Portra 800 was noticeably less grainy than Pro 800Z, all colors.
I did not compare grain sizes. In many cases 160S is very nice. However,
sometimes, mostly in shadow areas but also in skies, it gets ugly. It doesn't
mean that the grains are particularly big, but it often a case of more
chroma related noise compared to Kodak's best films.
I was very worried about the direction Kodak seemed to be going so I just
dropped them. Maybe I should get 160NC for images where shooth surfaces and
shadow areas are important, and keep the 160S for sharpness.

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That was it. Done. The faulty Monk was turned out into the desert where it
could believe what it liked, including the idea that it had been hard done
by. It was allowed to keep its horse, since horses were so cheap to make.
-- Douglas Adams in Dirk Gently's Holistic Detective Agency