Here's a list of what's currently available from Fuji USA…
http://www.fujifilmusa.com/products/...eferred_paper/
If you're serious about making large color prints with proper color balance then you'll quickly realize the limitations of these papers under an enlarger once you make a high rez scan and output digitally on Fuji's or Kodak's excellent professional digitally optimized papers. If you insist on staying analogue either for lack of resources or out of some bizarre sense of retro-grouchiness then you'll want to check out Fuji type CN. Type CN has the highest dmax of all Fuji papers. It's also the paper that any reputable lab will print on if you ask for an exhibition print. It is the contemporary, digitally optimized paper that replaced Super C in the line up. Stay away from the professional deep matt paper - the surface is beautiful but the dmax is almost as lousy as Crystal Archive II (1.7 - 1.9). It was meant to offer the look of a arches watercolor paper but for RA-4 - you might as well just make an inkjet if that's what you're after. CA II, while a favorite of many here (most likely due to the fact that it's the only paper still available in sheets coupled with a pollyannaish notion that Fuji, like ilford, cares about analogue-only photographers) is an utter abomination compared to the professional line. The stuff in cut sheets is the same as the minilab paper that walmart and costco use. Looks ok in 4x6" but expose an entire sheet, develop and you'll notice terrible mottling and a truly awful black. Fuji professional has openly acknowledged this aspect of their consumer paper, chalking it up to the inevitable consequences to the market niche it was designed to fill - minilab frontier machines, lowest cost per square inch, long chemistry life and easy heavy metal recovery (read low silver content). Plus, as you've noticed, it's only available up to 20x24" in cut sheets and 12" wide rolls.
Kodak has the Endura Premiere. It's ok but still suffers from wonky color and highlight to shadow crossover under an enlarger.
Keep in mind that if you insist on using digitally optimized papers under an enlarger you will need to account for latent image drift when dialing in your color pack for neutral otherwise you'll be chasing your tail trying to figure out why, despite having the same color pack, no two prints from the same neg. in an edition look alike. A fuji product tech told me that this, along with a few other nasty pips, is a necessary trade-off when designing a paper that's capable of reaching full dmax with the millisecond digital exposure of a laser light or led machine.
If you're not adept at color balancing and the concept of neutral color correction or prefer a more expressive, personal approach to color then disregard all of the above and just have fun. Ditto if you're working with anything other than an RT machine.
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