Azo Zombie?

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Kodak Azo was discontinued in 2005. It was in production longer than Kodak Dye Transfer products. Monochrome outlived color. Just a tiny part of the tale.

Texture Sheen Tint Contrast

Azo came in most surfaces and weights; it was used widely because it was cheap and constant across so many types of surface. Deckle edged postcards, cheap studio proofs, or retouching prints for advertising agency work — all could be done on Azo.

Amidol was also easy to buy during that day. Drugstores sold it in glass tubes, ready for processing film or paper. Only Kodak’s Vitava Opal came in more configurations.

When a favorite paper drops dead what are members of the Silver Circle to do? Make it themself or sponsor someone else to make some.

Smith & Chamlee, of the workshop world, chose the latter. Other workers gladly coat small runs learned while workshopping their craft sense at places like George Eastman, and Photographers Formulary. Chloride papers are easy enough to coat, but clearly this is small scale demand, which isn’t a problem for people who hold to their belief that the longer something takes to do the better it is. Self coaters are the slow dry painters of photography.

Lodima Dreams

A new company and identity was introduced in response to the Kodak discontinuation of Azo. Photographers Michal Smith (MAS) and Paula Chamlee bought much of the Azo stock, going so far as being the last Kodak dealer for its sale. As demand dropped for all photo papers, Kodak, in trouble, dropped its black and white darkroom papers. Smith and Chamlee sought a producer of a replacement paper suited to contact printing – their preferred mode of print production.

Constructing the details of these progressions hasn’t been straightforward. I’ve collected posts from multiple web sources – some of which had to be retrieved from archived crawls. The posts on Photrio (nee Apug) and Large Format (LFPF) remain available (10/17).

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lodima timeline

 

Azo paper goes well in amidol developer; so much so that several onliners preach that you can only achieve nirvana when both are present. I’m a heathen. Amidol is nice, but not exclusively so, but then, azo (chloride) paper isn’t perfection in silver. They are just what they are: one way across the field.

Kodak, in their azo publication, indicated developing in Dektol 1:2 for 1 minute; that would have been the conventional processing for azo the last 20 years of its production and use. Graded paper can be “contrast” adjusted using divided, 2 tray, developing. Amidol is so active that a water bath suffices as the ‘other’ developer. I prefer using dektol 1:1 and an accelerator as the second tray.

current chloride papersI use amidol and have used lodima paper although my current contact paper is Adox Lupex – has been since April, 2016. Lodima, the paper and the company, don’t provide me any advantage over Lupex. In my procedures Lupex even liths. It also handles wet life better than lodima. Lodima comes in more grades, but Smith Chamlee cannot keep it stocked in grade and size offered on their price list which seems to be updated irregularly. In short, as business, Lodima paper is the sideline of Smith Chamlee workshopping business.

Michael Smith draws much fire from online fora – LFPF as example. That would usually earn him points on my card, however, what I see his success, his contribution to my community of photographers to be is: publishing. I’ve met him twice in 30 years, and only corresponded with him twice – once when I ordered paper he didn’t have; the other time was a request for confirmation about work he may have made. The business conversation went better.

Smith Chamlee have survived the years since Asilomar ’75 by selling simple solutions to the easily influenced junior photographers. He is a businessman who has succeeded by turning his life into a tax deduction. His contribution to artists is as a book publisher, and paper vendor to a few of the lesser imagists of the past 20 years.

 

webionaire links AMIDOL CHLORIDE PAPER

[2 of 3: Nov 7, 17]

Warmtone Bullets

There are no silver bullets – except Dektol and D-76

Testing & Testing

I hate to do paper / developer tests. I dread the tasks; won’t even read anyone else’s results, since I do what I do, they aren’t going to make my prints, and I’m not going to make theirs. As a teacher, I had to show while telling… even encouraging some students, those with technical compass heading, to do the detail testing of different constituents of photographic developers. I hated, and regretted, the time spent on technique over reasons, reactions of imagery. But, in the chemical age, students had to fumble through the darkroom.

Why My Change

Since B&H had their shipping failure, coupled with an obvious re-working of their order system, I had to work through my preferences for chemicals, emulsions, vendors – what, where, when I could supply myself. I needed to replace Ilford Warmtone developer, since I bought it from B&H, yet they don’t understand how to read Harman’s SDS.. put a sticker on the box and ship it, even by international passenger air. I could buy from Freestyle – I buy most of my prepared chemistry from them. I have used Fomatol PW developer with Foma papers, but hadn’t tried it with other emulsions.

Emulsion Choice

Conventional wisdom holds that the “emulsion makes the choice” of color – is it warm, cold, or neutral. The size of the silver is fixed by the manufacturers, although, as the emulsion ages, it will shift gradually cooler in color. Emulsions from before 1990 may have included chemistry that sustained the warmth, but they are not used by Ilford, Foma, etc. in current emulsions. Hence, the reason that we are told to use the paper within (2 or 3) years, else it will change hue (going colder), and lose contrast range (lower contrast) Old paper is not the best choice; they don’t get better with age.

Foma Fomatol PW Developer

“Specially formulated positive developer in powder form, preferably designed for the processing of Fomatone MG-line photographic papers. The developer features slower developing kinetic, lower speed utilization and a warm image tone.” foma

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Mixing Fomatol PW

In using so much darkroom chemistry, I have many ‘old’ bottles.. the one in the above illustration, bearing the Fomatol PW blue-tape, is an empty Moersch bottle. I date all my stock chemicals with mix date.

Foma dates their PW; they also include the proper caution (that diamond stamp) — Use dust mask during mixing. The NIOSH N95 means holds back 95% of (standard size) dust, making it more than adequate for mixing dry chemicals such as paper developers. The same should be worn while mixing dektol, or D-76.

Mixing is easy – follow directions… current packages are marked with “Maly/ Small” & “Velky/Big” … Mix using liter graduated plastic beaker… stir with a plastic spatula.. dissolve fully… add water to make one liter of stock.. pour into storage bottle… label .. done [ less than 5 minutes elapsed time from beginning to clean-up ]

I use the stock as working, since it is very slow acting developer; even then, my basic developing time is 5 minutes. The following is adapted from Foma datasheets. Also given

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Fomatol PW Times

are the R values for Ilford Warmtone, and Seagull VC-VBII Warmtone. The Ilford warmtone is a widely used paper, notice that the R for the Seagull is wider- the contrast range is wider, providing “flatter,” and “harder” contrast than Ilford. The Fomatone is even narrower contrast range… still I love its look, as well as the touch of the paper.

Warm Paper, Warm Developer

Does the developer move the emulsion? Supposedly NO — since I was running some experiments anyway, I decided to test the Seagull paper I had set aside as not being significantly better than Ilford. The following tests compared Dektol + Ilford papers as baseline: Dektol at 1+1, and Ilford Multigrade FB Classic

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paper /developer tests

The 3 scans: [A] is the tests grouped into stacks by developer (dektol, Moersch SE1 Sepia, Fomatol PW) [B] is Ilford Classic, Ilford Warmtone, Fomatone 131 comparison. [C} compares Ilford Wamtone, Fomatone 131, Oriental Warmtone in Fomatol PW developer.

[C} is the reveal – Oriental warmtone in Fomatol PW is a very strong warmtone paper; much warmer than Ilford Warmtone.

These tests confirm the old adage, and break it. Ilford papers stick to their label. They change less than other papers with a change in developer. The Oriental Warmtone changed so much it is now my preferred paper for warmtone prints replacing Ilford Warmtone. All because B&H hiccuped causing me to search my cupboard.

The downside of this developer is its activity. It is S L O W to come up, reminding me of lith times. It also loses paper speed. Oriental Warmtone + Dektol vs. OWT + FPW is a 3 stop difference in the enlarger. For very large prints, this could probably spell problem, with the time going into minutes; however, with my setup and standard sizes it moves my times up to around 48 seconds… reasonable in my process.

Why Of Silver Tones

Warmtone / coldtone — advance recede. Cultural inclination, taste — preferred acceptance … more on the [secret page]