Discussion in 'Contact Printing' started by Aggie, Jul 30, 2003.
Aggie, this toning is very beutiful. You just gotsta share how you did. I'm dyin'!!
I'm vv intrigued by this beast called Azo -I managed to get my hands on a few ancient sheets a few years ago and I've heard loads of people rave about it since-can't wait to get my paws on some more, especially as I'm going to get into 8x10.
I agree that Aggies discovery is beautiful, having just received the print of Slot Canyon #3 in a print exchange, the actual print goes far beyond the viewing of an internet image.
I had an interesting toning experience a couple of days ago with some old emulsion Azo (probably over 20 years old) The grade three paper of that era has the most incredible split toning capability in selenium at a 1-20 dilution. The print tonal values zones IV and below go to an almost metalic reddish tone that is most apparent at an oblique angle whereas the rest of print does not tone markedly at all.
I contacted Michael Smith about this and he indicated that this was a property of Azo at one time and that some people were quite taken with this attribute. He went on to say that the new emulsion grade two may possess the same tendencies. I assume that this is possibly why Michael and Paula tone at a 1-128 dilution on Azo (for archival considerations primarily). I have not tried the new grade two emulsion to determine if this is also present in that paper.
At 1:20 the new grade 2 Azo shows no change in tone after 5 minutes of toning. The old & new grade 3 tones very readily. I got somewhat of a split toned effect after 2 minutes. After 5 minutes the picture was quite brown. But more of a chocolate brown. I have some 40 year old Azo, and I'll try it next time I print.
One word of caution if you bleach first, the highlights will go faster than the shadow areas.[/quote]
Try bleaching twice. For the first use a very dilute bleach, 1 to 30 or 40, and leave the print in for perhaps 20 seconds, you will need to experiment. Wash and tone in sepia toner, this will render the highlights permanent and allow a second longer bleach in stronger solution. The end result is that you will have very slightly sepia highlights but the remainder of the image will change as you describe.
You might also try bleaching the image and instead of redevloping it in selenium place it in the sun to develop as a sun print. I've done this with regular papers with great success but never with a paper such as Azo. Another variation is bleach and redevlop in very very dilute lith developer. You do have to watch the redevelopment for once it starts to develop the image goes through a number of subtle changes before developing fully.
Please buy your Azo from Michael A. Smith. It's important to Azo's future.
Lets not let this turn into one of 'those' threads. It sound's like Aggie has found a really interesting toning technique, hasn't she?
lets keep this thread focused on the what Aggie has found. I like the look of her prints and want to hear more about them.
I read on Michael & Paula's website not to use ammonium thiosulfate fixer - the poser said it would cause a pinkish image on AZO. I used some old rapid fix (yuck) and now read you used TF4 (horray) so it sounds like I can use TF4 and no problems??? I also used the M&P amidol brew for AZO - it worked good for other prints as well - seemed to have very good capacity.
This is a great thread, very useful. I searched the forum looking for some info and this crap came up.. Thanks guys! REEEEEEAAAAAALLLL CCCCOOOOOOOOLLLL!
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