Any Tips On Calibrating PDN For AZO?

[Jim Moore]

I am finally ready to give digital negatives a go using the PDN method and would like to begin with AZO.

My equipment/supplies are as follows.

Mark Nelson's Precision Digital Negatives Book
Epson 2200 Printer
Epson 4870 Scanner
Pictorico PGHG White Film
AZO Grade 2 & 3
ANSO 130
Michael Smith's Amidol

Any tips or suggestions before I begin would be greatly appreciated.

Also, I have heard that the Pictorico products give the best results, but they are kind of expensive. Has anyone found a cheaper film to use that gives good results?


Thanks!

Jim

[sanking]

I am finally ready to give digital negatives a go using the PDN method and would like to begin with AZO.

My equipment/supplies are as follows.

Mark Nelson's Precision Digital Negatives Book
Epson 2200 Printer
Epson 4870 Scanner
Pictorico PGHG White Film
AZO Grade 2 & 3
ANSO 130
Michael Smith's Amidol

Any tips or suggestions before I begin would be greatly appreciated.

Also, I have heard that the Pictorico products give the best results, but they are kind of expensive. Has anyone found a cheaper film to use that gives good results?


Thanks!

Jim

I don't recommend the PGHG white film for AZO. It is about 3-4 stops slower than OHP and that, in combination with the low sensitivity of AZO, makes exposure times too long with the RH-40 type floodlight. I was able to calibrate it with a NuArc 260IK plateburner but with that unit exposures were too fast. Best bet IMO is to use the OHP.

Sandy

[donbga]

I don't recommend the PGHG white film for AZO. It is about 3-4 stops slower than OHP and that, in combination with the low sensitivity of AZO, makes exposure times too long with the RH-40 type floodlight. I was able to calibrate it with a NuArc 260IK plateburner but with that unit exposures were too fast. Best bet IMO is to use the OHP.

Sandy

Sandy and Jim,

I find Sandy's comment about an RH40 bulb being too slow quite surprising. Right now I'm calibrating AZO and the RH40 seems to be very fast. My min time exposure is 13 seconds and that is with the output of the lamp turned down by one stop from maximum! My lamp is mounted about 27 inches above my vacuum easel and I get very good even coverage.

I would think that the NuArc must be exposing in just 2 or 3 seconds or less since AZO is most sensitive to UV wavelengths (about 338 nms) if I recall correctly. This isn't a bad thing necessarily since no dodging or burning is required with digital negatives.

Jim I wouldn't bother testing grade 3, grade 2 gives a much longer scale than 3. Save the G3 for in camera negatives that need a contrast boost.

I'm developing with Ansco 130, 1:1 with glycin saving my Amidol and $$$ for in camera negs. My DMAX values are aroun 2.03 - 2.05 without toning.

One thing I wish I had is a development compensation timer. Digital negatives seem to be very sensitive to developer temp changes, a change of 1 or 2 degrees really seem to play havoc with repeatable results.

This morning I repeated testing my first adjusment curve and I'm waiting for the paper to dry. My last test saw the Tonal Palette plot drop in density due to a 2 degree cooler developer, hopefully this test will read good. I do expect to have to tweak the curve a bit to get a little better seperation in the mid tones.

This evening I've started testing VDB. The process of calibration is tedious but my first small negative printed on AZO looks very good considering that the adjustment curve still needs to be tweaked. I am still concerned about graininess and dithering patterns though.

BTW I'm using a densitometer to read my patches, I'll be interested to hear how the scanner method works.

I'm currently printing on OHP with the 1280 and 2200. I will also test the Ultrafine Clear Film which is considerably less expensive than the Pictorico materials.

Good luck,

Don

[donbga]

I don't recommend the PGHG white film for AZO. It is about 3-4 stops slower than OHP and that, in combination with the low sensitivity of AZO, makes exposure times too long with the RH-40 type floodlight. I was able to calibrate it with a NuArc 260IK plateburner but with that unit exposures were too fast. Best bet IMO is to use the OHP.

Sandy

Sandy and Jim,

Okay I just re-read Sandy's reply. Apparently he found the RH-40 bulb too slow with PGHG not OHP. My bad.

Don

[Jim Moore]

Thanks guys.

I just ordered som OHP from Calumet. Should be here Friday.

Has anyone tried the Epson brand Transparency film yet?

Jim

[Christian Olivet]

Please, once somebody nails down the negative for AZO, would you please post the print as large as you can for us to see. My prints with 8x10 in camera negatives are turning better and better, but the idea of making 13x19 enlargements is very seducing.

Thanks

[Jeremy]

I would also like to see some examples on Azo, maybe Sandy can share a couple of high quality scans (100% crops) or if Sam Wang can be persuaded to share.

Maybe someone will be nice enough to mail around a sample on Azo. I am very happy printing palladium with digital negatives, but am wary when it comes to the glossier Azo.

At $85/box just for 8x10 the price is a little bit steep for just jumping in w/o knowing what quality results I can expect. I'm very interested in Azo after Michael and Paula shared an evening showing prints this week--VERY NICE AND CHARMING COUPLE, if you have the chance to meet with them take it. Their work is top tier and they gather great pleasure in discussing their own work and the work of others.

[donbga]

I would also like to see some examples on Azo, maybe Sandy can share a couple of high quality scans (100% crops) or if Sam Wang can be persuaded to share.

Maybe someone will be nice enough to mail around a sample on Azo. I am very happy printing palladium with digital negatives, but am wary when it comes to the glossier Azo.

At $85/box just for 8x10 the price is a little bit steep for just jumping in w/o knowing what quality results I can expect. I'm very interested in Azo after Michael and Paula shared an evening showing prints this week--VERY NICE AND CHARMING COUPLE, if you have the chance to meet with them take it. Their work is top tier and they gather great pleasure in discussing their own work and the work of others.

Jeremy,

Why not try some VC silver gelatin? You can purchase a 25 sheet pack of paper for not much money. I'm not sure what you are looking to find out about in particular about AZO with digital negs.

I'm not sure Sam Wang uses AZO but his print on Ilford Warmtone paper that I saw as part of the traveling portfolio was very nice.

Don

[Jeremy]

Jeremy,

Why not try some VC silver gelatin? You can purchase a 25 sheet pack of paper for not much money. I'm not sure what you are looking to find out about in particular about AZO with digital negs.

I'm not sure Sam Wang uses AZO but his print on Ilford Warmtone paper that I saw as part of the traveling portfolio was very nice.

Don

Mostly because I want the longer tonal scale, but I might try some graded silver gelatin when I get the extra time. No point in using VC, it just adds another variable to the digital negative equation.

[donbga]

Mostly because I want the longer tonal scale, but I might try some graded silver gelatin when I get the extra time. No point in using VC, it just adds another variable to the digital negative equation.

Jeremy,

I suggested that you use VC since you can usually get it more easily than graded paper. Also you wouldn't vary the grade, just use grade 0 or 1 all the time. With my Saunders LPL enlarger with a dichro head, a 120 cc of yellow provides a very soft long scale with Agfa or Ilford MG.

Don