I finally got the time to go test some of this paper. Here are the results so far.
Iíve only wrote about 3 of the 4 papers. The Opal did not respond to the anti-fog solution.
All the paper were extremely fogged as seen in the attachments. I took a piece of the paper out of the wrapper and put it directly into the developer. I then add 50ml, at a time, of a 1% Benzotriazole solution until the fog was reduced to a acceptable level.
All paper came down to a level simulating flashing the paper. The following is what was used in this process.
D2 enlarger with a Arista cold light.
Enlarging Lens: Rodenstock Rodagon 80mm lens
Camera: 645 Mamiya 80mm lens
Bergger 120 film developed in Gordon Hutchings Pyro negative had normal contrast.
For all papers
Developer: LPD 1:3 for 2 minutes
1gallon with 500ml of 1% Benzotriazole solution
Stop Bath: Kodak Indicator Stop Bath 30 sec.
Fixer 1: Sprint Rapid Fix 1:9 ~90 sec.
Fixer 2: Sprint Rapid Fix 1:9 ~3 min. 30 sec.
Hypo clear; 5 mins.
Unfortunately I was out of Selenium toner. (to my surprise I must say)
The rest is paper specific.
Exposure: F4 for 18 sec. The attachment below is a scan of this paper. It seems to have lost some contrast. I will try with a more active developer next time. To my surprise this is a beautiful paper. I think with toning it might have the same look as the palladium paper that the Palladium Co. made.
I did not fin a good exposure time with this paper. F4 with a Cachet #4 Filter for 6mins gave me a print that was probably 2 stops to light. I will have to try contact printing on this paper. This was a surprise considering that it is a VC paper. I used the number 4 because I could see it was very flat when printed without one. I will try contact printing next. 8x10 is well within the edge fog that still remains.
Any help on this would be appreciated. Maybe the anti-fog solution is to strong for this paper, if so what other anti-fog solutions are there?
I ran out of time so I didnít get to play with this one at all. I did a couple of sheets at 1 min. Still a little light but I will be able to get a good print eventually. The anti-fog worked best on this one, almost no visible depreciation. Even when it was the worse when I put it straight into the soup.
Well thatís what I got for now. Any ideas or comments will be appreciated.
Haloid Paper: Developed in Amidol with some Pottasium Bromide The rest was sent to Michael Smith and Sandy King for testing
Peter did you contact print this picture?
Haloid is a CONTACT PAPER. So yes; I did contact print this. Same photo as I put up in the critique gallery but that one was a Platinum print. Sorry I really did not do much notation as the paper was intended for Michael Smith and Paula Chamlee in the hope that it would foward the research into a new AZO. My small contribution.....
Best, Peter Schrager
Thanks, that explains the my times. I will contact print some this weekend.
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Don't use any antifoggant-it doesn't need it. For Haloid)
Best, Peter Oh yes-have fun with those other papers!!!
After printing some of the Illustrator, I found it to be quite beautiful. Almost with a platinum look after selenium toning. I put the paper into the toner diluted 1:20 for archival toning. Within a minute, seriously I was caught off guard on how fast this print changed color, it changed to a nice brown.
I have a couple of questions is will I still get archival properties if I dilute the toner say 1:50 or 1:75? Is one minute long enough to do the job?
Also when processing this print I get a odor I've never gotten with other paper, could this be the cadium in the paper?
I like this paper alot, I'm already visualizing some shots for it. Most people have ask where I got the antique print from. They hardly believe me when I tell them only the paper is old.
Okay, I finally got around to testing the Haloid Industro today, and I think it is from the same batch as the Haloid that Peter had, and mine was pretty foggy. I processed it in Michael Smith's amidol formula for Azo, and to get the fog down to a reasonable level, I had to add 75 ml/l benzotriazole 1% and develop for no more than 30 sec. Contrast was about a grade less than current Azo grade 2.
Peter, what were you developing it in that you didn't need any antifoggant, or is yours not from John Stafford's cache?
David-I'm pretty darn sure it was M. Smith's amidol formula with perhaps a bit extra Pott. Bromide. The paper was from the same source. Personnally I wasn't overwhelmed by the Haloid but I just played real fast with it then sent it out.
I wish someone made stuff like Illustrator. I believe Paul Strand printed on it.
Damn-Fred Picker would know that answer. It's just a pity how Kodak choses to dig their head in the sand. I wish we the formulas for these older papers. I'd go have them made in the far middle east where there is no regulation and put the cadmium back in!
Hope that helped David!
Best, Peter Schrager
Thanks Peter. I've seen some of similar vintage that had a good deal more contrast than the stuff I have, but if I can get it to print cleanly, I wouldn't mind having a paper that looks like a grade 1 version of Azo.