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  1. #21

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    One other thing. Drydown. I use a drydown compensating timer on the enlarger, so I have gotten pretty good at not having to dry a print first. Only very rarely am I surprised. With the contact printing and Azo, if I leave some highlight just the wrong side of blown out, it all seems to pop into the right tones after the paper is dry.

    dgh
    David G Hall

  2. #22

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    David,

    Since you use a drydown timer, what percentage drydown do you factor in for Azo? I have not encountered anyone who has used this type timer with Azo before and your experience is new and helpful to me. Thanks for your reply.
    Art is a step from what is obvious and well-known toward what is arcane and concealed.

    Visit my website at http://www.donaldmillerphotography.com

  3. #23

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    Donald,

    I don't. I use it on the enlarger, and of course I cannot use Azo with the enlarger. For Azo I keep some highlight just on the wrong side of blown out, and somehow everything works when the paper dries.

    Sorry for the confusion.

    dgh

    David G Hall

  4. #24

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    Donald,

    Do you use Azo? What's your workflow?

    dgh

    David G Hall

  5. #25

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    David,
    I understand now. Thank you for alleviating my confusion.

    I think that it would be a wonderful thing to have, though. You raised an interesting idea for me. I do have one of the Zone VI compensating timers that I had purchased for a cold light application, but I never used it. I wonder if a person could obtain the photocell from Calumet (I understand that they are still available). and fashion a retainer in the light path of the light source for contact printing?

    What is your reaction to that idea? Would it work? Please give me your thoughts on the matter. Thanks.
    Art is a step from what is obvious and well-known toward what is arcane and concealed.

    Visit my website at http://www.donaldmillerphotography.com

  6. #26

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    David,
    I do use Azo. My work flow is quite similar to yours. But thus far my experience with the material has been much more limited then my experience in enlarging. I love the paper, especially in conjunction with Amidol. In my opinion, nothing comes close to an Azo print in terms of tonality and depth.

    The consideration that enters for me is that I shot 4X5 for so long that most of my negatives are in that format. While a 4X5 contact can be intimate, it is also sometimes limiting. That is why I have been exploring the option of a light source that will allow enlarging. The other option is to make enlarged negatives and my experience has been limited in that regard.

    I just bought a 12X20 camera last week, so everything has changed again. Azo will definitely be the paper that I will use with those negatives.

    One more thing. When you think about the weather where you live today, just wanted to inform you that we were at 4 degrees F this morning with about 6 inches of the white stuff on the ground. Good luck and have a wonderful day.

    Regards,

    Donald Miller
    Art is a step from what is obvious and well-known toward what is arcane and concealed.

    Visit my website at http://www.donaldmillerphotography.com

  7. #27

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    Donald,

    4 degrees??? I live in Southern California, where people are depressed because it *might* rain. It's probably 65 right now. WHere are you?

    I saw earlier that you got the 12x20. Congratulations! I am envious, and constantly fantasizing about getting either a bigger camera or an 8x20 back from the Wisner.

    Also, like you, I have years and years of work on 4x5 or smaller. And I wonder if you have had the same experience...now that I am using Azo and contacting, I am looking at 4x5 differently. Now there's 4x5 specifically for enlarging, usually more intricate scenes, and 4x5 for contacting, which are very simple scenes, form more than anything else. Or a face. And, like you, I still use the enlarger for all those older negatives.

    As for the Zone VI comp timer with the Azo...that IS a great idea. I would not know how to make it work. I will try to figure it out tonight when I get home.

    dgh

    David G Hall

  8. #28
    lee
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    Donald,
    I have a Metrolux II that has a probe much like the zone 6. If I could find the instructions I would copy them and email them to you. Essentially it is lay the probe near the work to be exposed and turn on the timer. I wish I could be more specific but that is all that I remember. Hell, try it and see what happens that way. I would set it up and then make a test strip noting where the timer is at each strip and then set the timer for the strip I liked and see what happens. If that works to your satisfaction then to figure the dry down I would make a strip at 5% less 7% less and 10% less and see which one looks the best. That will be the dry down time used only for the final prints. My problem is remembering to turn on that feature.

    lee\c

  9. #29

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    David,

    We haven't seen 65 since last July 4th...LOL....Seriously our high temp for the day is going to be in the 15 degree range and I live in the SE part of Kansas. We have two seasons here "Cold as a hell and Hot as hell"

    Whatever you come up with in your considerations about the drydown feature would be appreciated. Thanks.

    Lee,
    It would be great if you can come up with the instructions on the Metrolux unit. There is no need for me to "reinvent the wheel" if the method that Metrolux recommends for contact printing works. Thanks for any help on this.
    Art is a step from what is obvious and well-known toward what is arcane and concealed.

    Visit my website at http://www.donaldmillerphotography.com

  10. #30
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    </span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (SteveGangi @ Feb 23 2003, 01:47 PM)</td></tr><tr><td id='QUOTE'> Off the top of my pointy head, the risk in a thin (underexposed or underdeveloped) negative would be the loss of details in the shadows. I think most people here prefer a &quot;fat&quot; or dense negative for that reason. </td></tr></table><span class='postcolor'>
    Maybe you are used to your thin negs being the result of underexposure. For the most part the shadow detail develops in fairly quickly and the highlight density comes up with the extra developing time. Therefore with a properly exposed neg given an n-1 developing time the shadows pretty much stay the same while the highlight density is reduced by a certain amount. (think Zone System here)
    Remember the old adage expose for the shadows, develop for the highlights? Thats what this is all about.
    A couple ofpitfalls to using higher contrast paper...
    -your enlarger needs to have really even illumination, the higher the contrast the more any unevenness shows.
    - cleanliness is even more important, a speck at lower contrast may not be as noticeable as it is at higher contrast.
    Gary Beasley

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