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  1. #21

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    Quote Originally Posted by holmburgers View Post
    That's exactly the story I remember from the post.

    Now, w/o fear of straying from the original topic, I'm curious about Azo paper. What can you tell me about it? Is this the fabled "contact" paper? That's what I'm gathering from "azo paper"->Google->MichaelandPaula.com. Or, perhaps I'm thinking about silver-chloride paper, which it appears they also have.
    part of the great thing about azo paper is that with a nice "azo negative"
    and a flood light you can get really nice prints without burning and dodging.

  2. #22
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    John;

    I have nothing specific, sorry. I would start with very dilute TF-4 though to see if it preserved the image. Then, I would move on from there. I have some stabilzers in mind that might render the Silver Halide inactive and therefore might preserve the image.

    PE

  3. #23

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    Quote Originally Posted by Photo Engineer View Post
    John;

    I have nothing specific, sorry. I would start with very dilute TF-4 though to see if it preserved the image. Then, I would move on from there. I have some stabilzers in mind that might render the Silver Halide inactive and therefore might preserve the image.

    PE
    TF4 .. sorry for my ignorance ..
    is that based on amonium thiosulphate ?
    is so ... i already used that with my first attempt ..

    - john

  4. #24
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    Ok then, use a Sodium Thiosulfate solution at pH 9.0. Very dilute!!!

    I have some other things to try. You may add some Benzotriazole or Phenyl Mercapto Tetrazole. They are both passivators for metals as well as antifoggants. It might work.

    PE

  5. #25
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    John, what about treating them as I do albumen - wash the print until the water runs clear, then tone in gold or selenium, then fix in a weak alkaline fixer?
    juan

  6. #26
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    Wow, some good info since I last logged in.

    Ok, so Azo paper is just a silver-chloride paper, and has nothing to do with azo dyes like cibachrome? Any insight on its availability would be welcome, and I'll look into it myself in the meantime.

    And PE, thanks for the process tips. I'll try that along side some reversal processing someday; since I'll have both Dektol & a bleach going at the same time, it'll be a good use for the spent chems!
    If you are the big tree, we are the small axe

  7. #27
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    Lodima paper is the closest analog to Kodak Azo paper. They are both similar to Agfa Lupex paper which has not been made for over 50 years, maybe longer.

    PE

  8. #28

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    Quote Originally Posted by juan View Post
    John, what about treating them as I do albumen - wash the print until the water runs clear, then tone in gold or selenium, then fix in a weak alkaline fixer?
    juan
    thanks for the suggestions juan !

    i don't have any gold toner, and i keep the selenium out of the house
    ( it scares me ! )
    i might dilute my 8% hypo even more .. to 4% and see what happens ...
    i think the problem is that the image isn't IN the emulsion, just ontop of it ..

    i have a 10% solution of potassium nitrate mixed up and will
    soak some paper in it maybe THAT will help ..
    if it truly converts the paper to a POP paper i think my problems may be solved ..
    im empty, good luck

  9. #29
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    John,

    You really should try a gold toner on the unfixed image, just as you would traditional POP. There is probably a reason why POP instructions are to tone before fixing, and loss of image density is probably it. Normal developers reduce an entire grain if it has had enough exposure; the light alone isn't producing all that much metallic silver, so you are fixing away what amounts to a discolored silver halide.

    The experiment that I mentioned was with a sheet of film, using a negative processed for POP (doubled exposure, 150% developing time) and the (stable) image has a charming, ghostly look when viewed against a black background (sort of like a negative daguerrotype). At this density, scattering makes for a more visible image than absorption does.

    It seems that simply reversal processing a paper sun print would give you a nice, black sheet of paper. Virtually all of the silver halide originally in the paper will still be there to be reduced in the redevelopment step, and the small amount removed by the bleach/sulfite treatment would not make a visible difference.

  10. #30

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    if i tone it and then fix it in a dilute fixer .. will i be able to wax the negative and make
    a print from it, or just print through it or will the toned image do something
    weird to the receiver paper being contact printed on ? i don't really like doing the hybrid thing with this paper negative,
    it darkens the image as you might guess, as the beam goes across ...
    im empty, good luck

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