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  1. #11
    Donald Qualls's Avatar
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    Quote Originally Posted by John Bartley
    The second thing I did was change the light source. I bought an R40 85 watt flood, which is many watts less than recommded by Smith and Chamlee, but is closer to the 300 watt R40 temperature than what I was using. That pretty much solved the problem. I guess that the paper is quite blue sensitive, so using a lower temperature bulb was accentuating the lighter colours, particularly the greys and whites. Once I bumped up the temperature, the whites pretty much stayed white and the blacks got crisp.
    From my reading, AZO is a straight silver chloride emulsion, and as such is sensitive to the short end of blue and even more so to UV, but almost completely insensitive at the longer end of blue and into green. You might find a BL B fluorescent light source to be an improvement even over the higher temperature tungsten light you're now using, with an increase in speed as well as a further improvement in the quality of the image.

    The good news is, you can use quite a bright yellow safelight, and have a very easy darkroom to work in...
    Photography has always fascinated me -- as a child, simply for the magic of capturing an image onto glossy paper with a little box, but as an adult because of the unique juxtaposition of science and art -- the physics of optics, the mechanics of the camera, the chemistry of film and developer, alongside the art in seeing, composing, exposing, processing and printing.

  2. #12
    noseoil's Avatar
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    The Kodak brochure in my azo box recommends Dektol 1:2 at 1 minute. There is a bit of a cold tone with dektol, but it works very well. Any developer will work, but some are better than others. For experimenting with azo, use what you have. If you decide you like it, get some amidol to really see its full potential.

    As to light, I've used anything from a 25 watt bulb for very thin negatives on up. It's necessary to have an even light source, so make sure you have enough light to work at a distance which gives even illumination from the center to the corners. One thing which may prove useful, make sure you have a good, thick, beefy negative with azo. This seems to give better results than a thin one. Give plenty of exposure.

  3. #13
    c6h6o3's Avatar
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    Get a 300 Watt R40 photo flood. It makes a lot of difference and will yield superior prints on Azo even from very thin negatives. I have one picture in my body of work which I expose for 3 clicks of the metronome on Grade 3 Azo (and I use a cadence of 80 bpm). This sucker is thin. The print glows like the Northern Lights.

  4. #14
    John Bartley's Avatar
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    I shall forge ahead....

    ...because after looking at these turdibly poor AZO prints, I did the same negative on RC perle and it's just not........gonna do anymore. Even the poor AZO's outshine the RC's by a long shot.

    Donald, Tim and ???, thank you all for the good advice. I am going to persue a higher temperature light source (inexpensively of course, being a cheapskate), and learn some more. Once I'm happier with this, I'll mix some Amidol and see how badly hooked I get

    Oh yeah - R40-300watt - I don;t have enough height over my printer frame to use this many lumens, so I'll examine teperature (frequency) first.

    cheers

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