Quote Originally Posted by henrysamson View Post
I plan to pick a negative and make several prints (all exposed the same) and increase the KBr in the tray by 1 ml for each print and then compare them after they are toned and dried.

I've done this. I'd recommend you start with ZERO Kbr in the amidol. You'll get one of the coldest untoned prints you'll ever see. From there I added Kbr in 2ml (10% solution) increments until I got to something like 10 or 12ml/ltr of amidol. I did this with Rochester Grade 2, Canadian Grade 2 and Canadian Grade 3 Azo. I'll have to look to see if I did this with Lodima at the same time. What I experienced was a warming of tone. I want to warn you that Kbr is a restrainer and as the amount got much above 6ml/ltr the prints needed additional exposure to compensate for the added restrainer in the developer.

I have so much Azo/Lodima I've decided to put together a notebook. The notebook contains images all made from the same negative but using different emulsions of Azo/Lodimia paper in different developers. Early on I noticed how much different Azo looked when developed in Dektol, Amidol or Neutol WA. I figure some day I'll have an image that just screams for a particular tone. I expect the notebook to help me decide just what combination of paper/developer will fill that need.

I'd encourage you to complete the work with the various amount of Kbr, you'll learn a lot.

Good Luck Henry,