From: Steve Shapiro (sgshiya@redshift.com)
Date: 04/11/00-12:41:39 AM Z
----- Original Message -----
From: Richard Knoppow <dickburk@ix.netcom.com>
To: <alt-photo-process-l@skyway.usask.ca>
Sent: Monday, April 10, 2000 9:12 PM
Subject: Re: Kodak Azo Paper Question
--snipped--
> Azo is a conventional chloride paper with nothing magic about it. I have
> a number of old Kodak sample prints on Azo. It doesn't look different from
> Velox, Kodak's photofinishing paper other than having a slightly more
> neutral tone (Velox is quite blue-black).
> it suspect the differences noted by those trying Azo today have more to
> do with differences in technique than anything the paper is doing.
> Also, chloride papers like Azo don't change contrast much with
> development. They come up to full development (where the Dmax is reached)
> and further development doesn't change them much. Development is complete
> in Dektol 1:2 in just over a minute.
> ----
> Richard Knoppow
> Los Angeles,Ca.
> dickburk@ix.netcom.com
>
Azo has a far greater range within the tonal values interms of acutence,
that I noticed with Amidol prints contacted on Oriental Seagull and then on
Azo with Amidol paper developer for both papers.
BTW it was mentioned to me by an old (70+ in age) pre press printer who
remebers the original Azo Chemical Cibichrome ... "Hey, wait a minute!" I
stopped him, but he didn't know any relationship between the Kodak B&W
papers and that color paper; but something shook mymemory and I recall there
may be a French term for the reduction of chemicals without disturbing the
molicular properties of the chemistry. Is this pertenant to the finite
properties of our Kodak Azo?
Who can talk tothe Kodak tecs or call the Ciba Geiggi (spelling?) labs in
Switzerland and get us adefinitive answer. Plot curves won't show the
acutence.
Steve Shapiro
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