So how do I persuade the Art Institute of Chicago to have a big show of prints on Azo? Otherwise, I don't know how I'm ever going to see what the paper looks like. And I don't have any large negatives of my own to print. Is the trouble of making enlarged negatives worth it in order to use a paper like this?
I would venture to say that you have never seen Azo contact prints from Michael Smith or Paula Chamlee in person because if you did you would understand why they work exclusively with a sliver chloride contact paper and Amidol. They are visually stunning with a capital "S".
Even Adams in one of his books says that no matter the size of the negative there is a bit of visual "edge" that is sacrificed when one projection prints relative to contact printing. Basic physics where you get one thing and give up another.
After meeting Michael and Paula and seeing said prints mentioned above I have not touch my 5x7 and 10x10 Durst enlarger in a very very long time.
Just my $0.02.
When I print in Azo I never think it is that great till I mount and mate them and when up against my other prints then just have a glow.
Michael Andersen
Send a negative that prints on grade 2, as that is the only paper I will have for a while.
Yes, send prints that seem to be "normal" negatives. Or slightly denser ones. it doesn't really matter.
Someone just emailed me recommending that I charge a modest fee for my time to do this. He suggested $25. That seems very reasonable, but I will have to think about it.
If you have a Mac
I'll make this offer to Ray Rogers...: Send me a negative to print on silver chloride paper along with the best print you could make of it on enlarging paper, and I will make a print on silver chloride paper and send it back to you.
I will think it over for a couple of months and come back with any concerns I might have.
Ray
ZZZZZZZZZZZZZ :rolleyes:
A couple of MONTHS! A good friend of mine frequently states "APUGers are a bunch of folks that talk a lot, but don't actually DO anything." God, after a couple MONTHS of thinking, perhaps then we might actually make a negative...........and then develop the negative.......then make a print......then send it to Michael..... Total time could be a decade.
Come on Ray, get off your butt, look through your existing negatives, make the best contact print you are capable of, and send it and the negative to Michael. Should take no more than a few hours. Obviously, use the largest negative you have available.
What have YOU got to lose?
Ray,
What you want to pay attention to is the tonal range of Azo/Lodima. Have fun with this Ray, but don't try and over analyze it. Either you will like Lodima, or you won't...case closed.
Maybe after everyone gets their Lodima, we should have a Lodima print exchange...
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