Hi Miha - I haven't tried the Adox emulsion yet, but I do feel very qualified to give advice on liquid emulsions. I have been working with liquid emulsion for 15 years or more and have tried Liquid Light, Rollei, FOMA, and also tried making my own. For me, making my own was a little to "fussy" of a process in trying to maintain a constant heated temperature while also stirring it. I didn't have as good results with Liquid Light. Rollei and FOMA both performed the same and I get excellent results from both. I'm assuming that the Adox emulsion will be about the same as Rollei and FOMA. Given the choice between Rollei and FOMA - I use FOMA exclusively now because it is less expensive here in the U.S. Regarding paper - I used Arches Platine for many many years but recently have experienced big problems with a large roll with blotchy white spots appearing in the paper that do affect the final print. I will not use Arches any more and my paper of choice is Hahnamuele Platinum Rag. Bergger Cot 320 works as well. I have heard people using papers like Fabriano Artistico and Bockingford but I have never tried them. In any case, smoother surface paper works best. Neither Hannamuele nor Bergger need any pre-treatment.
Coating the paper - this is the big issue you will have to deal with. Brush coating is the easiest way and the best way when you are starting out. But, there is a long learning curve to eliminate brush strokes and it gets very frustrating. With brush coating, you normally need to coat twice or you may not be able to get your shadows dark enough. If there is a way to keep the paper warm while you are coating will help. You heat the emulsion up to coat with it, but if the temperature in your darkroom is cold when coating, the emulsion will start to set up very quickly and you will have real problems. Coating with a glass rod will give you the best professional looking smooth coating. This is not using a "puddle pusher" like you would with other alternative processes. You need to wrap the ends of your glass rod with mylar tape to build up the surface of the glass rod above the paper and establish the thickness of emulsion when you coat the paper. This sounds confusing and it is more involved than brush coating, but is gives pretty much perfect coatings everytime. You can read more about glass rod coating with liquid emulsion in either Denise Ross's book or (a little self promoting here) my little book on Bromoil called "The New Bromoil Process" that you can get on the internet.
For processing your prints - any normal paper developer works fine and you process it just like normal silver paper.
Hope this helps and feel free to DM me with questions.
Dan Dozer
