Contact Printing: Contrast Control - A Compendium

[Pawlowski6132]

Being somewhere between a beginner and an amateur, I wonder if anyone can point me in the direction of a comprehensive source of information that can, in details, describe how to control contrast in contact prints. I've read and serached forums on the internet andbought and read as many books I can get my hands on but, I often can't remember when and where I read something when I want to re-reference it (Uggh. Seems like yesterday I was just in college. This year I found out I have high cholesterol and need bi-focals. Good grief.) Anywho...

Looking for writings on waterbaths, print developer dilution schemes, bleaching, advanced dodging and burning techniques, etc.

Thanx much in advance,

Joe

FWIW, I shoot 8x10 Plus-X and TXP processed in ABC Pyro and print on Silver Chloride paper in Amidol.

[Daniel Stone]

google "azo forum"

theres lots of info on it there

-Dan

[Doug Howk]

There is unfortunately no comprehensive work specifically on contact printing, at least that I'm aware of. As a long-time practitioner of contact printing, Michael Smith's writings on AZO would be a good source. A workshop with him would be of benefit. Also other contact printers past & present, including alt-process printers, do have some info on their techniques that would be of benefit to you. Masking, flashing, water bath possibly combined with local development are a few of contrast control techniques available I've learned from these printers.

[John Bowen]

Joe,

I've been using Azo almost exclusively for the past 5+ years. The waterbath technique is really quite easy. The "Trick" is a good (ie Thomas) safelight. You need to be able to SEE what's going on in the developer. If you are using the Chinese Amidol, get some English Amidol from Artcraft.

So for a print that needs to have lower contrast, you might start by splitting the development time in 1/2. That is, 1/2 the time in the Amidol, and 1/2 the time in the waterbath. You MUST pull the print promptly and submerge it in the water in a rather seamless motion. DON'T agitate the print in the water, just let it sit there under the water. Now compare it to the original "fully developed" print to determine if you need more or less time in the Amidol. With experience you will learn when to "pull" the print from the amidol and become more proficient with the waterbath technique.

I've also used flashing to control contrast with Amidol. For bleaching and other techniques I would recommend three books

Way Beyond Monochrome by Ralph Lambert (new edition published in 2010)
The Art of Photography by Bruce Barnbaum (new edition publlished Nov. 2010)
Creative Black and White Photography by Les McLean

All three are worth a read.

My primary source of info is the Azo Forum. And I too, would recommend a workshop with Michael Smith.

[JamesFromSydney]

I've been using Azo almost exclusively for the past 5+ years. .

Any tips on buying Azo online? I sometimes see it pop up on ebay, but never quite know what to make of expiry dates going back decades.

[John Bowen]

Any tips on buying Azo online? I sometimes see it pop up on ebay, but never quite know what to make of expiry dates going back decades.

Azo has fantastic keeping properties. Folks have mentioned using stuff stored in a hot attic for 20+ years and it was just fine.

My personal experience is that I have yet to see a Grade 2 of Azo (and some of these have expiration dates in the 60's) that exhibited any fog. My test is to tear a sheet in 1/2, develop 1/2 in MAS amidol and the other half goes straight to the fix. Once the developed half has been fixed, I mix them up and try to determine which sheet is which. I have access to a densitometer and can measure the fog should any appear.

I have some Grade 4 Azo from the 60's that exhibits some slight fog with Michael Smith's Amidol and has lost enough contrast to be the equivalent of a Grade 3.

Should I come across any fogged Azo; I plan to follow the lead of Randy Libersky as outlined in the following APUG threads:

http://www.apug.org/forums/forum37/18844-old-paper.html
http://www.apug.org/forums/forum37/4...per-again.html

There is a reason why this stuff still sells for more than it did when it was available at every Kodak dealer. I expect my stash of Azo to outlive me and I'm in my early 50's!

[Vlad Soare]

http://www.davidkachel.com/history.html

See the article about the primacy of local contrast, and the one about getting variable contrast from graded papers. Then read the other ones, too, as they are all great.
It doesn't matter whether you make contact prints or enlargements. Contrast control methods are the same.

[Jim Noel]

Being somewhere between a beginner and an amateur, I wonder if anyone can point me in the direction of a comprehensive source of information that can, in details, describe how to control contrast in contact prints. I've read and serached forums on the internet andbought and read as many books I can get my hands on but, I often can't remember when and where I read something when I want to re-reference it (Uggh. Seems like yesterday I was just in college. This year I found out I have high cholesterol and need bi-focals. Good grief.) Anywho...

Looking for writings on waterbaths, print developer dilution schemes, bleaching, advanced dodging and burning techniques, etc.

Thanx much in advance,

Joe

FWIW, I shoot 8x10 Plus-X and TXP processed in ABC Pyro and print on Silver Chloride paper in Amidol.

You need to control the contrast in the negative first. Develop it in a developer and for a time which provides the appropriate contrast for the paper or process you are using, and your problems are solved.
Read Ansel's "The Negative".

Jim

[John Bowen]

Or you could just use Dektol and Selectol Soft, kind of like Ansel did, to control your contrast.....

[pergorm]

Hello!!

Try this:

Great book on the subject of contrast control in the darkroom:

http://www.amazon.com/Variable-Contr...1842871&sr=8-1

Great book on the subject of development, fixing, toning and more

http://www.amazon.com/Darkroom-Cookb...0&sr=1-1-spell

Best regards
Per Jorgensen