{"id":8413,"date":"2012-05-15T20:52:12","date_gmt":"2012-05-16T02:52:12","guid":{"rendered":"http:\/\/jbhphoto.com\/blog\/?p=8413"},"modified":"2023-07-16T21:10:53","modified_gmt":"2023-07-17T03:10:53","slug":"contact-printing-azo","status":"publish","type":"post","link":"https:\/\/www.jbhphoto.com\/blog\/2012\/05\/15\/contact-printing-azo\/","title":{"rendered":"CONTACT PRINTING & AZO"},"content":{"rendered":"

\"ContactI have to admit that I am a contact printer.\u00a0 Susan and I both contact print.\u00a0 There seems to be some confusion about contact printing and all I can say is, it is the easiest way you can make a print.\u00a0 Contact printing is nothing more than laying the negative directly on a sheet of printing paper, covering it with a piece of glass, and adding some light for the exposure.\u00a0 Nothing could be more simple.\u00a0 You do not need any special equipment to print on graded paper.\u00a0 A negative, some graded paper, a sheet of glass, and a lamp.<\/strong><\/h4>\n

As a side note at this point, note I use the term LAMP.\u00a0 I have been corrected for years by an old friend that worked in the lighting industry at one time.\u00a0 In the industry, there is no such thing as a Light Bulb. . . it is a LAMP.\u00a0 So when I say LAMP, you can be assured that to the laymen I am talking about a Light Bulb.\u00a0 Now back to contact printing.<\/p>\n

You can contact print on any paper, but one of the more interesting papers that is highly sought after is the old Kodak Azo. \u00a0Azo is a silver chloride printing paper that was manufactured primarily for making proofs.\u00a0 It is extremely slow and requires such a large amount of light to yield an image it is mostly used as a contact printing paper.\u00a0 There seems to be some confusion about printing on Azo, and believe me, it is not that complicated.\u00a0 You just have to use a light source that is bright enough to yield reasonable printing times.\u00a0 This is where the lamp comes in.<\/p>\n

All you need for printing on Azo is a simple, frosted lamp.\u00a0 For small negatives, 4×5 or smaller you can use a sheet of thick glass for printing.\u00a0 Larger negatives require a printing frame that holds the paper and negative under pressure.\u00a0 Edward Weston printed most of his most famous work using an 8×10 negative in a simple spring back printing frame, exposed under a lamp hanging by its cord from the ceiling.\u00a0 He adjusted the lamp intensity by changing the lamp size, or moving the lamp up and down by coiling the cord and using a clothespin.<\/p>\n

So, now we get down to designing a printing rig for Azo.\u00a0 This can be as simple or complicated as you wish.\u00a0 I am going to describe how we print Azo and other papers.\u00a0 This is the setup we use, and how it is designed.\u00a0 I will say this again, you can use this same setup for contact printing regular enlarging paper also.<\/p>\n

Let’s begin with the printing frame.\u00a0 We print large negatives, and we use a vacuum frame.\u00a0 The advantage of a vacuum frame is that you get absolute even pressure between the film and paper, no matter what the size of the film.\u00a0 We shoot 8×10, 11×14, 8×20 and 16×20 film, and have a vacuum frame large enough to accommodate the largest film.\u00a0 The vacuum frame is positioned under the drop table below the 8×10 enlarger.\u00a0 The vacuum pump is located just below the frame and includes a vacuum gauge which is handy to confirm the frame is properly closed and the vacuum is drawn down.\u00a0 By having the vacuum frame located below the enlarger we can also use the enlarger for printing on other papers, including VC papers that require control of blue and green light.\u00a0 The top of the counter is removable, as is the drop shelf which is used for enlarging.\u00a0 By removing the counter top and drop shelf, the vacuum frame is exposed and can be used for printing.<\/strong><\/h4>\n

Printing on Azo only requires a lamp placed at some distance from the film and paper.\u00a0 Different negatives require different amounts of light.\u00a0 We set the vacuum frame to lamp reflector to a fixed distance and change the lamp wattage as required.\u00a0 The higher the wattage, the brighter the lamp.\u00a0 We keep a supply of lamps, ranging from 7 \u00bd watt to 200watt depending on the amount of light required.\u00a0 For most of our negatives we use the 45watt, 65watt, and sometimes a 100watt lamp.\u00a0 I like having a reflector around the lamp to help keep the light out of my eyes while printing.\u00a0 It also focuses the light downward onto the printing frame.<\/strong><\/h4>\n

The lamp fixture is fitted with a custom machined clamping mechanism that attaches to the focusing rail of the Beseler 8×10 enlarger just below the lens, and is held in place with a thumbscrew.\u00a0 The enlarger head is raised or lowered to set the distance from the lamp reflector to the vacuum frame.\u00a0 We always adjust the lip of the reflector to vacuum glass to 30 inches.\u00a0 For our setup, this allows for even illumination of the vacuum frame and keeps the reflector between your eyes and the lamp.\u00a0 The lamp assembly is easily removed by loosening the thumb screw in case you want to change to enlarging paper and use the enlarger as a light source.\u00a0 This all sounds complicated, but in reality it is very simple.\u00a0 Refer to the photos for more detail.<\/strong><\/h4>\n

The only thing that might affect your printing repeatability would be any variation of the line voltage to the lamp, which will affect the lamp output.\u00a0 The voltage is easily stabilized using a constant voltage transformer.\u00a0 You can find constant voltage units used, take a look on eBay.\u00a0 The one we use is a 350watt unit made by Sola-HD and will easily handle our largest lamp which is 200watts.<\/strong><\/h4>\n

The constant voltage transformer is mounted in a large box that is located behind the 8×10 enlarger.\u00a0 I have also added a timer and a one second metronome, both made from an old digital alarm clock.\u00a0 Some cheap digital clocks can be modified to function as a resettable timer.\u00a0\u00a0 I was able to rig the alarm beeper so that it chirps every second.\u00a0 I like to use a metronome when contact printing, and there is also a large digital readout timer that I can use as a check, just in case I lose count.\u00a0 The printing lamp and timer are wired to a foot switch.\u00a0 When you step on the switch the lamp comes on and the timer begins to count upward.\u00a0 The metronome runs continuously and has a switch to disable it.\u00a0 My wife does not like it, she only uses the timer.\u00a0 There is also a switch on the main box that controls the vacuum pump.\u00a0 \u00a0As a safety precaution, the lamp will not activate until the vacuum pump is running.\u00a0 This way if you accidentally step on the footswitch with your box of paper open, the lamp will not light.<\/strong><\/h4>\n

Printing is extremely simple.\u00a0 Switch off the room lights, place a sheet of printing paper, sandwiched with your negative, in the center of the vacuum frame.\u00a0 Close the glass top.\u00a0 Hit the pump switch and check to see that the frame has drawn down.\u00a0 When you are ready to start, step on the footswitch.\u00a0 The printing lamp comes on and the timer starts counting.\u00a0 I always step on the switch in time with the metronome.\u00a0 Count off the desired exposure.\u00a0 When complete, release the footswitch.\u00a0 Turn off the vacuum pump.\u00a0 Remove the paper and process.<\/strong><\/h4>\n

Need to burn and dodge?\u00a0 Keep track of your exposure and use a card or cutout shape for the appropriate time.\u00a0 You can easily see the image since the paper is white and the negative is easily seen through the glass of the printing frame or vacuum frame.<\/strong><\/h4>\n

Contact printing on Azo, or any other printing paper, is extremely easy, and is not rocket science. By adding the ability to print Azo using the 8×10 enlarger, we save space, which is always a premium in the darkroom.\u00a0 You can make your printing setup as simple, or complex as you desire.\u00a0 The main thing is to make prints.\u00a0 Make lots of prints. \u00a0Those prints are what is important.\u00a0<\/strong><\/h4>\n

JB<\/strong><\/h4>\n","protected":false},"excerpt":{"rendered":"

I have to admit that I am a contact printer.\u00a0 Susan and I both contact print.\u00a0 There seems to be some confusion about contact printing and all I can say is, it is the easiest way you can make a print.\u00a0 Contact printing is nothing more than laying the negative directly on a sheet ofContinue reading →<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[5,12,9],"tags":[16,17,18,20],"class_list":["post-8413","post","type-post","status-publish","format-standard","hentry","category-darkroom","category-how-to","category-photography","tag-film-photography","tag-fine-art-photography","tag-jb-susan-harlin","tag-ulf-photography","no-thumb"],"jetpack_publicize_connections":[],"yoast_head":"\nCONTACT PRINTING AZO<\/title>\n<meta name=\"description\" content=\"This is how we contact print.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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