Lodima Silver-Chloride Contact Printing Paper 4x5-inches 100 sheets
Lodima Silver-Chloride Contact Printing Paper 4x5-inches 100 sheets
Double Weight Glossy Surface
4x5-Inches
100 Sheets
This paper is similar to the old-style Kodak AZO and Agfa Convira papers that Edward Weston and other master photographers used to make some of the most beautiful prints in the early and mid 20th century.
We feel that this paper is as good as, if not superior to, the Kodak Azo paper that it has replaced. The print color of Lodima Fine Art™ is excellent; it is slightly warm. The printing speed is only slightly slower than Azo, and most important, the tonal characteristics are excellent. This is a long-scale paper with very rich blacks that have a D-Max even higher than the D-Max of Azo. On the Azo print, the D-Max of the dark part in the area above the figure is 2.08. On the Lodima Fine Art™ test print the D-Max is an astounding 2.26. The midtones of Lodima Fine Art™ have slightly greater contrast than those on Grade 2 Azo, lending a brilliance to prints made with this paper. The developing time for Lodima Fine Art™ is the same as it was for Azo—one minute in our Amidol formula. Last, the paper reacted to Rapid Selenium Toner exactly like Azo.
Lodima Fine Art paper is a success. We think the paper yields prints that are the most beautiful since those made on paper in the late 1930s and early 1940s. Some of the comments that were posted in Internet forums from those who have tried this paper include these:
“As to the print color, it's not as you say "very good"; it's perfect. Absolutely gorgeous. Whatever else you do, don't lose that color. It's just the right whisper of warmth without any lessening of the India ink blacks.”
“This paper is remarkable.”
“Judging strictly on tonight's printing experience, I'd say Lodima is exactly what we all expected from M and P -- a beautiful silver chloride paper that rivals anything else on the market today for contact printing.”
“The paper has marvelous tones...maybe the deepest blacks I have EVER seen in a silver print.”
“Just beautiful, no doubt about it, very, very long scale from black to white with everything in between. It makes me want to reprint some old stuff on it.”
“This past weekend I was finally able to get to the darkroom with the Lodima and thought I'd weigh in. I love it. Frankly, I can't imagine contact printing until the next paper arrives, there is that significant a difference.”
“The paper is stunning and certainly capable of producing tones from the deepest black to translucent high values with the minimum of manipulation.”
“Damn - really spectacular - tones like old Weston & Strand prints - really delicious!”
“The paper is very good, the tones are good, deep blacks, nice mid tones and clean whites, and long scale, for me more and less 40-50% faster than Azo, works perfectly on Amidol, also with water bath. To summarize: I think this paper is the perfect evolution of Azo, for me it's better.”
“I have used a lot of different papers of the last 40 years and find this to be one of the best I have ever used (being their first paper, I can’t figure out why a lot of these other companies can’t get it right.). It took no brains to just open the box and start printing without having to do extensive testing. Tones can’t be beat.”
“Bottom line, I would walk past ANY box of Azo and pick up this paper. If Azo hadn't gone away we wouldn't have a better alternative.”
“I guess it is time to share my experience- this stuff is GREAT!”
Though we had some success with this first run, it presented some unexpected results such as the following: