Digital toning - Part 3 - Kodak Azo emulation
In this next instalment of my digital print toning experimentation, I have been analysing some of the beautiful early work made by Olivia Parker in the 1970's and 1980's
Using a small number of 8"x10" contact prints I have made on Azo paper and by downloading images from the internet for analysis, I have added the colour numbers to the toning actions I have developed ...
The images made by Parker were made on a 8" x 10" camera, with the resulting negatives contact printed on Kodak AZO (a pure silver chloride) paper ... this paper was so 'slow' in its response to light that it couldn't be used as an enlargement paper and needed vast amounts of light to even make contact prints... as it was a pure silver chloride paper (compared to the bulk of chloro-bromide papers of the time), it was very responsive to toners such as selenium, producing particularly beautiful split tones with pronounced 'reds' in the shadow areas...
Here I have applied the digital colouring to some of my images as an emulation of this process...
It is worth spending some time on Olivia's site ...
Using a small number of 8"x10" contact prints I have made on Azo paper and by downloading images from the internet for analysis, I have added the colour numbers to the toning actions I have developed ...
The images made by Parker were made on a 8" x 10" camera, with the resulting negatives contact printed on Kodak AZO (a pure silver chloride) paper ... this paper was so 'slow' in its response to light that it couldn't be used as an enlargement paper and needed vast amounts of light to even make contact prints... as it was a pure silver chloride paper (compared to the bulk of chloro-bromide papers of the time), it was very responsive to toners such as selenium, producing particularly beautiful split tones with pronounced 'reds' in the shadow areas...
Here I have applied the digital colouring to some of my images as an emulation of this process...
It is worth spending some time on Olivia's site ...
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