His original negative developing frame was actually made not for AZO, but for POP (print out paper) development. AZO was the sequella chloride paper to the POP type. I have a frame exactly like the one he had. The print exposure was generally made under the sun (you can also use UV light bulbs), and as the paper was exposed you would open one side of the back of the frame and carefully inspect the image. The frame was split, and locked the paper in place so as you opened it and inspected, you would not move the paper out of position with it's negative. When the image was modestly over-exposed you would end development by taking the frame into the darkroom, releasing the negative and then rinsing. During the rinsing process your waste water would be cloudy with excess silver--that is how silver rich the paper was. Then you would tone it (rarely in selenium, but gold chloride mixed with various PH type materials to guide the color) and then fix and archival wash. The use of a locking 1/2 frame with AZO is not at all necessary. It is much more convenient to simply place a glass plate over the AZO and negative for exposure. I see also where he was using Cesco 8x10 trays. I use the same. All made in Colombia in the 1930's. They are pig iron, with porcelain plating. The trays are great because of the metal: if your development process requires you to heat or cool the fluids in the trays, it is easily done because of the metal's conductivity. Plastic trays are harder to change and hold their temperature. Also, the bottom is not ribbed; a very big deal when using AZO paper, because it is much thinner (1/2 as thin as modern papers), and if you use AZO with a ribbed tray, your prints can easily have a permanent accordion look; the paper being molded into the shape of the ribs due to the weight of the fluids. I can see for the film his trays were brand spanking new. Unfortunately, with pyrogallic acid, amidol, and selenium (all three are referred to as staining agents--duh), the trays stain badly, and you are constantly cleaning them if you want them to stay moderately white. Really, this is extraordinary to see. Marc, I thank you greatly for this wonderful post!
@grussem
4 жыл бұрын
Cool video. I've been in that exact darkroom over in Carmel, some of the same exact items in the video are still there to this day. The Westons are a great family, all of them very talented.
@marcsilber
4 жыл бұрын
they are indeed, it's pretty timeless as you said
@grillodon
5 жыл бұрын
The title's video doesn't correspond to the video itself. There's no explanation of the process.
@marcsilber
4 жыл бұрын
added "a glimpse" it's not a tutorial
@MitchBoyer
5 жыл бұрын
This is great, thanks for sharing!
@marcsilber
5 жыл бұрын
🙏
@julianray
5 жыл бұрын
Always Mark, you bring a dose of energy and joy to my day. These news reels of Edward are an interesting glimpse into the times. Some into his mind but more into the times. Thanks for creating and sharing with us!
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