A replacement for Kodak Azo

We are the only suppliers of a true silver-chloride contact printing paper that we had specifically manufactured to our requirements. 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.

You are welcome to read more about printing on this paper here.

The Azo Forum is full of helpful answers and technical information posted by other users.

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Price List and Links to Product Pages

SizePriceGrade 2Grade 3Grade 4
4x5-100$59.95Out of StockOut of StockOut of Stock
5x7-100$99.95Out of StockOut of StockOut of Stock
8x10-25$67.95Order OnlinePre-OrderPre-Order
8x10-100$199.95Order OnlinePre-OrderPre-Order
8x10-250$474.75Order OnlinePre-OrderPre-Order
9x11-100$259.95Out of StockPre-OrderPre-Order
10x12-100$299.95Out of StockOut of StockOut of Stock
11x14-100$389.95Out of StockPre-OrderPre-Order
8x20-100$404.95Order OnlinePre-OrderPre-Order
16x20-50$404.95Order OnlinePre-OrderPre-Order
20x24-50$599.95Order OnlinePre-OrderPre-Order

Comments By Lodima Users

Just a short note to tell you how beautiful your new paper is and I hope to write it up for your azo forum soon. Easily the best BW prints i’ve ever made. One image shot on Bergger film has astounding range and they all have super blacks. What a time saver to have one paper/developer for all my BW contact printing instead of the usual endless struggling.


Just a word of thanks for all the time and effort it has taken you over the past few years to bring Lodima paper to market. Well worth the wait.  Is the paper Azo? No, I think it is much nicer. It has a lovely scale, tone and paper surface which I find much more appealing. As someone else has mentioned the weight is between the card stock of double weight and the single weight of the old Azo which at first frightened me but I found fine to work with. I also found that the paper is very close to being speed matched between the grades.


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!”


Vision and Technique Workshop

Intensive 3-day Workshop: Our aim is to make it so complete that it will be the last workshop of its type that you will ever need.

Although we work with view cameras and demonstrate with them, the workshop is not format specific.

The purpose of this workshop is to help you make better photographs, and through doing that, to experience personal growth. And if you already make beautiful photographs, but find that you don’t do so consistently, then this workshop is for you.

We intend this to be the definitive workshop for black and white photography. Even though this is only a weekend workshop, everything will be covered including developing film by inspection, printing, and proper use of the camera in a way that encourages creative vision. All technical matters will be discussed as a function of vision.

If you notify us beforehand of specific things you would like to learn, we will incorporate them into the workshop. Of course, we will expect you to ask plenty of questions as various topics arise during the weekend. There are no limits and we hope to meet your needs as fully as possible. Although the principles covered are applicable to all formats, the use of view cameras will be emphasized.