Warm Lith Prints

Hard to tell from scans, but the print you like looks similar to what I've achieved with Fomabrom 123 http://www.flickr.com/photos/nord_modular/4360222870/

Ian

Have you tried a sepia toner?
I have used it on this image http://www.flickr.com/photos/trotkiller/6606013387/
I bleach until all the soft tones disappeared, which freaked me out, but after 10 seconds in the sepia it all came back :)
A Thiourea based variable toner may give you the fine control over the image tone that you want

Try fresher developer or a paper like Emaks. It was hard for me to get a decent black with Emaks though. Maybe I didn't play with it enough, Also, a developer like Arista liquid seems to have more restrained colors.

I keep hearing good things about fomabrom but also a lot of people having a hard time with it.
I am interested in sepia toner if it gets me there. That or the MT3.
I gather the length of bleaching effects the toning. Does it literally remove the color created prior to bleaching or is it still a factor?
The reason I ask is because if that's the case, it would seem the colors a paper produces would seem less important and other paper properties could be chosen.
My real goal is to use my glass wet plates to make lith prints. I'm not having much luck right now with those so I want to get the process down with some pyro negs. I really like the warmth of my plates and want to carry that over to the print and create a nice marriage.
Here's a typical wet plate tone that I like
http://www.apug.org/gallery1/showima...imageuser=3090
Thanks for the help

Quote:

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Originally Posted by schrochem

Thanks for the comments. I would love to experiment with all sorts of papers, developers and toners if they were on my shelf. However, I really need to get in the general area for money reasons. I hate trying to use examples on the internet because the darn screens....
I was reading about moersch mt3 toner. It has variations out to dark brown. I'm wondering how that would work out. Has anyone used it? It sounds like the amount of bleaching can also give flexibility.
http://www.moersch-photochemie.de/content/galerie/mt3
#8 is pretty cool http://www.moersch-photochemie.de/content/galerie/mt3/8
Thanks

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Scott
The one thing I can say is:- Higher dilutions with longer development with Fomatone 131 will give pinker colours. Stronger and shorter give browner
Mark

Quote:

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Originally Posted by schrochem

I gather the length of bleaching effects the toning. Does it literally remove the color created prior to bleaching or is it still a factor?
The reason I ask is because if that's the case, it would seem the colors a paper produces would seem less important and other paper properties could be chosen.

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Yes and yes. The indirect/bleach then tone sepia toners generally strip the image colour during the toning step. If you used a really dilute bleach, you might not loose all of the original colours but the level of sepia toning will be much less. A direct sepia such as LegacyPro Brown Toner, MT4 or 5 would also be interesting to try, the lack of a bleach step should mean that a brown tone will be added to the underlying image colour, rather than replacing it.

I'm pulling this one out of the depths.....
Because I'm printing lith again.

I'll admit I didn't have much luck with the bleach and tone. I know it will work but I'd like to get back to a more simple approach first. I'd like to find a few papers I like and go from there.

I really like the tone I'm getting with fomabrom and a stronger 30:30:1000 ld20
I like the grittiness as well but want to find a paper that has a similar tone but smoother grain.
It seems my searches and descriptions I find keep turning up ADOX papers.
Anyone have comments on ADOX vario classic, MCC 110, or variotone warmtone?
I'll definitely try MCC because freestyle has a 5 sheet sample pack. If they all did I wouldn't be asking? ;-)


I have been dabbling with some old film negs but my main goal is printing with ambrotypes. What I've found out is the density is quite thin compared to film negatives. I'm only doing contact prints and I'm down to using a 7.5W bulb (no enlarger)to give me more time/control. I'm starting to learn more about just how far you have to go to get the blackest of blacks.
I spent an entire print session with this ambrotype learning about detail in the highlights (her face and shirt) and getting the blacks in the background. I'll be doing the same thing tonight with this plate to see what else I can learn....

Anyway, I got sidetracked there. I appreciate any comments on papers in general and also the ADOX papers.
Thanks
Scott

Here is a print on adox vario classic:

http://www.flickr.com/photos/alt-dig...57605319016659

My gallery at Flickr has a set of prints with different papers and Moersch dilutions/toners:

http://www.flickr.com/photos/alt-dig...7605319016659/

Might be worth a look.

If you want the same colors for a whole series your best bet is to bleach and tone.
Selenium first to keep your black.
Weak bleach to hit the highlights in sepia or else.
Middle tone keep the lith colors.
Then you get a tri-tone.
:-)

G.

Marianne uses foma123, I believe. It behaves very differently than 131. Guillaume's thought is also square on....personally, though I'd probably do light sepia first on 131. 131 is very responsive to toning for all kinds of different looks. There are some older papers like Kentmere Warm tone that give a similar look.