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  1. #21
    rst
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    Here is a link to an Ilford page: Lith Printing So according to Ilford MG Warmtone FB is the Ilford paper which is best suited for Lith printing. And I like the results you can get with it. As Bob said, for the snatch point you have to keep in mind, that it kind of explodes in the fixing bath. I have never seen this with other papers.

    Cheers
    Ruediger
    Do or do not. There's no try. (Yoda)

  2. #22
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    So when do you snatch it? Any special fix better here?

    Quote Originally Posted by Bob Carnie View Post
    ... It has a completely different snatch point than any other paper, and the lith effect explodes
    in the fix, therefore making you to pull the print when it looks like crap, but it really is a beautiful paper for lith.

    I am talking about Ilford Warmtone fibre paper .

  3. #23
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    Quote Originally Posted by Bob Carnie
    I am pretty sure it hasn't that warning as it is a go to paper for a few of us here. It has a completely different snatch point than any other paper, and the lith effect explodes
    in the fix, therefore making you to pull the print when it looks like crap, but it really is a beautiful paper for lith.
    I was doing a print on Ilford Warmtone the other day and forgot how the blacks just seem to appear in the fixer, as if out of nowhere. It took me a few attempts to get back into it, but I really love this paper for lith printing and if selenium toned afterward it gets an exceptionally beautiful color for portraits and skin tones.
    Fun paper to lith with, for sure. I have quite a lot of Kodak Ektalure and Medalist that I use for lith printing, but have come to almost detest that pinkish salmon color they produce (for my own work), and they are way too smooth, dammit!
    What else is nice about the Ilford paper is that it yields a very nice grain. Don't you think? Great texture, and works wonderfully in 16x20 size.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  4. #24
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    Quote Originally Posted by matti View Post
    So when do you snatch it? Any special fix better here?
    Snatch it before the blacks look finished. Actually, way before. Without practice it's really tough to judge it.
    "Often moments come looking for us". - Robert Frank

    "Make good art!" - Neil Gaiman

    "...the heart and mind are the true lens of the camera". - Yousuf Karsh

  5. #25
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    Takes a little practice but here goes.

    I want the image to look very flat but open, if that makes sense, what will normally happen if you do not snatch the print, the image will just go dark and muddy and be of no value to keep.

    What I look for is the solid black areas of the image to start showing themselves against the muddy midtones, this is when I pull the print.
    I use hypam or rapid fix with no hardner, the explosion of contrast is quite extensive so finding the snatch point is practice.
    If you pull it too soon the image will be too light and very flat, and if you wait too long to snatch the print will be too dark and contrasty.
    Once you have made a couple of good ones its a easy to gage the proper time.

    These prints do have a very distintive .... aged look to them and I have not found a subject matter that does not work well.
    I find I do not have to flash to control contrast as I would with other papers.



    Quote Originally Posted by matti View Post
    So when do you snatch it? Any special fix better here?

  6. #26
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    I've been away from APUG a few days preparing for the new semester and my classes that began yesterday. I missed the "rude" stuff. All in all I love the passion and the quantity of responses posts like this get on APUG. Plenty here to research. Turns out my French Student, Francois, is familiar with Anton Corjbin. Francois now tells me he doesn't have darkroom access and wants to get the in the film. Oh well. Very informative responses.

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