Yes, mind-numbing at times! That's why I'm trying to save as much time as possible without affecting quality. Right now I'm using Maco developer and the only paper I get good repeatable results on is the Maco paper. Unfortunately they are only producing glossy (according to the email they sent me when I asked) and I can't stand the look of the finish. I've tried three other papers with mixed results. Sometimes I'll get an incredible lith print with those only to have the ones before and after completely unusable. I'll definately try the Nova Lith next.
Originally Posted by Bob Carnie
It's very expensive to keep trying different papers as I want to test more than just a few before I get an idea of what it will do with my current setup. It's been my experience that this lith printing endeavor is rewarding when it turns out correctly, but really depressing and frustrating the rest of the time.
A little prod there. I've not done anything in the last year
Originally Posted by Bob Carnie
with that unintended lith developer I concocted. The pleasant
browns on Arista RC and reddish blacks from Forte FB, both
graded, took me away from the more nearly neutral
black I am and was after.
I've been working with Dr. Beer's multi-contrast developer
and have found it really does work and produces blacks. So,
with that I've some whole print contrast control. I only
work with Graded papers. I've a very well lit darkroom.
I'll pull my notes and mix a batch of lith. I should have a
couple of new papers; two which will work well with my Beer's
for straight B&W and also may produce interesting lith results.
Got any suggestions?
BTW, do you or maybe Nick ever process more than one
print at a time? Dan
Originally Posted by dancqu
I've done it. Started out the day I exposed the back of the paper. By the time I figured out what I'd done it was past the ten minute mark. I exposed a second print and put it in the tray. By the time the second was done the first had started to develop. So I pulled the second and added a third print.
I always (well almost always ) use three enlargers, two for images and one for flashing. therefore I print back to back alot.
We just finished a project about two months ago where we needed to produce 1500 lith prints. Pats and I did this project together where we would expose a test and when balance was in expose prints while she processed.
When a box of paper was exposed I would take over the developer tray and she would handle the stop fix fix pre rinse.
As you can imagine we mixed up crazy amounts of developer a couple of times a day. at one point we were developing 6 prints at a time staggard to allow different emergence times to snatch the prints.This project allowed for slight variences in the print look as they were very distressed images and they were all going to differrent locations. Over 7 days Pats and I finished the job.
This is definately not our prefered lith printing method , so far we have done two projects like this and we have one more slated for the fall.
Definately wear gloves on both hands on this kind of printing session.
What about a couple of paper suggestions as per my just
What about size and quantity of prints through how many
liters of working solution prior to refill. Dan
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currently my favorite lith papers are, maco rf grade 2, oriental g 4, sterling lith, and ilford warmtone.
when doing large volumes I will mix 12-16 litres of developer , I use exhausted dev, as well I will put 5-10 sheets of exposed to white light paper in the developer to start the process.
As the printing session goes on I may top up A B . I can go through a box of 50 11x14 with this set up .
Ilford warmtone accelerates in the fix as I was trying to explain to bosiaya in a past thread. ( but it is my personal favorite)
I am not big on the peachy , obvious lith prints that you see illustrated in a lot of Mr Rudman books, I prefer Anton Corbijns style of image.