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  1. #1

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    Current lith papers

    I just bought a copy of Tim Rudman's first book on lith printing, but the materials sections is obviously out of date. His list on unblinking eye also appears to be a little dated. So, I'll ask here. What paper is curently available in the US that produces more of a "putty", peach, or brown color? I guess what I do not want is the overly pink tones. A hint of pink or salmon is fine, but the Kentmere examples in the book are over the top for me, for example. It seems that all the samples I see on this site are on papers that are not available. Any sample images would be appreciated, too. Thanks.

    Jmal

  2. #2
    Jersey Vic's Avatar
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    I and many others like the Fotokemika Varycon and Emaks papers available from Freestyle. Pretty subdued compared to some of the more colorful ones which also can be toned down a notch as development continues and contrast increases. I'm thinking of some prints I recently made on Forte Polywarmtone and the results were markedly different depending on exposure and development time. I've a bunch of examples of these in my galleries. Feel free to PM me with any questions.
    Have fun and enjoy living in the question
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    Holga: if it was any more analog, you'd need a chisel.

  3. #3
    matti's Avatar
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    If you have a paper that is too pink or yellow, try to selenum tone it. At least with Forte papers, I find that it works well to take away those colors..
    /matti

  4. #4
    mikeg's Avatar
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    I believe the pink tones seen in Kentmere Kentona in Tim's older book were largely due to the cadmium in the emulsion. That has been removed and the newer cadmium free version of Kentona often produces an olive green/putty colour for me.

    Mike

  5. #5
    Dan Henderson's Avatar
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    you may want to try a stronger dilution of lith developer which, I believe, may reduce the intensity of colors. Also, Tim's new book, "The World of Lith Printing" is meant to be an update to his earlier book that reflects the current (at the time of printing) materials available.


    web site: Dan Henderson, Photographer.com

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    I am not anti-digital. I am pro-film.

  6. #6

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    Dr. Rudman has paper and developer updates in The World of Lith Printing News Archives.

    I was experimenting last night with Fomatone MG 532 using Ryuji Suzuki’s burning lith developer formula. I mixed this with sodium hydroxide in lieu of trisodium phosphate to get the pH to around 11. This combination gave me a nice tan tone with a hint of peach color.

  7. #7
    Thomas Bertilsson's Avatar
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    Off the top of my head:
    - Fotokemika Varycon - green/brown
    - Fotokemika Emaks - green/brown
    - Foma Fomatone warmtone - salmon in highs / green in shadows
    - Ilford MGIV Warmtone - Very slow, olive green
    - Fotospeed lith paper - dedicated lith paper. Neutral tone
    - Some of the slavich papers are said to lith well
    - Kentmere Kentona - warm green tone with current version

    Those are the ones I can think of. The Fomatone does not tone well in selenium. It seems the whole image turns a brown/caramel color if I do. I don't know about the others, but I'm hoping that Varycon will selenium tone well. You could experiment with gold toners to get nice shadows and possibly a reduction of pink/salmon in the mid tones. I don't know exactly how that's going to work either. If I had more time and money I would know...

    Good luck, have fun. It's good advice to look at Tim Rudman's web site for an update on papers that work.

    - Thomas
    "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

  8. #8
    Mark Fisher's Avatar
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    Kentmere VC Warm semi-matt is a brown with a hint of pink. It can be pulled toward neutral with selenium. I have a couple of examples of Forte Polywarmtone and the Kentmere in my gallery. I believe Thomas has a number of examples in his gallery also.

  9. #9
    Travis Nunn's Avatar
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    I think that because the results can vary so much from person to person with lith printing, you really should buy a bunch of different papers and experiment and see what you get. There's another thread going on right now about Slavich papers and lith and just by reading it you can see that different people get different results.

    I tried the Slavich paper because it had been announced that Forte was ceasing production of papers and so I bought 6 different papers to try (in packs of 10 and 25). What I got was 1 paper that I really liked, 3 papers that I could possibly see me using for certain negatives and 2 papers that I really don't like, one of them being Fotokemika Varycon. If you look in this thread alone you will see that there are some big fans of Varycon in lith, I'm just not one of them. That's why I say you have to do some printing to find out what works best for you.

    my 2¢
    Last edited by Travis Nunn; 01-04-2008 at 09:18 AM. Click to view previous post history. Reason: my grammar sucks
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  10. #10
    Thomas Bertilsson's Avatar
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    It is indeed true that the Kentmere warmtone liths well. When I used it it was great for infrared shots with lots of intricate detail because it was very gritty. On larger paper, like 11x14, that became an advantage. It was rather slow, but it looked very nice for some subject matter.

    I second Travis comment on it being a thing of taste what works and not. I have seen prints on Forte Polywarmtone that are deep deep burgundy and fine grained. I have also seen them very gritty, pepper foggy, with a green and almost purple mix of tones. The results vary a lot depending on how you process the paper.

    - Thomas

    Quote Originally Posted by Mark Fisher View Post
    Kentmere VC Warm semi-matt is a brown with a hint of pink. It can be pulled toward neutral with selenium. I have a couple of examples of Forte Polywarmtone and the Kentmere in my gallery. I believe Thomas has a number of examples in his gallery also.
    "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

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