Warm Lith Prints

[Stan160]

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

[trotkiller]

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

[Mark Fisher]

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.

[schrochem]

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

[Mark Layne]

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

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

[trotkiller]

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.

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.