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  1. #1

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    Lith printing - Controlling image tones

    I have been experimenting with lith printing, and need to replenish my supplies. I've gotten Dr. Rudman's golden rules - expose for the highlights, develop for the shadows - but can use some help with currently available materials that will work to give me the image tones I seek.

    Presently, I am printing on Kentona, Bergger Variable CM, or Forte Polywarmtone developed in Maco Superlith 1+1+24. I much prefer the cooler image tones of the Ketona versus the flamboyant orange I'm getting on the Bergger and Forte.

    What paper should I be looking at to replace the Ketona, which I understand to be out (or on the way out) of production? Will the type and dilution of developer make a drastic difference? Any other suggestions?

    Thanks so much.
    Henry

  2. #2

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    I've only ever lith printed with Fomatone, and not a great deal of experience with that, but I've noticed using Fotospeed Lith dev that higher dilutions produce much more colourful prints.

    Maybe if you tried adding more developer concentrate to your working solution it would restrain the orange. Except significantly faster dev times.

    Ian

  3. #3
    RPippin's Avatar
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    Fomatone FB 132 (matt) is just about the only paper I use anymore. I've been able to get very light, salmon tones by using a very diluted developer, to very intense hot yellows and earth tones with two bath with Omega for the second bath. Moeresh SE5 is the developer I've settled on after trying most others, it does take a bit of experimenting to come up with something that works best for the negative I'm working with at the time. Check out Wolfgangs site for the "how to" guide to get the best results. As a rule, my exposures range between 30 and 45 seconds on the enlarger and 10 to 25 minutes in the developer. I've also found other post on APUG that give good formulas for Fotospeed to achieve the colors you seek. Good luck.

  4. #4

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    Another thing to try is flashing the paper prior to exposure, or in the pan while it's developing. Or, bleaching and redeveloping in a weaker developer . . .or even bleaching and exposing to bright sunlight or bulb flash prior to redeveloping. Needless to say, results are unpredictable and not easily duplicated.

    As far as other materials are concerned, I think Tim Rudman has a fairly recent update on lithable papers. Also, depending on where you are at, keep an eye out for any discontinued papers laying around.

  5. #5
    Mark Fisher's Avatar
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    Two thoughts. Slavich Unibrom is quite neutral, but very different than Kentona. Slavich is very grainy. It looks very nice with the right image. The other thought is Fomatone in selenium. You can change the tone drastically with selenium with Fomatone.

  6. #6

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    Thanks all. It sounds like Fomatone might be the next up for experimentation; I'll try some shorter dilutions to see if I can tame the oranges a bit. And maybe try some of the new Adox remake of Agfa. I read that it is supposed to Lith well also.

  7. #7
    Mark Fisher's Avatar
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    BTW - Fomatone is extremely orangey-yellow. I haven't tried it with fresh, low dilution developer, but definitely try it in dilute selenium

  8. #8
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    Has anyone here tried Oriental? According to Tim Rudman it works well but I wonder what tones you get with either FotoSpeed lith developer or Moersch developer.

    Ash

  9. #9

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    This evening I tried a very orangey-brown Fomatone lith print in Moersch Carbon toner 1+30. After a few minutes the colour had cooler to a much more restrained cream and the dark tones were cold black rather than dark brown. Not what I was aiming for - it was an experiment - but maybe helpful for the OP.

    Ian

  10. #10
    MVNelson's Avatar
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    If you are looking for tamed non-orangey tones It seems that Wolfgang's experiments with Adox MCC is worth your attention. From what I read Oriental had a winner paper for lith until the last emulsion change which apparently negatively impacted that ....
    Miles :
    cherish light

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