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Taken on a foggy morning at Lion's Den Gorge Park in Grafton, Wisconsin.
Holga camera.
Lith printing process.
© Vicki Reed
Sometimes, only in very few cases, depending on my personal mood I like it to lith gritty.
same film, at the same hour, another mood while printing
Holga 120N, SFX filter dark yellow, eco film developer
Lith print on Fotokemika Varycon matte
Currently I am playing with developer formulations and additives, just to make it easier to achieve a desired creamy hue combinied with gently grained shades.
Rolleiflex T w/Tessar 75 mm/f3.5 + Rollei IR filter.
Rollei IR 400 in Rodinal 1+100, semistand 1 h.
Lith printed on "old" lithable Fomatone MG 133 and developed in Moersch Easy Lith (15A+15B+H2Oqs700).
Untoned.
3rd print in the lith soup, exp 90 sec and developing time 10 min. Guess I was too cheap regarding lith chemicals for this session, but even if the colours aren't there, the IR mood is. I especially like the compressed view of the road on the other end of the bridge.
"Le monstre de Coat Loc'h"
C220, Sekor 80mm, Hp5+, Rodinal, scan de tirage lith (Bromportrait, Moersch EasyLith)
Jedes Papier zeigt eine Solarisation, wenn bei Licht gebleicht wird. Meist nehmen wir die Solarisation nicht wahr, wenn sie nur kurz in den Mitteltönen (wie bei den Ilfordpapieren) erscheint und wieder verschwindet, wenn bis in die tiefen Schatten gebleicht wird. Anders verhalten sich beispielsweise Foma- und Fortepapiere. Hier scheinen zunächst alle Tonwerte zu verschwinden und erst wenn die Schatten fast durchgebleicht sind, solarisieren Mitteltöne und Lichter. Bleibt man dann noch länger im Bleicher, schwindet zunächst die Solarisation der Mitteltöne, später auch die der Lichter. Wenn die Solarisation mit dem resultierenden kühlen Ton gewollt ist, sollte der Bleicher 1+4 bis 1+6 verdünnt werden, um den Prozeß kontrollieren zu können.Fomatone, Erstentwickler SE2 Warm 1+10Kupfersulfatbleicher 1+4Links bei Raumlicht 3 Minuten gebleicht, rechts 3 Minuten bei Rotlicht, danach noch anderthalb Minuten bei hellem Licht um nur den Lichterbereich schwach zu solarisieren.Beide rückentwickelt in Easy Lith 8+8+2000ml bei ca. 45°C 45 Sekunden gefolgt von einem heißen Wasserbad.
During the bleaching process at bright light, a solarization takes place with every paper. Mostly we don´t notice it, when it happens at a very early stage of the process in the midtones (Ilford papers), because the effect disappears after some seconds. In this case we cannot use the solarization for redevelopment to a second color, because none of the densities is completely bleached.Foma and the old Forte papers behave differently. Solarizations may occur in mids and lights shortly before the shadows are bleached completely and it takes some time before the effect disappeares slowly from the mids to the lights. To control this effect, the bleach should be diluted at least 1+4.The print on the left has been bleached 3 minutes at bright light.The print on the right side has been bleached at red light for 3 minutes and then one and a half minutes at room light.Both redeveloped in Easy Lith 8+8+200 45 seconds at 45°C followed by a hot water bath
Handheld matchbox pinhole camera, on a really sunny day, 1 sec, lith print on Agfa Portriga Rapid, Rollei Vintage Creative, 1+20; 30 degrees C...
Shot with my homemade matchbox pinhole camera.
F=14mm, f/70.
Couple sec's exposure on Kodak T-max 100, lith printed on Agfa Brovira FB paper...
photo: Hola+ fp4+ beutler dev (1+1+10+1d benzo)
print: "lith" print on as de trèfle paper
this last days i was playing with chemicals and the lith printing process. i made a very simple developer formula with recurrent chemicals find in lith developers, just to see how it react. my goal was to understand how to reach the most colorful print. i have read before starting but find more tricks after. i have to do more research to understand .
Brighton (UK RT 2015)
Studio. Film camera 6Ñ…6 Kiev 6C, fisheye lens Zodiak-8 (3,5/30). Author's hand print (Lith-print). Enlarger Meopta Opemus 5. Developer Fotospeed LD20. Photo paper Bromekspress-1. Scanner Epson 3200
Hasselblad
80mm
Ilford FP4
ID-11
An image made in my darkroom using the lith printing technique. Printed on FOMATONE warm tone.
Negative shot by Hasselblad 500 C/M on Fomapan 400. Lith print on Fomatone 532 developed in Rollei Superlith. Some D-max improvement in Selenium 1+9 for <2:00 minutes.
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Hasselblad 500C/M w/ Zeiss Planar 80 mm/f2.8.
Fomapan 100, exposed @ iso 400 and developed @ iso 800.
Lith printed on Bergger Prestige CB 2 FB and lith developed in Moersch Easy Lith (20A+20B+100OB+H20qs900).
Untoned.
Lith printing is a good way to increase contrast in somewhat flat negs. Less exposure = higher contrast (and less colour).
Untoned.