View allAll Photos Tagged lith
Scanned 2nd pass lith print.
Mamiya 645 ProTL w/ M-S 120 mm/f4 macro + yellow filter.
June 1, 2025.
Fomapan 100 in Adox Adonal (=Rodinal) 1+100, semistand 1 h.
Cropped neg lith printed on Foma Retrobrom 151 Sp (8x10") and developed in two baths;
1. Moersch Easy Lith (25A+25B+H2O qs800).
2. Moersch Lith Omega 1+100.
Bleached in Moersch Copper Sulfate Bleach For Lith Re-Development (1+4) somewhat beyond solarization and partially redeveloped in very old D-76 stock diluted 1+3 (black as tar).
Untoned.
PS borders.
Playing with chemistry and abusing analog photo papers. Again. A vintage look of Selma in her favourite habitat.
My camera finds Hosta leaves more interesting when dead.
I am inclined to agree.
Lith print
Burke and James 5x7
Arista 200 in Perceptol.
Nikon FE with TriX in Pyro
Moersch easy lith 30-30-1000-25
Paper Record Rapid
Fog and snow in the City
SUMAKO KOSEKI DANSEUSE BUTO
LE BANQUET DES ABOYEURS /CIE L 4SKBL
TIRAGE LITH
AGFA ISOLETTE
TIRAGE LITH /PAPIER BARYTE ORWO GRADE 5
ILFORD HP5/MICROPHEN STOCK
1 )Fomatone Mg Eukobrom 1+9
Copperbleach 1+1
SE5(Moersch)lith 5+5+1000H2O
2) hotbad 50 C 60 sec
Danke Wolfgang
Farbige Entwicklung mit verstecktem Lith.
Mit der Kombination von Lith- und „Normalentwicklern“ habe ich mich längere Zeit nicht mehr beschäftigt. Hierbei haben wir die Optionen, die Farbigkeit der Lithentwicklung zu reduzieren, oder sie zu steigern.
Zum Verständnis der Wirkungen zunächst eine grundsätzliche Überlegung. Extrem stark verdünnte Entwickler arbeiten weicher und farbiger als bei normaler Verdünnung. Wenn stark verdünnt wird, ist eine erheblich längere Belichtungszeit erforderlich und diese erhöhte Lichtmenge verursacht eine Zunahme der Farbigkeit ohne allerdings ein tiefes Schwarz erzeugen zu können. Also holt man sich die tiefen Schatten mit einem „schnellen“ Lithentwickler und die dann noch fehlenden Mittel- und Lichtertöne mit einem Normalentwickler.
Hier vorgestellt mit Meritol (weich arbeitender Warmtonentwickler) in der Verdünnung 1+200.
Papier Select Shedlight (Fortezo)Belichtungszeit 30 Sekunden
Erster Entwickler SE5 Lith (A+B+D+Wasser) 30+30+20+1000 ml fünfeinhalb Minuten.
Linkes Bild
Zweiter Entwickler Meritol 1+200 zwei Minuten.
Ergebnis: Warmer Braunton mit tiefem Schwarz und Zeichnung bis in die Lichter. Der Litheffekt wird überlagert durch den relativ gradlinigen Tonwertverlauf.
Rechtes Bild
Ganz anders sieht das Ergebnis aus, wenn dem Meritolentwickler noch etwas mehr Wasser (200 ml) und Ammoniumchlorid (20% 4 ml auf 1,2 Liter) zugestzt wird. Entwicklungszeit 3:45 Minuten.
Colour development with hidden lith.
I haven't worked with the combination of lith and ‘normal developers’ for quite some time. Here, we have the option of reducing or increasing the colourfulness of the lith development.
To understand the effects, let's first consider a basic principle. Extremely highly diluted developers work more softly and colourfully than those with normal dilution. When heavily diluted, a considerably longer exposure time is required, and this increased amount of light causes an increase in colour without, however, being able to produce a deep black. So you get the deep shadows with a ‘fast’ lith developer and then the missing midtones and highlights with a normal developer.
Shown here with Meritol (soft-working warm tone developer) diluted 1+200.
Paper: Select Shedlight (Fortezo) Exposure time: 30 seconds
First developer: SE5 Lith (A+B+D+water) 30+30+20+1000 ml for five and a half minutes.
Left image
Second developer Meritol 1+200 two minutes.
Result: Warm brown tone with deep black and detail in the highlights. The lith effect is overlaid by the relatively straight tonal curve.
Right image
The result looks completely different when a little more water (200 ml) and ammonium chloride (20% 4 ml to 1.2 litres) are added to the Meritol developer. Development time 3:45 minutes.
Farbige Entwicklung mit verstecktem Lith.
Mit der Kombination von Lith- und „Normalentwicklern“ habe ich mich längere Zeit nicht mehr beschäftigt. Hierbei haben wir die Optionen, die Farbigkeit der Lithentwicklung zu reduzieren, oder sie zu steigern.
Zum Verständnis der Wirkungen zunächst eine grundsätzliche Überlegung. Extrem stark verdünnte Entwickler arbeiten weicher und farbiger als bei normaler Verdünnung. Wenn stark verdünnt wird, ist eine erheblich längere Belichtungszeit erforderlich und diese erhöhte Lichtmenge verursacht eine Zunahme der Farbigkeit ohne allerdings ein tiefes Schwarz erzeugen zu können. Also holt man sich die tiefen Schatten mit einem „schnellen“ Lithentwickler und die dann noch fehlenden Mittel- und Lichtertöne mit einem Normalentwickler.
Hier vorgestellt mit Meritol (weich arbeitender Warmtonentwickler) in der Verdünnung 1+200.
Papier Select Shedlight (Fortezo) Belichtungszeit 30 Sekunden
Erster Entwickler SE5 Lith (A+B+D+Wasser) 30+30+20+1000 ml fünfeinhalb Minuten.
Linkes Bild
Zweiter Entwickler Meritol 1+200 zwei Minuten.
Ergebnis: Warmer Braunton mit tiefem Schwarz und Zeichnung bis in die Lichter. Der Litheffekt wird überlagert durch den relativ gradlinigen Tonwertverlauf.
Rechtes Bild
Ganz anders sieht das Ergebnis aus, wenn dem Meritolentwickler noch etwas mehr Wasser (200 ml) und Ammoniumchlorid (20% 4 ml auf 1,2 Liter) zugestzt wird. Entwicklungszeit 3:45 Minuten.
Colour development with hidden lith.
I haven't worked with the combination of lith and ‘normal developers’ for quite some time. Here, we have the option of reducing or increasing the colourfulness of the lith development.
To understand the effects, let's first consider a basic principle. Extremely highly diluted developers work more softly and colourfully than those with normal dilution. When heavily diluted, a considerably longer exposure time is required, and this increased amount of light causes an increase in colour without, however, being able to produce a deep black. So you get the deep shadows with a ‘fast’ lith developer and then the missing midtones and highlights with a normal developer.
Shown here with Meritol (soft-working warm tone developer) diluted 1+200.
Paper: Select Shedlight (Fortezo) Exposure time: 30 seconds
First developer: SE5 Lith (A+B+D+water) 30+30+20+1000 ml for five and a half minutes.
Left image
Second developer Meritol 1+200 two minutes.
Result: Warm brown tone with deep black and detail in the highlights. The lith effect is overlaid by the relatively straight tonal curve.
Right image
The result looks completely different when a little more water (200 ml) and ammonium chloride (20% 4 ml to 1.2 litres) are added to the Meritol developer. Development time 3:45 minutes.
Camera Korona Grundlach, 5x7 (Rodenstock Imagon lens) Wetplate negative
Moersch easylith
Paper Record Rapid
Early morning at St Mary's near Whitley Bay.
Temperature tweek but as shot.
Big thanks to Stevo and Iian for a very decent two hours photography.
Not a problem saving you from the incoming tide Steve...You would have done the same for me.
A day with 35C.
.
Ilford Delta 100 in HC110b
Leica 35/2 and Biogon 35/2
.
Lithprint on Record Rapid
Easy Lith, 6x exposure, 8 min.
Explorer - Thank you!
[lith print executed January 27 2021 on very old Agfa Brovira paper using Moersch Easylith A45+B35/2000. Photo taken with Boumsell Longchamp on 127 Agfa Isopan Ultra exp. 1973]
Scanned lith print.
Canon EOS 50 w/ Canon EF 24-70mm f/4L IS USM.
New Years Day 2013.
Kentmere 400 in Paterson FX-39, 1+9, 10 min.
Lith printed on Foma Retrobrom 151 Sp and developed in Moersch Easy Lith.
Sept 2024.
Partially bleached in Moersch Copper Bleach for Lith Redevelopment and redeveloped/toned in Se 1+9.
Testing "redeveloping" with Selenium toner after Copper Bleach, keeping part of the copper solarization.
Zero Image Pinhole, Neopan400, Finol,
Omega Lith Print on Fomatone 131 batch 079648.
MT4 Siena 1+50 3 minutes
I start with that image here on Flickr.
It’s part of a lith print collection from our USA roadtrip back in the days in 2011.
To see more of that please visit my homepage
and look in the BLOG section and GALERIE section.
Regenurlaub im Allgäu ;-)
Nikon F6, Kodak TX 400, developed in Moersch EFD, Lithprint on ORWO BN 117 Rasterkorn, First tray Easy Lith (20 ml A + 20 ml B +360 ml H2O), second tray 3 ml Omega + 300 ml H2O).
Canon EOS 30 w/ EF 24-70 mm/f4 IS L USM.
2024-09-29
Fomapan 100 in Adonal 1+100, semistand 1 h.
Lith printed on Foma Retrobrom 151 Sp (Nov 18, 2024).(20A+20B+15D+H2Oqs800) @ 35°C. 180 sec exposure and 20 min dev time. No pain - no gain.
Untoned
Almost the same treatment as with the previous one. In order to reduce the strong Holga/Lith vignette, the time in Lith was shorter. Second developer for the lights: water 800ml + 5ml Lith G +15ml Lith B +2,5ml Lith Omega - 3 minutes
Foma Retrobrom in SE5 Lith 50+50+30+1000ml A+B+D+water +3,8 f-stops 10 minutes followed by Lith B/Omega mix 1 minute
Moersch Easy Lith 20+20+960 on very expired Kodak Bromesko paper. Rather thin 5x7 Pinhole negative using Fomapan 200.
I - incorrectly - repaired my phone's camera. This has meant useless, washed out photos from it. However, there is the occasional gem in amongst all the crap. I like the washed out tones of this image, which I've given a digital lith print feel. Just need to re-repair the phone now!
First Lith printing session in well over a decade in a local rented darkroom. So exciting!
Got some random white specks/dots. Maybe too long development?
Fomatone 131 Gloss
Moersch EasyLith
Mix of Holga multiexposure and Horizon S3 negatives on HP5
Lith print, Moersch EasyLith and Jessops VC Glossy paper.
Taken with Intrepid 8x10 Fujinon 250mm f6.3 W and Fomapan 200.
Lith print using Moersch Easy Lith 20+20+960 on Foma Retrobrom
Negative is Ilford FP4+, developed in R09 1:50
Scanned lith print.
Mamiya 645 ProTL w/ M-S 120 mm/f4 macro.
Jan 17, 2025.
Fomapan 100 in Adonal 1+100, semistand 1 h.
Lith printed on Foma Retrobrom 151 Sp and developed in Moersch Easy Lith and Lith Omega.
Untoned.
Rolliecord V + orange filter , Tri-x in HC110 dil B 5.5 minutes.Scan of lith print 2013. Going through my old scans as I load them onto my new laptop . I was using easy lith during my time experimenting with lith printing in 2013/4
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