View allAll Photos Tagged lith
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
Blick vom Mirador de la Punta
La Palma
Canon EOS 1, Kodak HIE Infrared
Lithprint auf Kodal Bromesko (randlos auf 12x18 cm)
1) SE5 1+15, +4 f-stops, 4 min
2) Lith Omega, 1+80, 30 sec
Selentonung MT 1, 1+9, 1:30 min
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
Brought to you by Kottr!
[Kottr] Poppy Top : Made for bodies Reborn/ Mounds, vtech,teacups,waifu, and stacked FP includes 2 types of graphics with 17 and 21, Main shirt is sectioned off into 5 parts and show/hide options, 33 solid textures 32 stripes, 23 darker stripes and 8 flames!
Leica III elmar 5 cm échelle rouge
Ilford ortho 80 /rodinal 1/50
Tirage lith sur papier orwo /
blanchiment /révelation bromophen 2 pour cent
virage sépia
virage sélénium
leitz focomat et focotar
Scanned IR lith print.
Mamiya 645 ProTL w/ M-S 45 mm/f2.8 + Hoya R72 IR filter.
March 2015.
Rollei IR 400 Infrared film in Fx 39 1+9, 5 min.
Printed on Foma Retrobrom 151 Sp and developed in two baths (Nov 2024):
1. Moersch Easy Lith (20A+20B+H2Oqs800).
2. Moersch Lith Omega (1+100).
Untoned.
Kummelön Nature Reserve, close to Kristinehamn in Värmland (see map).
This is just another exampel of the intense connection between analog infrared film photography and lith printing. They make a great marriage.
With Retrobrom I especially like the clean and not coloured frames after doing a pretty hard job with the exposed part of the paper.
Great Blue Heron taking off in fog
October, 2023
Nikon F4, 80~200 zoom Nikkor
Ilford Delta 400 DD-X 1:4 9:30
Lithprint May 2024 on Fomatone 132, Arista lith dev 1:24
Selenium 1:19 30 sec.
Scanned lith print.
Holga 120 CFN , Fomapan 400 in HC-110, 1+25 8 min. May 15, 2021. Rain and cloudy.
Lith printed on Fomatone MG 132 (18x24 cm), Moersch Easy Lith. Aug 2021.
Untoned.
PS borders.
Kanikenäset, Karlstad, Sweden.
When you look into the abyss the abyss looks into you.
- Michael Connelly
Martha's Vineyard.
Lith print on Kodak Polycontrast.
Hasselblad and Tmax 100.
Lith print on Ilfobrom single weight paper (11x14).
Easy Lith 1+20 15% OB.
Variable sepia / Selenium toned.
Mamiya 645 ProTL w/ M-S 45 mm/f2.8.
Sunday morning April 27, 2025.
Fomapan 100 in Rodinal 1+100, semistand 1 h.
Lith printed on Foma Retrobrom 152 Sp and developed in two baths:
1. Moersch Easy Lith (25A+25B+H2Oqs700)
2.Moersch Lith Omega 1+100
Untoned.
PS borders.
Had to make a couple of lith prints too from these good negs before moving on to the next film. Like the solarizing effect on the backlit crane, making the rivets and cogwheel stand out.
LEICA IIIF ELMAR 5 CM red scale
ilford ortho 80/rodinal 1/50
tirage lith sur papier orwo multigrade
chimie moesch
focomat 1c et leitz focotar
A second developer after lith is usually used to increase the colourfulness. This works well with gycin and catechol combined with the addition of ammonium chloride. However, especially with true warmtone papers such as Forte and Fomatone, it is also possible to achieve a more subtle colouring instead of the very intense reddish or yellowish tone. When choosing the second developer, the superadditivity property of the respective developer substances must be taken into account. Even when stopped and rinsed after the lith developer, small amounts of hydroquinone are still present in the paper, which in combination with other substances (in the case of the necessary overexposure for lith) can lead to rapid blackening. With Meritol as a second developer, the superadditivity of the three developer substances with the hydroquinone of the lith developer does not play a decisive role for the rapidity of the developer. Nevertheless, rinsing should be done between the developers, because with the small amount of the second developer the sulphite content is too low to compensate the higher oxidation potential caused by the entrained hydroquinone. So even at high dilution, this combination is not easy to handle. It is important not to expose too long, but just enough to result in a development time of between 6 and 7 minutes in lith for the critical fomatone paper. A good indication for the onset of blackening, is the co-exposed negative border. As soon as the deep shadows in the image are also blackened, change to a tray of water. Here the mid-tones increase in density a little.
After rinsing twice, develop in Meritol until the highlights show the desired density. This developer should be diluted at least 1+200, even then it still works uncontrollably fast. Adding ammonium chloride lowers the pH value, which results in a slower development speed, but also in a higher colour saturation again.
Ein zweiter Entwickler nach Lith wird in der Regel eingesetzt, um die Farbigkeit zu erhöhen. Dies funktioniert gut mit Gycin und Catechol verbunden mit dem Zusatz von Ammoniumchlorid. Insbesondere bei echten Warmtonpapieren wie Forte und Fomatone, ist es aber auch möglich, statt des sehr intensiven rötlichen oder gelblichen Tons eine dezentere Farbigkeit zu erzielen. Bei der Wahl des zweiten Entwicklers ist die Eigenschaft der Superadditivität der jeweiligen Entwicklersubstanzen zu berücksichtigen. Auch wenn nach dem Lithentwickler gestoppt und abgespült wird, sind noch geringe Mengen Hydrochinon im Papier vorhanden, die im Zusammenwirken mit anderen Substanzen (bei der erforderlichen Überbelichtung für Lith) zu einer rapiden Schwärzung führen können. Bei Meritol als Zweitentwickler spielt die Superadditivität der drei Entwicklersubstanzen mit dem Hydrochinon des Lithentwicklers keine entscheidende Rolle für die Rapidität des Entwicklers. Dennoch sollte zwischen den Entwicklern gespült werden, denn bei der geringen Menge des zweiten Entwicklers ist der Sulfitgehalt zu gering, um das höhere Oxidationspotential durch das eingeschleppte Hydrochinon auszugleichen. Selbst bei hoher Verdünnung ist diese Kombination also nicht einfach zu handhaben. Wichtig ist, nicht übermäßig zu belichten, aber gerade so viel, dass bei dem kritischen Fomatonepapier eine Entwicklungszeit zwischen 6 und 7 Minuten im Lith resultiert. Ein guter Anhaltspunkt für das Einsetzen der Schwärzung, ist der mitbelichtete Negativrand. Sobald auch die tiefen Schatten im Bild geschwärzt sind, wird in eine Schale mit Wasser gewechselt. Hier legen die Mitteltöne noch an Dichte zu.
Nach zweimaliger Spülung wird in Meritol entwickelt bis die Lichter die gewünschte Deckung aufweisen. Dieser Entwickler sollte mindestens 1+200 verdünnt werden, selbst dann wirkt er noch unkontrollierbar schnell. Ein Zusatz von Ammoniumchlorid senkt den pH-Wert, was eine langsamere Entwicklungsgeschwindigkeit, aber auch wieder eine höhere Farbigkeit zur Folge hat.
Lith and Meritol for high-contrast negatives only.
Fomatone 131
Easy Lith FT Special 1+10 6 mins,
Meritol 1+200 (5ml + 5ml NH4Cl 20% to one litre water) 2:30 mins.
For some time I have tried to find a way to make a 2nd pass lith of Kallitypes possible. It seems that I had found a promising approach.
Kallitype on Hahnemühle Platinum Rag, Sodium acetate developer, Lead toner/bleach, Easy Lith 8+8+1600+4 omega 52°C 4 minutes
NASK LITH Feat. SORIE (ISRAEL)
Full size: www.ca-crew.com/wall/2013/010.jpg
Action shot: www.ca-crew.com/blog/2013/05/boston-brooklyn-connections/
Some more greyhound love ...
Retro 400s in RLS
Lith onto Portriga Rapid PRK 118 (catechol NH4cl + polysulphid selenium)
lith print on Slavich Unibrom.Easy Lith 1:25.Pre-soaking in warm water did not make any difference.”Snowflakes” did not go out. They are considered as disadvantage in lith printing,but sometimes…they look not so bad .Maybe.
Einige sehr alte Papiere weisen einen derart hohen Lagerschleier auf, dass sie nur noch für die Lithentwicklung geeignet sind. Darüberhinaus nimmt auch die Empfindlichkeit ab, was zu noch längeren Belichtungszeiten führt, als sonst für den Lithprozess üblich.
Eines dieser Papiere ist das Record Rapid. Ich konnte eine größere Menge dieses Papiers in 50x60cm erwerben. Ursprünglich wurde es laut Versandaufkleber geliefert an Bernd und Hilla Becher, die damit letztmalig gegen Ende des vergangenen Jahrhunderts gearbeitet haben.
Um Frustrationen zu vermeiden, hier ein Hinweis zur Verarbeitung.
Der Lithentwickler darf nicht so hoch verdünnt werden, wie sonst üblich.
Garantierte Lithresultate bringt die Verdünnung 75+75 ml auf 900 ml Wasser.
Die resultierende Belichtungszeit ist durch Versuche zu ermitteln. Bei „richtiger“ Belichtungszeit liegt der snatch point zwischen 8 bis 11 Minuten.
Some very old papers have such a high storage fog that they are only suitable for lith development. In addition, sensitivity also decreases, resulting in even longer exposure times than is usual for the lith process.
One of these papers is Record Rapid. I was able to purchase a large quantity of this paper in 50x60cm format. According to the shipping label, it was originally delivered to Bernd and Hilla Becher, who last worked with it at the end of the last century.
To avoid frustration, here is a tip for processing.
The lith developer must not be diluted as much as usual.
Guaranteed lith results are achieved with a dilution of 75+75 ml to 900 ml of water.
The resulting exposure time must be determined by trial and error. With the ‘correct’ exposure time, the snatch point is between 8 and 11 minutes.
120 FP4 in Rodinal. 1+25
Lith on Foma Retrobrom in Moersch Easy Lith old batch refreshed. No Tone. The older chemical with some fresh A and B added brings out some lovely colour in this paper.
1st SE5 Lith 60+50+1000ml + f-stops 2,5 dev. time 5:30mins - a little too much light or too fat developer
2nd an attempt to slow down the developer + 30ml Lith D + f-stops 3,3 dev. time 11 mins
3rd + f-stops 3,8 dev. time 9 mins followed by Lith B/Omega mix 1 min
Meine Neigungen gehen ja eher in die andere Richtung. Gritty geht auch mit Hochauflösungsfilm - mußte nicht unbedingt bewiesen werden, hat aber Spaß gemacht.
Scanned lith print.
Fomapan 200 in Holga 120 CFN.
Exposed @ iso 50 (well, exposed = exposed in a Holga without possibility for "fine tuning") and developed in Rodinal 1+50, 6 min. Still thin negs. Only (?) usable for lith printing.
Fomatone MG 133 in:
1. Moersch SE5 (15A+15B+200OB+400 H2O).
2. Moersch Lith Omega 1+100.
Toned in Se 1+4, 30 sec.