Scanned lith print.

Rolleiflex 3.5C w/ Xenotar 75 mm/f3.5.

June 11, 2023.

Fomapan 100 in Rodinal 1+100, semistand 1 h.

Cropped neg lith printed on Rollei Vintage RC 332 (20x30 cm, cut down from 30x40 cm) and developed in Moersch SE5 (10A+10B+25D+H2Oqs600).

Toned in Se 1+9, 60 sec.

20x30 cm lith print on expired Bromportrait, D-85, untoned

lith print on expired Bromportrait, D-85, untoned

Lith print on Foma paper

20x30 cm lith print on Unibrom 160, untoned

Auch hier ein fetter Ansatz (75+75+1000ml) aber ohne Zusatz von Lith E. Bei gleicher Entwicklungszeit wie beim vorherigen Print, ist die Schattenschwärzung deutlich geringer. Der Zweitentwickler wirkt auf den Mittelton- und Lichterbereich ein, aber kaum auf die Schatten: Lith G 10ml + 650ml Wasser + 10ml Ammonium chlorid (20%) 2 Minuten

Scanned lith print.

Mamiya 645 ProTL w/ M-S 120 mm/f4 macro. Sept 10, 2022.

Fomapan 100 in Rodinal 1+100, semistand 1 h.

Lith printed on Fomatone MG 133 and developed in:

1. Moersch Easy Lith (20A+25B+40D+750H2O).

2. Lith Omega (1+100, 2 min).

Toned in Se 1+9, 1 min.

PS borders.

Fomatone 532

SE15 Polychrome (Lith followed by Siena)

Tirages lithiques

tirages de lecture lith

papier fomatone classic 131

chimie moersch

Lith print

buy print - society6.com/product/lith_print

more - www.teepublic.com/t-shirt/20751885-lith

Used Kodabrome II F4 RC With Shanghai GP3 film

Efke 4x5 50 asa in Rodinal

Aero Ektar lens

Moersch easy lith 25-25-1000+50

Paper Guilleminot

HöGK

Mamiya 645 ProTL w/ M-S 45 mm/f2,8.Early morning April 22, 2023.

Fomapan 200 @ iso 100, dev in Rodinal 1+100, semistand 1 h.

Lith printed on Agfa Record Rapid (10x11") and developed in Moersch SE5 (25A+25B+some OB +450H2O).

Toned in Se1+4, 45 sec.

Strange mosaic pattern on the paper, almost like crackelations. Wasn't there last time I used it.

FP4 in efd, Fomabrom 123, SE5 Lith 1+10 followed by Lith Ω 1+200 2 minutes

8x10 lith print on Fomatone 132 paper.

old LD20 (1+15)

Image taken during motocross competition in April 1980 in Odessa,Ukraine.

Printed in 2016

Lithprint

Holga

Multiexposure

30x20 cm lith print on Unibrom 160, untoned

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.

Forte PW17 in SE5 Lith

2nd bath B vs. Omega

20x30 cm lith print on Unibrom 160, untoned

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.

Agfa MCC111 FB paper. Orwo UN 54 film P/Cat HDC

1/2

Lith on Fomatone 133 in Moersch. I left this one on the cooker for a while....

The final ready to be framed

"Le monstre de Coat Loc'h"

C220, Sekor 80mm, Hp5+, Rodinal, scan de tirage lith (Bromportrait, Moersch EasyLith)

Paper old Record Rapid

Easy lith

Not toned

Lith print.

lith print on expired Bromportret, dev. D-85, untoned

lith print on expired Bromportrait

the noble benefactor. Thanks for the paper Will!

Record Rapid in SE5 & Omega

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

FULL SIZE: www.ca-crew.com/wall/2014/014.jpg

VIDEO: vimeo.com/98232281

Canon FTb, 15mm

Kodak Aerecon film, f8 1/60, red 25 filter

Lith printed on Fomatone paper