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#11
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To my understanding shortening the developing time and using stronger dilutions will mainly give more weak colours, followed by other problems. So I now reread Mr. Moersch's description and brought some points to the the translation machine: "" To build up a colored image with delicate tonal values, the hydroquinone needs a lot of time. If the image is built up too quickly, the effect is slight. "" "" Lithprints need overexposure. The more light the emulsion gets, the more colorful the result will be. The higher the amount of light, the more the developer must be diluted. "" For me, and in following Moersch's advice too, the development ended (unsuccessfully) after throwing into the strong bath and with it's shortened time. I have no idea what this Ammonium stuff will do to the print after the development. Could it be a kind of toning technique? |
#12
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My mention of the Fotospeed was as the only locally listed ready-mixed Lith Developer I'd seen advertised down here. Given the option, I'd rather use a formaldehyde free formula also but I've never seen it listed here. Now even the Fotospeed is unavailable. At any rate, I used Kodak's D-9 formula listed on the Unblinking Eye website. I chose it for its lack of formaldehyde and my possession of all of the necessary chemicals. That and the fact that a few users had reported succeess with it on APUG back in the day. Given the three variables 1) never having tried Lith Printing before, 2) Never having used a known commercial developer and, 3) using papers just offside of those known to work, it's impossible for me to know which factor is most likely to blame for the lack of infectious development. I'm going with my usual lack of skill. I have a screen shot of the ten prints I did, plus my handwritten notes if you'd find them useful (and you can decipher my scrawl!)? Posting the prints individually probably won't add anything useful. Please let me know if posting my experiments would be at all helpful or simply tedious for everyone! 😁 |
#13
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Apologies for not seeing your question regarding redevelopment earlier. I didn't get to it the night I was playing with the process. It was just shy of 30°C in my darkroom when I started and, while it cooled down quite a bit over the course of the night, it was just too stuffy in there to continue and I was feeling a tad disheartened. If/when I try it, I'll post again and let you know how I get on. I really like the look of some of Tim Rudman's prints using that variation and I have a negative or two that might work well with it. |
#14
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But if you read about 'Lith Omega', you will see that these rules are totally broken. The link for this is. Note the underlining is mine: https://www.moersch-photochemie.de/c...120/lith_omega To quote just a small bit: 'LITH Omega Two bath development to intensify the colours and to increase the densities of the shadows after lith development. Lith Ω is used as a second bath after lith development to increase the colours and densities of warm tone papers. With a treatment in Lith Ω it is possible to achieve intensive yellow or reddish tones while using relatively short times of development in strong lith working solutions. Such tonalities normally require excessive exposure in combination with long times of development in highly diluted developer.' Terry S |
#15
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I too had an unsuccessful lith printing session with Easy Lith and Foma paper yesterday. As has happened before, the prints (and other 'ordinary' b/w prints during previous sessions) looked good both under the safe-light and even the daylight bulb I use. Only when putting them in the wash, did I see marks of various kinds on all the prints I made. Hopefully another session after posting this will be better. Lith developers are also thin on the ground here, with only Moersch Easy Lith being available. A couple of others are available in the US, but postage is a lot on top. I have tried a few home mixed developers and in the past, I think I only tried Kodak D9 once. I think I got a print or two that I liked but can't think why I didn't try it again. It is on the top of my list though, to be the next one to mix up, as I too have read of peoples success with it. I'll let you know once I've tried it, in a week or two. And yes, I'd love to see your screenshots (don't worry about the writing - it can't be any worse than mine. ) as seeing anyone else's work is always informative. All the best for now, Terry S |
#16
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Thanks for this informations - so the twobath does the trick. First my question again concerning your paper: Which Foma VC do you use? I for example run Fomabrom VC, Fomatone 131 VC and the last half roll of the fantastic Fomatone 532 Non Baryta real paper. What I found today on Mr. Moersch's sites : The last day you have said ""..1% solution of AC, but all this did was to bleach out the colours, leaving a more gritty B/W print..." Ammoniumchlorid could give veils to chlorobromid paper. Have you seen the "Lith D" section? You may try it to avoid veils. On the other side "D" unfortunately will bring down the colours. Alternatively, sinking the PH with some citric acid may help. For intensifying your colours you could bring in the "Lith G". G is a suspens of Glycin and Kaliumcarbonat, but you could add (and buy) extra Ammoniumchlorid for bringing in more reddish tones. The last recipe I have seen from Moersch is bringing more Lith A than B to the developer for gaining more colours. He also speaks about "pollutioning" the second bath (oxidation) with bath one (developer) which could end in more colours because the share of A to the second bath. This and the choose of the paper are some helpful points, so I do believe. Maybe you have read them before, but if not here they are. If nothing will help, I could help out with questioning Mr. Moersch directly by phone. What I remember from a call with him is the hint to wipe mudded paper with absorbent cotton. Second I could send 3 sheets of Fomatone 532 to you:-) This paper colours nearly from alone, and this in a really brutal way. Unfortunately it is long gone, so this will not bring advantages to you.. Best, Ritchie |
#17
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The first Lith Print used the same paper simply as a control. I had no expectation of any sort of infectious development (so that took care of the one less disappointment for the evening!) For the others, you get to match the file name and number in the screenshot to my scribble. I wish you luck! 😁 |
#18
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the paper that I use the majority of the time for guaranteed lith effect prints, is Fomatone FB MG Classic 132 Matt. I have lots of older papers that I will / am slowly testing. As for you offer of Fomatone 532, I thank you very much for the offer of a few sheets, but I will decline, as I am frightened that if I like it, I will be very sad not to be able to get any more. But thanks again. As for all of the additives that Moersch offers, I am trying (at present anyway) to stick just to the two bottles of Easy Lith, which I must say goes a long long way in use. I bought the smallest bottles available to try it out, although it obviously works out cheaper buying bigger bottles. With it I have done many, many sessions and have only used about half of it. It is supposed to have a very long shelf life, so my next order will be a bigger pairs of it. Now into the darkroom once more, despite the sun burning brightly. Terry S |
#19
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Hi Molli,
many thanks for the scans, which have been interesting to look at and to read and your writing is much better than you said btw. I too keep a lot of notes of sessions, just in case, as I sometimes have to refer to the previous sessions notes, to ensure that I don't just go and repeat what I've already done. All the best with your continuing experiments. Terry S |
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