Lith and Ilford MG Fibre Warmtone

[mkiernan]

I am hoping that this is the correct forum - I am not sure whether Lith is considered an alternative process or not!

For quite some time now I have been using Agfa Classic in Fotospeed LD20 with good results. With the demise of Agfa I am now looking for a replacement paper that will be available in non-metropolitan areas of Australia (not an easy ask). I am able to obtain Ilford FB warmtone easily and use it generally for my non-Lith purposes. I have read that this paper responds to Lith developers BUT have not been able to get this myself (I get a very pasty, low contrast result). Has anyone had more success with this combination than me (i.e., LD20+Ilford FB WT)? If so, can you provide any insights (for Lith I generally use 3 times the exposure needed to develop this paper in Neutol WA [fortunately I have 6 bottles of this for non-Lith stuff at the moment]).

One paper I can get (but not easily) is Tetenal Art Museum. Does anyone know whether this paper will "Lith" or not.

Thanks for any help offered.

 

[Tom Stanworth]

Reading Tim Rudman's Master Lith XYZ, MG WT does lith in a slightly unorhtodox way if and only if the dev is about 40+ degs C I recall. Tim says it has a particular look and is not for everything, but some of the results he showed were wonderful. Try it hot.

Look out for Kentmere papers as many lith as well as Oriental seagul, Fotospeed Legacy I hear does, Forte PWT/Fortezo etc.

Tom

 

[Ole]

Tetenal Art Museum could be any one of a number of papers. I know it was Agfa for a while, and some has been Ilford.

If you have any chance of getting hole of Fortezo Museum, that is a wonderful paper both for lith and "ordinary" work.

Ilford's papers are wonderfully stable and predictable, meaning that they give the same results in a wide range of different developers. Just what you want for a consistent body of work, but exactly what you don't want for lith printing.

 

[Bob Carnie]

Ilford Warm tone is a lith paper that is high on my list
It will give you a very nice green/yellow antique looking print.

The problem you are having with it is the pull time.
The contrast accelerates in the fix not the developer. I found this out by mistake.

Try pulling the print way early.. the trick is to watch for the faintest sign of black emerging.

Good Luck

 

[mkiernan]

Thanks

Thankyou to everyone who responded to my questions. I think I now have a few options to follow up on.

 

[Bruce Osgood]

Ilford Warm tone is a lith paper that is high on my list
It will give you a very nice green/yellow antique looking print.

The problem you are having with it is the pull time.
The contrast accelerates in the fix not the developer. I found this out by mistake.

Try pulling the print way early.. the trick is to watch for the faintest sign of black emerging.
Good Luck

Please excuse what might appear as a dumb question but are you speaking of pulling from the developer or the fix way early?

 

[ras351]

Can't help with the Ilford papers but if you're able to source the Fotospeed lith developer you can probably source Fotospeed Lith paper as well. Fotospeed Impressions and Fotospeed Classic also respond well to lith developers.

Roger.

 

[Ross Chambers]

You might consider Paterson Acugrade. Not a fibre based paper, but in my limited lith experience very responsive to Lith techniques and to toning (blue in gold toner, sepia in selenium. Vanbar in Camperdown usually have it in 8x10x25 sheets and 12x16x10 sheets.

Regards - Ross
Springwood NSW

 

[George Papantoniou]

Kentmere's Kentona (will react to lith developer) was marketed by Tetenal under the name "Art Sepia". If you can get your hands on a packet of this, it'll be OK.

Pulling out of the daveloper is what Bob means, I guess. The idea is that the blacks should not be developed to the desirable point, for they will darken once the print is in the fixer. I can add that some papers change (shift in colour, darken) when drying, especially if they are toned after lith processing. Read the Rudman book, it's great...

 

[Bruce Osgood]

Pulling out of the daveloper is what Bob means, I guess. The idea is that the blacks should not be developed to the desirable point, for they will darken once the print is in the fixer. I can add that some papers change (shift in colour, darken) when drying, especially if they are toned after lith processing. Read the Rudman book, it's great...

Thank you George.

 

[Bob Carnie]

Please excuse what might appear as a dumb question but are you speaking of pulling from the developer or the fix way early?

Bruce

Pull from the developer way early *faint to medium blacks*and watch the contrast explode in the fix. I use rapid fix *not sure if this makes a difference*

 

[Terrick E. Meakin]

ref. lith printing

I agree with ras351's idea of using Fotospeed lith paper and LD20 what I have found is it gives a better colour, and that glow we all look for, when used much weaker than usual, I have personally gone down as far as 40/1, which gave me a really nice apricot; I also find that a stop bath about twice as strong as normal helps you to avoid the problems you are getting in the fixer.
Terrick.

 

[chricela]

Ilford MG FB WT &

i used just started playing around with Lith Printing. i used Fotospeed lith developer LD20, & Ilford MG FB WT (since I already have it).
& these were my results.....
http://flickr.com/photos/chriceleportela/121967645/.
I like this effect but still want to try the other papers, as well.
Chricel

 

[Bob Carnie]

i used just started playing around with Lith Printing. i used Fotospeed lith developer LD20, & Ilford MG FB WT (since I already have it).
& these were my results.....
http://flickr.com/photos/chriceleportela/121967645/.
I like this effect but still want to try the other papers, as well.
Chricel

I went through the slide show , I like your images, love to see a series printed with the lith of each of the different images , they would hang together nicely.