Hatfield Forest

Click on images to embiggen…

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Lith print on Fomatone, toned with gold.

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Lith print on Adox Nuance Grade 3, toned in weak selenium, followed by gold.

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Conventional silver print on Adox Nuance Grade 3, toned with selenium.

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Print on Fomatone MG Classic, lith processed, untoned.

The first image above shows a print on Fomatone MG Classic paper, lith processed in LD20 and then toned with Tetenal Gold toner for five minutes. The lith colour has been almost completely lost following the gold toning, but the result is a pleasant blue.

The second image is an experiment with lith processing Adox Nuance Grade 3 paper, developed in LD20. Tim Rudman says that this graded paper liths well, but I am having trouble getting it to work effectively. The gold toning, for a shorter time than the previous print, has left some of the brown lith colour in the deepest shadows and imparted a similar blue tone to the rest of the image. Bearing in mind that this is a Grade 3 paper, the contrast in lith developer is actually lower than on the Fomatone Grade 2 paper, with retained shadow details and more detail in the highlights.

The third image is the same negative printed ‘straight’ on Adox Nuance Grade 3 paper, conventionally processed in Agfa Neutol WA developer and then selenium toned.

The fourth image is a print on Fomatone MG Classic, lith processed in LD20 and left untoned. Of the four, I prefer this end result the best, but it’s interesting to see the variety of colours that can be rendered using different papers, processing and toning.

If you enlarge the images by clicking on them you can have more than one open on the screen and move them around for comparison.

Experiments continue…

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