From: Darlington Media Group (postmaster@mediaworkshop.demon.co.uk)
Date: 08/05/00-03:00:33 PM Z
Hi Bernard.
I think that you have stumbled across the age old problem and I'm afraid
that there is no easy answer!
Lith prints achieve their loveley warm colours peach, apricot and other
'fruity' hues due to the small size of the colloidal silver. The super
restrained development needed to curtail the extreme exposure ensures this.
In the same way that POP and salt prints lose their wonderful post exposure
colour when fixed, a phenomena which has frustrated printers since Fox
Talbot, there is and can be no remedy. (apart from scanning your print
prior to fixation!)
The problem is compounded by the chemical reaction between the silver
thiosulphate and the gelatin substrate which reflects a more yellow/ brown
colour. Some small degreee of highlight bleaching and colour shift is
unavoidable, no matter which choice of fixing agent or dilution.
On a personal note, I do not like the colour of a lith print on Charcoal
(Art Classic on this side of the pond). The colour is a little too orangey
(another fruit!) for my taste. A dilute selenium toner, after the print has
been fully washed, produces a range of colours that are far more pleasing.
Cheers ...... Tony McLean.
>I need some assistance in handling the bleaching effect that I am
>getting when I placed a lith print in fix.
>I have tried rapid fix, regular fix, and dilute fix as suggested in Tim
>Rudman's book. It is more noticed using Luminos' Charcoal paper, but
>also noticed in Forte Elegance and Sterling Lith.
>any suggestions about avoiding or getting around this problem would be
>greatly appreciated.
>Bernard D. Herman
>the-hermans@erols.com
Why not take a look at the latest issue of Camera & Darkroom magazine?
http://www.camera-and-darkroom.co.uk
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