As some of you know, I spent last week out at Photographer's Formulary taking a lith printing workshop under Tim Rudman. To say it was "good" is an understatement! Tim was awesome, relaxed, funny, and sort of...brilliant. I quite adore him. Okay, so most of my stuff went straight to "the learning bin" where it deserved, but that's okay, I learned a ton. I can't wait to practice more of these in my own darkroom - community darkrooms can be maddening! I met a lot of great people and it was so lovely to hang out with like-minded folks. And.....Montana is drop-dead BEAUTIFUL! :hail: I took a rather skimpy assortment of negatives, so some of these I've posted here before as other alternative processes. Lith printing is fascinating, not difficult, and tons of fun! I quickly learned that paper choice can yield significantly different results, so it's important to try several papers and learn to marry your negative with the paper for the look you want (where my lack of negatives kind of frustrated me, but that's okay). So here is an assortment: Kentmere Fineprint paper, overprinted by about 2 stops and developed in Fotospeed LD20 1:8. Great paper that gives nice warm tones: Fotospeed Lith paper, again about 2 stops over and ultimately toned briefly in gold. The paper without toning gives very soft warm tones that I tried to maintain in the upper highlights. This is an old Lensbaby shot that I'm not sure I scanned very well! Fomatone MG paper. This was a wild card paper as it gives some crazy colors. I picked one of my more adventurous HIE negatives and had to dodge quite a bit. Slavich paper. This paper had a reputation as being quite difficult to control so naturally, I wanted to try it. I really like the coarse gritty grain. Burned the doors in heavily and held back the edges, as they wanted to come in quickly in the lith developer. This was a challenging print and is my fave from the workshop. Thanks for looking!