Rudi,
yours are nice, too, esp. the 2nd and 4th!
I use Maco LP Lith chemistry (still got some old stock left, not the new Superlith), but I use rather higher dilutiona (about 2+1+15 to 20), with about 1 to 2 parts of 10& Potassiumbromid (Kaliumbromid in German) added for extra color (careful with that - too much and your shadows will be flat), and sometimes a bit of sodium sulphite to prevent pepper fogging, if necessary.
The first and the two last pics are on Fomatone MG FB (the easiest paper to work with in lithing - nice orange-pinkish colors are reached easily, and shadows don't block up as fast as with other papers - just the slightly greenish mid-band is occasionally distracting), all the others are on Forte Polywarmtone (or ClassicArts Polywarmtone, which is the same) - yes, the PWT gives more brownish tones, you'll need really dilute developer (which means that with tests and all you can make about 2 to 4 prints max before the developer hass gone bad) plus KBr, to get the pinkish tones you see e.g. in my Lake Balaton print - also, contrastier negs help a bit, since you have to expose those longer on the paper, which will also bring more color. And as last resort for ornage-golden-pinkish tones, you might try first toning in a 2-part sepia kit (you know, those with seperate bleach and tone stages), and then dip the print into gold toner.
I also made a lith print first for Joe - but sent him a regular print instead (was not completely happy with the lith print, it was too dark and brooding, and also I wasn't sure whether he'd like it, since most of his own pics are rather straightforward B&W).
Roman
