Developing silver gelatin prints in very dilute lith developer can produce very unique combination of high contrast shadows with creamy and colourful high lights within the same image. Anyone interested in this printing technique would do well to read how-to guides prepared by Fotospeed and Moersch, as well as works written by Tim Rudman on the topic* (some links below).
My favorite paper for the process is vintage Slavich Unibrom.
Lith can be a great way to use age-fogged papers, unsuited to other printing methods. ***I recommend testing your papers for lith-ability as described in the second paragraph of the Moersch document, above. Also when working with vintage papers, it is helpful to soak the paper for about 1 min. in warm water after making your exposure and before putting it into developer. This will help soften the emulsion uniformly, to compensate for any patchy hardening that may have occurred over the years, and ensure even development.
Lith can be a very effective way to restore contrast when printing thin negatives….
It is also useful way to make prints from badly fogged negatives or negatives prepared from colour films (into B&W)….
Lith can be tricky. When blacks begin to accelerate development you need to observe closely and ‘Snatch’ the print just before it achieves the look you are seeking, and plunge it into stop bath. A darkroom ‘torch’ can be handy here, for short term intense illumination. I use a floor lamp with darkroom safe red bulb that can be swiveled into place just for time it takes to check development.