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More toning questions
"Lew" wrote in message ... Ok, thanks for responses to my previous, typographically impared thread. The Rudman books are in transit and I've decided to work initially with Ilford Multigrade Warmtone FB. While I'm waiting for the books to arrive, the following questions occur to me: 1. Suggestions for the developer that will produce the warmest tone I can obtain with the Ilford paper. I have a fully stocked supply of raw chemicals, so any published formula is ok. 2. Will the choice of developer affect the tones I get subsequently through toning? 3. Has anyone had success dying the paper base in combination with toning? ... or is this a totally ridiculous idea? Developer will have some effect on original image color and toning. In general warm tone paper has somewhat finer silver grains than neutral or cold tone paper. It is the size of the grains that largely determines the color of silver images. Fine silver grains generally tone more rapidly than coarse grains partly because of the ratio of volume to surface area, but note that this is not a strict rule. Any developer that tends toward a warmer image color will generally promote toning. The warmer the original image color the warmer (yellower) the toned image will be, at least in sulfiding toners. Again as a rule of thumb only the less active the developer the warmer the image color. Some special developer exist that will produce very warm silver images but usually at the expense of speed and sometimes maximum black. Also, in general, modern paper emulsions don't respond nearly as much to variations in developers or to manipulation of development time and exposure as the classic papers did. About the only way to determine the final results of a combination of paper, developer, and toner, is to make test prints. Indirect sulfide toner, that is, the bleach and redevelop kind, work well on cold or neutral paper. They tend to produce too yellow an image on warm tone paper. Direct toner, that is, single bath toners, are the opposite, they tend to produce too cold an image color, or no change, on cold or neutral tone paper but work well on warm tone paper. At present Kodak makes three toners as described in my original post. I have no idea of how long these will stay in production but all work as advertised and are reliable. Since none of the formulas is a secret others make very similiar toners. Photographer's Formulars for instance has several. Most sulfiding type toners are pretty easy to make from scratch but Selenium toner is not plus selenium is fairly toxic. You will find other types of toners. Not all have image protection properties. The standard for decades for protection of microfilm images is a gold toner. This is very effective but expensive. On warm tone paper gold toner tends to produce a slate blue color. If it is applied to an image previously toned with a sulfide toner it turns brick red. By partially toning in sulfide and then retoning in gold the shadows will be blue and highlights red or yellow-red. Metal substitute toners, like Iron-Blue toner (Kodak T-11) or copper toner, produce images which are less stable than the original silver although the image colors can be interesting. Papers used to come in a wide variety of stock tints, from pure white or even slightly blue-white to old ivory. For the most part these disappeared when color became cheaper. The stock tint has a strong effect on appearent image color. The same emulsion on a warm stock will appear much warmer whether toned or not than the on a white stock. It _is_ possible to tint paper stocks but not RC stocks. The problem is that the tint in the original tinted stock was also in the substrate of the paper. I don't know what sort of dyes to use but I am sure there are articles describing the process. There was a vogue for a time of "toning" in tea but the tea really only stains the paper and emulsion. I think this stain is pretty permanent. Its worth trying on a scrap print. I am not sure if Tim Rudman discusses this in his book. -- Richard Knoppow Los Angeles, CA, USA |
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