Trays for toning

[I did a quick search on this topic but didn't see any useful
replies.]

What are peoples' habits regarding toner trays: do you reuse one of
your regular developing trays, have a separate tray set aside for all
toners, use separate trays for different toners to limit
contamination, etc.? I understand that archival selenium toning can
done during the developing process, but I'm mostly concerned with
toning to change print color.

Thanks in advance,

MS

"Mike Schuler" wrote in message
om...
[I did a quick search on this topic but didn't see any
useful
replies.]

What are peoples' habits regarding toner trays: do you
reuse one of
your regular developing trays, have a separate tray set
aside for all
toners, use separate trays for different toners to limit
contamination, etc.? I understand that archival selenium
toning can
done during the developing process, but I'm mostly
concerned with
toning to change print color.

Thanks in advance,

MS

I use the same trays for everything but clean them very
thoroughly after each use. Its probably better practice to
use dedicated trays.
Selenium toner can provide considerable protection to
both prints and film but Kodak Rapid Selenium Toner is no
longer the default treatment for microfilm due to a change
in its behavior. This is probably due to some change in its
contents. Kodak states that they have not change the formula
or method of making it but there may be a difference in some
impurity which is now missing. The standard toner for
protection of microfilm is either a Polysulfide toner, like
Kodak Brown Toner or Agfa Viradon, or a Gold and
thiocarbamide toner. Kodak GP-2 being an example. Gold
toners are very effective but expensive.
For the most part pictorial films are coarse grained
enough not to be too vulnerable to oxidation and don't need
routine toning for protection.
If you tone for a color change you will be toning prints
enough to get full protection from KRST, or other Selenium
toner, or any sulfiding toner, or a Gold toner. Toners using
ferricyanide to replace the silver with a metal, such as
Iron-Blue, or Copper toner, does not result in a permanent
image. These images are less permanent than untoned silver.
Sulfiding toners should be kept away from other processes.
Sulfide is a prodigeous fogging agent if it gets into
developer, and its gasses can fog undeveloped film or paper.
So, do your toning away from where such materials are
stored.
I have not experienced any problems from trays used for
Kodak Sepia Toner, which uses a Sodium sulfide bath for
redevelopment, but I clean all trays immediately after use
with diswashing detergent and warm water. I also
occasionally use a dichromate bleach. This used to be the
standard method of washing photographic processing gear and
laboratory glassware. However, potassium dichromate is now
considered a carcinogen so made-up tray and tank cleaners
are not generally available. They must be made up from the
dichromate and sulfuric acid. While the mixed cleaner is not
particularly dangerous the components are, so I don't really
recommend the stuff.


--
---
Richard Knoppow
Los Angeles, CA, USA

John Walton wrote:

This is a little off-topic, but speaking of "impurities" -- the New Jersey
pharmaceutical lobby (think Premarin, I believe it was American Home
Products which is now Wyeth) was succesfully able to keep synthetic
progestrone off the market since their manufactured product had an
"impurity" which the FDA deemed to have some kind of pharmacological effect.
Thanks to Senators Lautenburg and Toricelli for keeping drug costs high in
the entire U.S.

Ah progesterone, the drug of choice for my menstrual disorders :-) A "little"
off topic? Are you kidding? Go join a woman's health nsg.

"Richard Knoppow" wrote in message
nk.net...

"Mike Schuler" wrote in message

What are peoples' habits regarding toner trays: do you reuse one of
your regular developing trays, have a separate tray set aside for all
toners, use separate trays for different toners to limit
contamination, etc.? I understand that archival selenium toning can
done during the developing process, but I'm mostly concerned with
toning to change print color.

I tend to use the same tray for developing, simply because the developer stains
make it easy to identify. Other than that, or in spite of that, it makes little
difference. As long as you throughly wash trays after each use you can use them
for any solution.



Thanks in advance,

MS

I use the same trays for everything but clean them very
thoroughly after each use. Its probably better practice to
use dedicated trays.
Selenium toner can provide considerable protection to
both prints and film but Kodak Rapid Selenium Toner is no
longer the default treatment for microfilm due to a change
in its behavior. This is probably due to some change in its
contents. Kodak states that they have not change the formula
or method of making it but there may be a difference in some
impurity which is now missing. The standard toner for
protection of microfilm is either a Polysulfide toner, like
Kodak Brown Toner or Agfa Viradon, or a Gold and
thiocarbamide toner. Kodak GP-2 being an example. Gold
toners are very effective but expensive.
For the most part pictorial films are coarse grained
enough not to be too vulnerable to oxidation and don't need
routine toning for protection.
If you tone for a color change you will be toning prints
enough to get full protection from KRST, or other Selenium
toner, or any sulfiding toner, or a Gold toner. Toners using
ferricyanide to replace the silver with a metal, such as
Iron-Blue, or Copper toner, does not result in a permanent
image. These images are less permanent than untoned silver.
Sulfiding toners should be kept away from other processes.
Sulfide is a prodigeous fogging agent if it gets into
developer, and its gasses can fog undeveloped film or paper.
So, do your toning away from where such materials are
stored.
I have not experienced any problems from trays used for
Kodak Sepia Toner, which uses a Sodium sulfide bath for
redevelopment, but I clean all trays immediately after use
with diswashing detergent and warm water. I also
occasionally use a dichromate bleach. This used to be the
standard method of washing photographic processing gear and
laboratory glassware. However, potassium dichromate is now
considered a carcinogen so made-up tray and tank cleaners
are not generally available. They must be made up from the
dichromate and sulfuric acid. While the mixed cleaner is not
particularly dangerous the components are, so I don't really
recommend the stuff.


--
---
Richard Knoppow
Los Angeles, CA, USA

This is a little off-topic, but speaking of "impurities" -- the New Jersey
pharmaceutical lobby (think Premarin, I believe it was American Home
Products which is now Wyeth) was succesfully able to keep synthetic
progestrone off the market since their manufactured product had an
"impurity" which the FDA deemed to have some kind of pharmacological effect.
Thanks to Senators Lautenburg and Toricelli for keeping drug costs high in
the entire U.S.

"Richard Knoppow" wrote in message
nk.net...

"Mike Schuler" wrote in message
om...
[I did a quick search on this topic but didn't see any
useful
replies.]

What are peoples' habits regarding toner trays: do you
reuse one of
your regular developing trays, have a separate tray set
aside for all
toners, use separate trays for different toners to limit
contamination, etc.? I understand that archival selenium
toning can
done during the developing process, but I'm mostly
concerned with
toning to change print color.

Thanks in advance,

MS

I use the same trays for everything but clean them very
thoroughly after each use. Its probably better practice to
use dedicated trays.
Selenium toner can provide considerable protection to
both prints and film but Kodak Rapid Selenium Toner is no
longer the default treatment for microfilm due to a change
in its behavior. This is probably due to some change in its
contents. Kodak states that they have not change the formula
or method of making it but there may be a difference in some
impurity which is now missing. The standard toner for
protection of microfilm is either a Polysulfide toner, like
Kodak Brown Toner or Agfa Viradon, or a Gold and
thiocarbamide toner. Kodak GP-2 being an example. Gold
toners are very effective but expensive.
For the most part pictorial films are coarse grained
enough not to be too vulnerable to oxidation and don't need
routine toning for protection.
If you tone for a color change you will be toning prints
enough to get full protection from KRST, or other Selenium
toner, or any sulfiding toner, or a Gold toner. Toners using
ferricyanide to replace the silver with a metal, such as
Iron-Blue, or Copper toner, does not result in a permanent
image. These images are less permanent than untoned silver.
Sulfiding toners should be kept away from other processes.
Sulfide is a prodigeous fogging agent if it gets into
developer, and its gasses can fog undeveloped film or paper.
So, do your toning away from where such materials are
stored.
I have not experienced any problems from trays used for
Kodak Sepia Toner, which uses a Sodium sulfide bath for
redevelopment, but I clean all trays immediately after use
with diswashing detergent and warm water. I also
occasionally use a dichromate bleach. This used to be the
standard method of washing photographic processing gear and
laboratory glassware. However, potassium dichromate is now
considered a carcinogen so made-up tray and tank cleaners
are not generally available. They must be made up from the
dichromate and sulfuric acid. While the mixed cleaner is not
particularly dangerous the components are, so I don't really
recommend the stuff.


--
---
Richard Knoppow
Los Angeles, CA, USA

Mike Schuler wrote:

Perhaps if I add progesterone to my darkroom chemicals it help me develop...

Viagra would likely be more appropriate, to sustain the activity of the
developer :-)

Tom Phillips wrote in message ...
John Walton wrote:

This is a little off-topic, but speaking of "impurities" -- the New Jersey
pharmaceutical lobby (think Premarin, I believe it was American Home
Products which is now Wyeth) was succesfully able to keep synthetic
progestrone off the market since their manufactured product had an
"impurity" which the FDA deemed to have some kind of pharmacological effect.
Thanks to Senators Lautenburg and Toricelli for keeping drug costs high in
the entire U.S.

Ah progesterone, the drug of choice for my menstrual disorders :-) A "little"
off topic? Are you kidding? Go join a woman's health nsg.

"Richard Knoppow" wrote in message
nk.net...

"Mike Schuler" wrote in message

What are peoples' habits regarding toner trays: do you reuse one of
your regular developing trays, have a separate tray set aside for all
toners, use separate trays for different toners to limit
contamination, etc.? I understand that archival selenium toning can
done during the developing process, but I'm mostly concerned with
toning to change print color.

I tend to use the same tray for developing, simply because the developer stains
make it easy to identify. Other than that, or in spite of that, it makes little
difference. As long as you throughly wash trays after each use you can use them
for any solution.



Thanks in advance,

MS

I use the same trays for everything but clean them very
thoroughly after each use. Its probably better practice to
use dedicated trays.
Selenium toner can provide considerable protection to
both prints and film but Kodak Rapid Selenium Toner is no
longer the default treatment for microfilm due to a change
in its behavior. This is probably due to some change in its
contents. Kodak states that they have not change the formula
or method of making it but there may be a difference in some
impurity which is now missing. The standard toner for
protection of microfilm is either a Polysulfide toner, like
Kodak Brown Toner or Agfa Viradon, or a Gold and
thiocarbamide toner. Kodak GP-2 being an example. Gold
toners are very effective but expensive.
For the most part pictorial films are coarse grained
enough not to be too vulnerable to oxidation and don't need
routine toning for protection.
If you tone for a color change you will be toning prints
enough to get full protection from KRST, or other Selenium
toner, or any sulfiding toner, or a Gold toner. Toners using
ferricyanide to replace the silver with a metal, such as
Iron-Blue, or Copper toner, does not result in a permanent
image. These images are less permanent than untoned silver.
Sulfiding toners should be kept away from other processes.
Sulfide is a prodigeous fogging agent if it gets into
developer, and its gasses can fog undeveloped film or paper.
So, do your toning away from where such materials are
stored.
I have not experienced any problems from trays used for
Kodak Sepia Toner, which uses a Sodium sulfide bath for
redevelopment, but I clean all trays immediately after use
with diswashing detergent and warm water. I also
occasionally use a dichromate bleach. This used to be the
standard method of washing photographic processing gear and
laboratory glassware. However, potassium dichromate is now
considered a carcinogen so made-up tray and tank cleaners
are not generally available. They must be made up from the
dichromate and sulfuric acid. While the mixed cleaner is not
particularly dangerous the components are, so I don't really
recommend the stuff.


--
---
Richard Knoppow
Los Angeles, CA, USA

Perhaps if I add progesterone to my darkroom chemicals it help me develop...


Tom Phillips wrote in message ...
John Walton wrote:

This is a little off-topic, but speaking of "impurities" -- the New Jersey
pharmaceutical lobby (think Premarin, I believe it was American Home
Products which is now Wyeth) was succesfully able to keep synthetic
progestrone off the market since their manufactured product had an
"impurity" which the FDA deemed to have some kind of pharmacological effect.
Thanks to Senators Lautenburg and Toricelli for keeping drug costs high in
the entire U.S.

Ah progesterone, the drug of choice for my menstrual disorders :-) A "little"
off topic? Are you kidding? Go join a woman's health nsg.

"Richard Knoppow" wrote in message
nk.net...

"Mike Schuler" wrote in message

What are peoples' habits regarding toner trays: do you reuse one of
your regular developing trays, have a separate tray set aside for all
toners, use separate trays for different toners to limit
contamination, etc.? I understand that archival selenium toning can
done during the developing process, but I'm mostly concerned with
toning to change print color.

I tend to use the same tray for developing, simply because the developer stains
make it easy to identify. Other than that, or in spite of that, it makes little
difference. As long as you throughly wash trays after each use you can use them
for any solution.



Thanks in advance,

MS

I use the same trays for everything but clean them very
thoroughly after each use. Its probably better practice to
use dedicated trays.
Selenium toner can provide considerable protection to
both prints and film but Kodak Rapid Selenium Toner is no
longer the default treatment for microfilm due to a change
in its behavior. This is probably due to some change in its
contents. Kodak states that they have not change the formula
or method of making it but there may be a difference in some
impurity which is now missing. The standard toner for
protection of microfilm is either a Polysulfide toner, like
Kodak Brown Toner or Agfa Viradon, or a Gold and
thiocarbamide toner. Kodak GP-2 being an example. Gold
toners are very effective but expensive.
For the most part pictorial films are coarse grained
enough not to be too vulnerable to oxidation and don't need
routine toning for protection.
If you tone for a color change you will be toning prints
enough to get full protection from KRST, or other Selenium
toner, or any sulfiding toner, or a Gold toner. Toners using
ferricyanide to replace the silver with a metal, such as
Iron-Blue, or Copper toner, does not result in a permanent
image. These images are less permanent than untoned silver.
Sulfiding toners should be kept away from other processes.
Sulfide is a prodigeous fogging agent if it gets into
developer, and its gasses can fog undeveloped film or paper.
So, do your toning away from where such materials are
stored.
I have not experienced any problems from trays used for
Kodak Sepia Toner, which uses a Sodium sulfide bath for
redevelopment, but I clean all trays immediately after use
with diswashing detergent and warm water. I also
occasionally use a dichromate bleach. This used to be the
standard method of washing photographic processing gear and
laboratory glassware. However, potassium dichromate is now
considered a carcinogen so made-up tray and tank cleaners
are not generally available. They must be made up from the
dichromate and sulfuric acid. While the mixed cleaner is not
particularly dangerous the components are, so I don't really
recommend the stuff.


--
---
Richard Knoppow
Los Angeles, CA, USA

Oh mai non, CIALIS (Tadalafil)is the Lance Armstrong of the woody world...
dr. denny

" Viagra would likely be more appropriate, to sustain the activity of the
developer :-)

Perhaps if I add progesterone to my darkroom chemicals it help me develop...

Viagra would likely be more appropriate, to sustain the activity of the
developer :-)

A tray of exhausted developer can be kept active all night by adding a
10% solution of ephedra sulfite, start by adding 50-75 ml per liter of
working solution. If the tray empties it self out and begins to clean
the darkroom and babble incoheriently , you have exceded the usefull
concentration.