Cold tones

The most important skill a photographer can learn is how to adjust a formula to express a particular subject. For example, fine-art photographer, Paul Caponigro, has been known to mix varying proportions of warm-tone developer with cold-tone developer to create an altogether new tone for a specific subject or body of work. In printing, more than any other area of the darkroom, the only rules are those you make for yourself. 

Bromide papers are generally the most sensitive to light and almost always give neutral or cold (blue-black) tones. They are the best papers with which to achieve cold tones through direct development, as opposed to toning after development. Bromide papers include Kentmere Bromide and Slavich Unibrom 160 . 

Chlorobromide papers are the most commonly used today. As the name implies, they are a compromise between the fast bromide and the slow chloride papers. Chlorobromide papers are usually slower than bromides. The percentage of bromide to chloride can allow manufacturers to create either warm- or cold-toned papers with a variety of sensitivities. Examples of chlorobromide papers include Ilford MG IV and Warmtone , Kentmere Kentona , Fomatone MG Classic VC , Slavich Bromportrait , and Fotokemika Emaks . 

Changes and variations in image tone may not always be as glaringly apparent. Often the difference is subtle, so much so that someone viewing a print might not even be aware that it is neutral, cool, or warm, unless the fact is drawn to their attention, or they see an example of each, side-by-side. The simplest test to determine whether or not a paper is cold-, warm-, or neutral-toned, is to develop it for two minutes in a neutral tone developer such as D-72 and compare it to other papers developed similarly. If a paper is warm- or cold-toned the color can be seen in the shadows. 

Neutral Tones Neutral-tone developers produce images with the least amount of bias toward either warm or cold tones. This does not mean that some bias may not exist, depending on the paper, only that it will be less pronounced than if a warm- or cold-tone developer is used. 

To use this method, expose, develop in a neutral tone developer, fix, and wash a print in the usual manner. Next, use Print Rehalogenating Bleach (Formulas Print Reducers Print Rehalogenating Bleach) to convert all silver metal to silver bromide. Then rinse for 5 minutes and redevelop using any toning developer of your choice (this includes cold-tone developers). 

There are three ways to achieve cold tones. The first is through direct development of bromide paper. The second is through the gold-toning of a warm-tone chlorobromide paper. The third method is immersion in a blue-toning bath (Formulas Toners, Ansco 241 Iron Blue Toner). 

Method 1. The classic developing agent for creating cold tones on bromide papers is amidol. However, PQ developers using organic antifoggant, such as benzotriazole, will also increase the amount of cold image tone in a print (Formulas Paper Developers, Blue-Black Developer). In either case the results are usually very subtle. 

Method 3. Blue-toning baths cause the entire print to be blue, including the paper base. This is not a true cold tone rather it is overall blue toning. 

A final tip for increasing cold tones, which can be used in conjunction with any of the techniques just mentioned, is to decrease exposure and prolong development to 5 or 6 minutes. With some papers, though not all, the print will exhibit stronger blacks, tending toward blue. 

Another combination is to use any sepia or polysulfide toner, then Kodak T-26 Blue Toner. To use this combination, wash the print thoroughly after using sepia or polysulfide toner then use T-26 as per directions. The red tone should appear after approximately 15 to 30 minutes in this solution at 90F/32C. This technique usually produces a density loss in the shadows. Start with a print that has higher-than-normal contrast. Cold-tone papers will produce a truer red warm-tone papers will produce an orange hue. 

Chromium Intensification for Prints The technique is to bleach the print and then redevelop it in a non-staining developer, just as you would for a negative. Slow chlorobromide and chloride papers respond best to this technique. Cold-toned and bromide papers don t respond as well to chromium intensification, but changes will occur. If in doubt, give it a try. 

Add BB solution 10.0 to 15.0ml at a time to neutral or cold tone print developers until the... 

IT-2 tends to give cold tones. If warmer tones are desired add the following solution. 

Sulfide Sepia Toner For cold-tone papers... 

Redevelop the print in any warm or cold toning developer. 

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