Neutral-tone developers

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). 

Develop, fix, and wash a print in the usual manner. Use a neutral tone developer such as Kodak D-72. 

Bromide is generally used in paper developers when a warm or neutral tone is desired. The more bromide, the warmer the tone, though too much bromide will inhibit development in the shadow areas and fogging may occur. 

The easiest method to achieve warm tones is to choose a paper that is susceptible through direct development. These include Ilford Multigrade FB Warmtone, Kentmere Kentona, and Fotokemika Emaks. Though there used to be many more papers of this variety manufacturers have moved away from making them in favor of neutral-tone papers.2 While this is a loss to fine-art photographers, warm tones can still be achieved—and in great variety—through the use of toners. 

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 . 

A plain hypo bath is often used prior to toning and sometimes as the second bath in a two-bath system, ft has a short tray life and is not efficient at neutralizing alkali brought over from the developer. Used as the first bath with paper (Fixing Paper, below), or as the primary bath for film, a plain hypo bath may cause stains and other problems. For these reasons, it is not considered suitable for general applications or as a first bath. 

Notes Amidol is one of the finest developing agents for blue-black tones on soft-emulsion bromide paper. It is also capable of creating neutral-blacks with a fine scale and transparency in the shadows. 

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

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