Toning prints cold tones

Brom-Chloride Emulsions Brom-chloride emulsions contain more silver bromide than silver chloride. They are faster than chlor-bromide emulsions and used for projection panting where black images and speed printing are desired. Image tones of brom-chloride emulsions are not as warm as chlor-bromide images nor as cold as bromide images. 

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. 

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. 

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). 

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. 

Many substances will color prints. In fact, a beautiful and permanent warm tint can be achieved on many papers by using your morning coffee. 1 After fixing and a brief rinse in running water, immerse the print in cold or warm coffee until the desired brown tone is reached. Finish by washing the print in the usual manner. 

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. 

Expose the print so the desired density is reached in 2 i minutes at 68F/20C. To increase red-brown tones take equal parts of A and B. To increase cold brown tones decrease B, and for red tones increase B. 

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

Prints to be toned should be first soaked in cold water until limp, and then placed in Solution A until bleached. This should take about 60 seconds or less. The bleached prints should be immediately transferred to running water for at least 30 minutes. 

Use this bleach to convert all silver metal to silver bromide in a print prior to using the redevelopment method of toning (Chapter 8, Printing Methods and Techniques Redevelopment Method). After rehalogenating, any toning developer, warm or cold, can be used to give the purest tones possible. 

Redevelop the print in any warm or cold toning developer. 

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