Toning prints warm tones

Excessive fixing times will promote adsorption or retention of the fixer complexes in gelatin, or more particularly on the fibers of paper base, and should be avoided. In addition, excessive fixing can bleach silver images, especially those on paper prints. Warm-tone images are particularly at risk. 

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. 

This information can be quite useful. For example, giving a print more than the usual exposure and developing it for less than the normal time, say 45 seconds to 1 minute, will often enhance warm tones, especially with chlorobromide papers. Using a warm-tone chlorobromide paper and developer combination will further heighten this effect. With bromide papers the results may be less than satisfactory as the color may be muddy olive depending on the paper. 

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. 

The B R process converts the metallic silver in a print back into clear silver halide by combining the metallic silver with a halide, or mixture of halides. Once the silver has been reconverted to a halide, the print is redeveloped with a toner, a toning developer, or any number of solutions that will cause the transparent halide to reappear, usually exhibiting a warm tone. 

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. 

As a rule, acid toners, such as PO P. Borax Toning Bath, act slowly and tend to be warm alkaline toners, such as P.O.P. Thiocyanate Toning Bath, act more quickly and tend to be cool, or blue. If gold toning is intended, trim the darkened edges from around the print so that you don t waste gold solution. 

This bicarbonate type toner gives warm red brown to cool brown to purple brown tonality depending on the depth of printing and depth of toning. It can be used immediately after mixing. 

Notes A derivative of hydroquinone, chlorhydroquinone was once a mainstay for warm-tone prints. Unfortunately, it is becoming increasingly hard to find, not because it is not useful as a warm-tone developing agent, but because it is both expensive and dangerous to manufacture. 

The quality of the negative plays an important part in the creation of warm tones by direct development. The best results are obtained from negatives of good contrast and printing density. 

Prints to be blue-toned should be developed in Dassonville D-3 Autotoning Developer. (Other warm-toned developers can be used, but they will probably not give as deep a blue tone. A warm-toned print will give a deeper blue than a cool-toned print D-3 will give very warm-toned results and correspondingly deep blues.)... 

After the prints are toned they should be wiped with a soft sponge and warm water to remove any sediment then washed for 1 hour in running water. 

The bath should be revived at intervals by the addition of further quantities of Solution B.The quantity to be added will depend on the number of prints toned and the time of toning. For example, when toning to a warm brown, add 4.0 ml of gold solution after each fifty 8X10 inch prints or their equivalent have been toned. 

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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