Archived posting to the Leica Users Group, 2012/08/12
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]OK, this drove me to my photo library (the part that is left in print, that is). In it I find a Kodak Photographic Notebook containing several publications, including "Processing Chemicals and Formulas" (first 1965 printing), $1.00). In that I find my notes for favorite films: TriX in Rodinal 1:100 in sodium sulfite solution, and Adox KB-14 in Stockler two-bath developer. My standard silver paper was Seagull graded, toned in selenium, also Agfa Portriga toned in gold toner. Now life is much simpler in a way. Epson 3880 printer in advanced b&w mode, setting "dark", toning set to +3 in both directions on the wheel. Pretty much nails a neutral print without the need for a RIP. Plus I can have a Lagavulin, a risky venture in the darkroom. Ken -----Original Message----- From: lug-bounces+kcarney1=cox.net at leica-users.org [mailto:lug-bounces+kcarney1=cox.net at leica-users.org] On Behalf Of Mark Rabiner Sent: Sunday, August 12, 2012 3:09 PM To: Leica Users Group Subject: [Leica] Toning vs. paper and print color. I just got one my first photography books back from Portland Storage last week its a real thrill I think I got my MOJO back for sure now. Its the Kodak Master Darkroom Dataguide $3.95 3rd edition first 1969 printing. http://s.ecrater.com/stores/108769/4c8ac0f969c3e_108769n.jpg In it under one tab its got paper samples. I remember they started talking about print color and paper color in the first one I got just like this in 1964. I was as a 12 year old not happy to read this. Isn't this black and white photography we are talking about? Why do I have to know stuff about color if I'm doing black and white here in my mothers laundry room? Well the paper samples in the book themselves show some of the papers are yellowish and some are much more white and are rather cool. The bromide papers. My main point is this. Toning does not add color to an otherwise black and white print. It just alters it. In many cases of course the color result from toning makes for an image with much more apparent color than one which is left alone. But for the most part toning is for making a print with a more refined and better color than the paper image color. And in the last decades of darkroom work in the last half of the century the toner which dominated was selenium. For the most part it was Kodak Rapid selenium toner which was used a one or two ounces to a quart for 3 or 4 minutes after two fixes and a hypo clear bath. And although it improved print color by getting the green out and imparting a subtle purplish tone to prints, bromide or chloride its main reason for being used was permances. And it strengthened your blacks. A serious print collector or gallery would expect this. Prints without a hint of green in it. It was not optional. My detractors on the list may say this is my quirky opinion and represents a convoluted approach to darkroom work. Its not. Its darkroom 101. Maybe 201. And represented the way any serious printer in the past decades worked. Not commercial work and PJ's of course who printed on RC paper. But gallery stuff printed on fiber. And certain serious portrait work. My first darkroom Dataguide I think was dated 1965. Mark William Rabiner Photography http://gallery.leica-users.org/v/lugalrabs/ _______________________________________________ Leica Users Group. See http://leica-users.org/mailman/listinfo/lug for more information