[Leica] Toning vs. paper and print color.

[benedenia at gmail.com (Marty Deveney)]

I still _really_ love the look of my Forte Polygrade V prints toned
with Dassonville D-55, but for Ilford MG V FB the colour in D-55
didn't please me and I used the Ilford Selenium Toner or KRST instead,
at half strength.

Inkjet prints have their own charm, but I still prefer both the subtle
gradations in colour and the surface texture of FB silver paper.

Marty


On Mon, Aug 13, 2012 at 8:41 AM, Ken Carney <kcarney1 at cox.net> wrote:
> 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/
>
>
>
>
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