Cor Breukel (cor@ruly46.medfac.leidenuniv.nl)
Fri, 09 Apr 1999 10:27:56 +0200 (MET DST)
First on toning: Although not dedicated on toning, Tim Rudmen's "The
master B&W Printing Course (or something like that, just don't like the
title, but that's obviously personal)" is an excellent book, and has a
nice chapter on toning, got me started on it, also formula's are there:
these are the "basic" ones as I discovered later on, about on the same
line as Anschell's, with the big bonus of good descriptions and example
photographs.
Sil wrote:
> > on the subject, but most of it is in articles published in the 1960's when I
> > was doing a lot of experimentation in the field. As far as I know, there is no
> > single book that covers just toning. It seems to be almost a lost art, what
> > with the preponderance of color prints. Also, permanence is suspect with all
> > toning outside of sepia (sulfide) and selenium.
>
Judy answered:
> Well, there's also gold, even palladium... and I suspect BTW (maybe you
> can comment on this, Sil) that you can improve archivality of some of the
> others (like copper) by selenium toning after other toning. Just don't
> overbleach, there should be some silver left...
..well if you copper or iron tone you form a coloured pigment at the
expense of the metalic silver, so there isn't much left to protect with
either selenium or sulphide toning, these formed pigments are (much?) less
stable than the metalic silver (info from an article generously provided
by Richard Knoppow). You can first (slightly) tone with selenium
(protecting the shadow parts) or Thiourea (protecting the highlights) and
tone secondly with copper or iron or both (but this still leaves you with
a less stable pigment), but the effects can be quite interesting..
Cor Breukel
http://ruly70.medfac.leidenuniv.nl/~cor/cor.html
"The Infrared Gallery"
http://ruly70.medfac.leidenuniv.nl/~cor/ir-gallery.html
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