Jonathan Bailey (quryhous@midcoast.com)
Tue, 18 May 1999 16:40:59 +0000
Greetings-
Judy Seigel wrote:
>>As far as hardening fixer inhibiting toning, my experience, BTW, is that
>>it doesn't with the, let's call it dynamite toners. I used to teach toning
>>workshops where students brought their ready-made prints to tone, all of
>>which had been fixed with hardener. I never noticed any difference in the
>>way theirs toned, and the way my own prints toned in the same formulas, my
>>own having been fixed in non-hardening fix.
Agreed. The toners which utilize strong bleaches will be fairly
uneffected. All bleach/redevelop toners and copper toners come immediately
to mind.... Split-toning, especially with gold toners is, in my experience,
far more temperamental - more like pinot noir than zinfandel.
>>I myself don't see any particular reason for a hardener in fix,
I've never heard a convincing argument for its use.
Richard Knoppow wrote:
>Nelson's Gold is a sepia or brown toner covered by a (now expired)
>patent. I think you are confusing it with the Gold toner used to produce
>blue tones. That toner can be used in a similar way to Selenium to protect
>the image silver. Kodak formula GP-1 is a weak thiocarbamide-gold toner for
>this purpose.
The GP-1 (ie -"Gold Protective") formula was historically used for archival
enhancement - it fell from use due to its expense. When it's used in
stronger dilutions, or for extended amounts of time it will shift the print
color blue - although not dramatically. And in my experience, this is true
for either warm or cold tone papers.
GP-1 contains sodium thiocyanate and gold chloride. I believe it is the
GP-2 gold toner which contains thiocarbimide. I have a formula for GP-2,
but have no experience using it. It is on the list of things to try....
(Douglas Nishimura of The Image Permanence Institute at RIT was kind enough
to send me the formula - according to his letter, it seems to be used
mainly for films, but I see no reason not to try it on papers!)
I use the GP-1 gold toner frequently. Like many gold-based toners it has
significant potential for stunning visual effects. (Here comes a shameless
plug:) The next issue of Judy Seigel's "The World Journal of Post-Factory
Photography" (due out, perhaps, any minute) will contain an in depth
description of my use (or abuse) of this interesting toner. Stay tuned!!
>When a previously sepia toned print is treated in a gold blue toner it
>turns red.
My understanding and experience is that this particular combination of
sepia and gold to achieve red tones utilizes the Gold-231 formula (which
contains ammonium thiocyanate and gold chloride - and also sodium
thiosulfate when used to achive the red tones specifically). But with all
of these unusual applications results and experience will vary - I'd love
to know more....
Best -
Jon Bailey
This archive was generated by hypermail 2.0b3 on Thu Oct 28 1999 - 21:39:34