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List of Chapters
- About this book
- Toning – general considerations
- What’s going on?
- Practical issues affecting toning
- Sepia toning
- Polysulphide-based toners (including Viradon, Poly-Toner and Brown toner)
- Selenium toning
- Gold toning
- Blue toning
- Copper toning
- Green toning
- FSA toning (a.k.a. thiourea dioxide or Manotone)
- Silver and bronze mirror toners
- ‘Toning’ with tea, coffee and gelatine dyes
- Selective toning
- Multiple toning techniques
- Multi toner kits
- Toning & processing for archival permanence
- Toning negatives
- Print finishing
- Useful printing controls for toning
- Reference section:
- DIY toning
- Formulary
- Glossary of terms
- FAQs
- Toner search by colour
- Colour search by toner
- Toner characteristics table
- F-stop table
- Making up solutions
- Weights & measures
- Temperature conversion table
- Useful websites, internet discussion groups and references
- Useful addresses
Expanded Contents
- About this book
- The Rise and Rise of Colourful Monochrome
- What is this book for?
- Who is this book for?
- ‘KIS and Make up’
- Chapter structure
- The images
- Step wedges
- A word about ‘chemistry’
- Toning – general considerations
- Definition
- Historical perspective
- Classifications of Toners
- Why tone?
- Aesthetics of toning
- The place of technique
- What’s going on?
- The emulsion
- When light falls…
- Development
- Fixing
- Bleaching and ‘re-halogenising’
- Redeveloping and toning
- Re-fixing?
- Practical issues affecting toning
- Equipment you will need
- Making prints for toning:
- Choice of Papers
- Choice of Developer
- Choice of Water
- Choice of Printing Technique
- Choice of Stop bath
- Choice of Fixer
- Choice of Washing Process
- Choice of Drying Method
- Choice of Bleach
- Choice of working place
- Choice of Image
- Do’s and don’ts of toning - Top Toning Tips
- Sepia toning
- Introduction
- Archival status
- ‘The Sepias’ – Types of sepia toner
- Full sepia toning with thiocarbamide
- ‘Pre-sulphiding’
- ‘Pre-developing’
- Split toning
- Printing modifications for sepia toning
- Triple band toning
- ‘Gould’s technique’
- Reverse split sepia toning
- Local toning
- Easy ‘tweaking’ of the formulations
- Practical tips for sepia toning
- Defender formulae
- Hypo-Alum toning
- Polysulphide-based toners (including Viradon, Poly-Toner and Brown toner)
- General
- Background
- Aesthetic considerations
- Archival status
- Toner types and main players
- Choice of paper and processing
- Caution: That smell!
- Basic applications and procedures for direct toning
- Colour and density changes
- Staining
- Surface deposit
- Post-toning treatment & re-fixing
- Printing Modifications for polysulphide toning
- ‘Toning in the wash’
- Polysulphides as indirect toners
- Polysulphide and gold toning
- Home Made Products
- Polysulphide sepia toner (Kodak T-8)
- Print Hardener, Kodak SH-2
- Home-made ‘Poly-Toner’ equivalent
- Silverlock
- Further options
- Toxicity, precautions, disposal
- Practical tips for polysulphide toning
- Selenium toning
- General background
- Archival status
- The main players
- Principal uses of selenium toner
- Improving archival permanence
- Enhancing Dmax
- Changing image ‘tone’ or colour
- Selenium staining
- Printing modifications for selenium toning
- Surface deposits.
- Washing tips
- Simple split-toning
- Bleach to split-tone
- Selenium sulphide toning
- Bleach and redevelopment before selenium toning
- ‘Selenium-to-bleach’ techniques
- ‘Chinese’ prints
- The toxicity debate
- Practical tips foe selenium toning
- Gold toning
- Background
- Archival status
- Current use, types of gold toner
- Printing modifications for direct gold toning
- The colour of gold
- Simple direct gold toning
- Staining with gold toner
- Direct gold toning of ‘sulphided’ prints
- Bleaching Techniques and gold toning
- Post toning fixing
- Nelson’s Gold Toner
- GP-1 Gold Protective Solution
- Gold toning and the Alternative Processes
- Practical tips for gold toning
- Blue toning
- Preamble: Toning with ‘Metallic Ferrocyanides’
- Iron blue toners
- Archival status
- Commercial kits – varieties and main players
- Choice of papers
- Standard Procedure for monobath blue toners
- ‘Pre-colour toning’
- Staining
- Post-toning baths
- Re-fixing?
- Washing
- Drying
- Two-Bath Blue Toners.
- ‘Porcelain Blue’
- Cyan toner
- Printing modifications for blue toning
- Simple variations to standard toning
- Changes in colour
- Blue toner formula
- Blue Sabatier effect
- Extended clearing
- ‘Untoning’
- Split-Toning with Zinc Chloride
- Clearing up
- Practical tips for blue toning
- Copper toning
- Description
- Archival status
- The colour of copper
- Choice of papers
- Choice of fixer
- Basic toning procedure
- ‘Pre-colour toning’
- Full toning
- Re-fixing after toning
- Capacity
- Surface marks
- Printing modifications for copper toning
- Toning already made prints
- Further controls
- Tone, develop and re-tone
- Tone and partially re-develop
- Tone, fix and re-tone
- ‘Tweaking’ the toner
- Adjusting the colour
- Post-toning baths
- Copper toner formulae
- Practical tips for copper toning
- Green toning
- Background
- Aesthetic considerations
- Technical considerations
- Routes to green tones in prints
- Ready-made toners. The main players
- Archival status
- Choice of papers
- Fotospeed GT20 Green Toner
- Staining
- Controlling the process
- Intensification vs. stability. Re-fixing
- Speedibrews Evergreen Toner
- Printing modifications for ‘single’ green toners
- Brown prints from green toner
- Other routes to greens
- Sepia (+/- gold) and blue
- Blue and sulphide sepia
- Multi-toner kits
- Green Dyes
- Home-made Green Toners
- Practical tips for green toning
- FSA toning (a.k.a. thiourea dioxide or Manotone)
- When is a toner not a toner?
- So what is really going on?
- Archival status
- Toner types and main players
- Choice of paper
- ‘Safe’ lighting for FSA bleaching and toning
- FSA colours
- Print density
- Mixing FSA toner – plan ahead
- Basic procedure. FSA ‘sepia’ toning
- Re-fixing
- It’s all in the bleach … increasing your options
- Split-toning
- Printing modifications for FSA toning
- Post toning treatments
- Changing the toner’s formula
- Bleaches
- Toxicity, precautions, disposal
- Practical tips for toning with FSA
- Silver and bronze mirror toners
- Aesthetic considerations
- Archival Status
- Toner types and main players
- Choice of Paper and processing materials
- Basic applications and procedures
- Making up the solutions
- ‘Indirect’ toning
- The no-touch, no-delay technique
- Direct toning techniques
- Partial direct toning
- Partial bleaching and/or partial development
- Other bleaches
- Silver and colour effects
- Combination with other ‘effects’ kits
- Combination with other toners
- Printing Modifications for silver mirror toning
- Re-fixing?
- Home Made mirror toner
- Toxicity, precautions, disposal
- Practical tips for silver mirror toning
- ‘Toning’ with tea, coffee and gelatine dyes
- Useful staining agents
- Archival status
- Tea ‘Toning’ - Basic applications and procedures
- Borders
- Practical tips for tea ‘toning’
- Coffee ‘toning’
- ‘Gelatine toner’ and ‘Printint’
- ‘Fotodyes’
- Antique Dye
- Tea toning cyanotypes
- Direct toning with tea
- ’Pyro tea’
- Redevelopment toning with tea
- Toxicity, precautions, disposal
- Selective toning
- Toning selectively
- Techniques
- When a small area is to be left un-toned
- When a large area is to be left un-toned, or a small area to be toned
- When multiple areas are to be toned – direct application of bleach
- Direct application of toners
- Practical tips – using fotomask
- Multiple toning techniques
- Clarification of terminology
- Factors affecting outcome with multiple toning
- The paper emulsion
- The emulsion support – resin-coated or fibre based
- Processing
- Hardener
- Bleach
- The make of the toner
- The order of use of toners
- Print drying
- Considerations when choosing and using toners in combination
- Archival toner + archival toner(s)
- Archival toner(s) + non-archival toner(s)
- Non-archival toner(s) + non-archival toner(s)
- Multiple toning using two or more archival toners
- Sepia and selenium
- Selenium and gold
- Sepia and gold
- Polysulphide and gold
- Sepia, selenium and gold
- Multiple toning using archival toners with non-archival toners
- Some basic principles
- Sepia and blue
- Sepia and blue with reversed tones
- Blue, bleach, sepia and blue, - for a reversed blue/ brown split
- Blue and sepia, - for reversed tones and solarization
- Bill Rowlinson’s technique
- ‘Compression toning’ with sulphide and blue
- Blue, sepia and gold
- Sepia, gold and blue, - for orangey browns on green
- Selenium and blue.
- Blue and Selenium, - for reversed blue/brown split
- Sepia and copper
- Copper and sepia - for rich brown
- Selenium and copper
- The good news and the bad news
- Multiple toning combining non-archival toners
- Copper and blue toning
- Copper toner – developer – toner
- (Note – more non-archival combinations are included in the next chapter)
- Multi toner kits
- Toners in kit form
- Why use a kit?
- Classification of multi toning kits
- Metal toner kits
- Chromogenic toning kits
- Dye mordanting processes
- Emulsion dyeing or gelatine toning kits
- ‘Mixed’ kits
- - Palette toners
- Palette toning kit
- Preparation
- Single Palette toner use
- Blue
- Red
- Titanium Yellow
- Vanadium Yellow
- Multiple Palette toning
- Practical tips for palette toners
- - Colorvir toning kit
- The Colorvir system
- Aesthetics
- Archival status
- Getting started
- 12 essential ‘first timer’ tips for Colorvir
- Toning with Colorvir
- The special effects bottles
- Dyeing with Colorvir
- Main Colorvir sequences
- Practical tips for using Colorvir
- Trouble shooting
- - Chromogenic toners
- General
- Aesthetic considerations
- Archival Status
- Commercial kits - the main players
- Choice of fixer
- Choice of paper and processing
- Basic applications and procedures
- Taking control
- Partial first bleach – split-toning
- Full first bleach
- Full redevelopment
- Pre development in black and white developer
- Partial redevelopment
- Dual or two colour toning
- Considerations regarding colour mixing
- Toning ‘blind’
- Single bath dual toning
- Neutral density effect
- Dominant and weak colours
- Printing modifications for chromogenic toning
- Drying
- Home-made products
- Practical tips for chromogenic toning
- Toning & processing for archival permanence
- The problem
- The solution
- Why you should bother
- Choice of paper
- Development
- Fixing
- Two bath fixing
- The Ilford archival processing sequence
- Monitoring your fixer
- Hardeners
- Hypo-clearing agents
- Hypo-clearing agent with selenium
- Print washing
- Washing time for fibre based papers
- Tests for effective washing
- Water temperature for washing
- HT-2 wash test procedure for residual hypo
- Using toners to test for residual silver in the print
- Water temperature for washing
- Washing methods
- Excessive washing
- Optical Brightening Agents
- Toning for archival permanence – why?
- Choice of toner(s) for improving image permanence
- Surprising research findings
- Selenium toning
- Gold toning
- Sulphide toning (including Brown toner, Viradon, Polytoner and Silverlock)
- Home-made Poly-Toner substitute
- Stabilizers: Sistan, Ag Guard
- Print drying and mounting
- Storage
- A few myths
- Archival processing summary
- Toning negatives
- Toning negatives for intensification
- Which negatives?
- Which toners?
- Selenium toner as a negative intensifier
- Roll film ‘Zonies’
- Procedure for selenium intensification of negatives
- The KY Jelly trick
- Sulphide and sepia toning for negative intensification
- Toning film for archival protection
- IPI toner ‘Silverlock’
- Stabilizers
- Print finishing
- Bleaching
- Drying
- Spotting
- Pencil work
- Hand colouring
- Knifing
- Laminating
- Mounting
- Useful printing controls for toning
- F stop printing
- Contrast
- Flashing and fogging
- Water bathing
- Two bath development
- Split-grade printing
- Diffusion
- Lith printing
- Warm tone development
- Bleach-back
- Viewing light
- DIY toning
- Pro’s and Con’s of ‘ready-made’ vs. ‘D.I.Y.’
- Darkroom safety
- Darkroom do’s and don’ts
- The chemicals
- Supplies
- Trade names
- Chemical names
- Mixing solutions
- Formulary
- Developers
- Fixers
- Hypo-clearing bath
- Bleaches for indirect toners
- Bleaches for redevelopment
- Toners
- Miscellaneous
- Glossary of terms
- FAQs
- Toner search by colour
- Colour search by toner
- Toner characteristics table
- F-stop table
- Making up solutions
- Do-it-yourself homemade mixing made easy
- Making up working strength solutions
- Percentage solution conversions
- Weights & measures
- Temperature conversion table
- Useful websites, internet discussion groups and references
- Useful addresses