I need a book on toning prints

[Ralph Miyashiro]

Can anyone recommend a book on techniques for print toning. I know nothing about toning. Also would like paper suggestions. Looking for a paper that responds to a wide range of toners, not one that excels in only one area (currently printing on Ilford MGIV and Arista Edu Ultra). Thanks.

[bob carnie]

Tim Rudmans book on Toning

Eddie Ephrams - Creative Elements & Gradient Light

[Doug Howk]

Tim Rudman's Toning book is available on the used book market but at rather high prices. You can get a new reprinted version directly from the author at Tim Rudman website (http://www.timrudman.com/content/toning-book-reprint#the-book)

[Salmo22]

Dreggin up an old thread.

In an effort to improve my print toning, a friend recommends I read Tim Rudman's book, ‘The Photographer’s Master Printing Course’. Apparently, it is out of print and only available on the used market. In researching my purchase options, I found Mr. Rudman's ‘The Master Photographer’s Toning Book - The Definitive Guide’. It appears that the Toning Book is a slightly newer publication? However, before I pull the trigger on a purchase, what Rudman book would you recommend? I tend to think the Toning Book would be best, it claims to be the 'Definitive Guide', but I am not familiar with either of these scholarly tomes. Your comments and recommendations are appreciated.

[Alan9940]

I have an excellent, signed copy of Tim's toning book that I'd be willing to part with. PM me if interested.

[bob carnie]

I have an excellent, signed copy of Tim's toning book that I'd be willing to part with. PM me if interested.

Alan I have a friend that would be interested , I have a signed copy as well, if you still have it send me an email bob@silvershack.ca

[Renato Tonelli]

Tim Rudman’s book on toning is the definitive one (in my humble opinion).
I have made extensive notes from it that I refer to regularly.

[popdoc]

Eddie Ephrams book is fabulous in its own way, too.
One of its strengths are the super creative examples that can inspire you to “color outside of the lines”. It was an eye-opener for me after I read Tim Rudman‘s book.

Get both!


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[bob carnie]

Eddie Ephrams book is fabulous in its own way, too.
One of its strengths are the super creative examples that can inspire you to “color outside of the lines”. It was an eye-opener for me after I read Tim Rudman‘s book.

Get both!


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Eddie has two books - creative elements and gradient light - I have them both they are great but I still think Tim Rudmans is exceptional

[Peter De Smidt]

Every one of Tim's books are excellent.

Eddie Ephraum's Creative Elements - Landscape Photography - Darkroom elements is also wonderful.

[Alan9940]

I have a copy of Eddie Ephraum's "Creative Elements - Landscape Photography - Darkroom Techniques" in excellent condition, if any is interested.

[popdoc]

Absolutely spot on as to Eddie’s two books!
Read both of E’s books, one right after the other. Refer to them regularly…
Get all three!


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[esearing]

The rabbit hole of toning for me - I prefer Ilford Warmtone MGFB glossy or matte.

Selenium shift to brown or purple-ish
Poly sulfate toning brown to the point you like it.
Thiourea and Sodium Hydroxide Sepia yellow to chocolate depending on mix
tea & coffee staining/toning subtle to obnoxious - fiber paper only
Nelsons Gold toner. brown and black mix - sometimes reddish
Blue and Red toners
Bleach redevelop with variations on staining developers. can lead to slightly warm olive tones to brown or even purple tones.
Lith - only did a couple and they came out sickly pinkish and tan

Toning has its ups and downs and varies by image , exposure, and paper choices , which may lead down the path to Alternative print making where you get to control the tonality sometimes.

I was inspired by the Eprham's books - He changes the character of the image through his toning choices. Wolfgang Moersh is doing similar work with alternative print making.

[bob carnie]

The rabbit hole of toning for me - I prefer Ilford Warmtone MGFB glossy or matte.

Selenium shift to brown or purple-ish
Poly sulfate toning brown to the point you like it.
Thiourea and Sodium Hydroxide Sepia yellow to chocolate depending on mix
tea & coffee staining/toning subtle to obnoxious - fiber paper only
Nelsons Gold toner. brown and black mix - sometimes reddish
Blue and Red toners
Bleach redevelop with variations on staining developers. can lead to slightly warm olive tones to brown or even purple tones.
Lith - only did a couple and they came out sickly pinkish and tan

Toning has its ups and downs and varies by image , exposure, and paper choices , which may lead down the path to Alternative print making where you get to control the tonality sometimes.

I was inspired by the Eprham's books - He changes the character of the image through his toning choices. Wolfgang Moersh is doing similar work with alternative print making.

I have always had trouble with Blue toning... in fact this trouble is the reason I started gum printing

[Drew Wiley]

MGIV tones poorly. The current MGWT and MG Classic are way way better in that respect.

[Peter De Smidt]

My favorite blue is produced by gold toning a lith (ala Tim Rudman) print. My favorite paper for this was Sterling Lith, but it is long gone.

[Michael R]

Haven't done it with lith but I agree the most easily controllable and most permanent is gold toning. Warm tone papers generally tone more. Of course whether or not the particular blue hue is to one's liking is subjective.

When it comes to toning I would say Rudman is one of the best, probably the best I've seen with respect to toning black and white darkroom prints.

If a more subtle shift to blue-black is desired rather than a pronounced blue, adding small amounts of phenylmercaptotetrazole to a print developer will do it. Again the effect will generally be stronger with warmer toned emulsions.


My favorite blue is produced by gold toning a lith (ala Tim Rudman) print. My favorite paper for this was Sterling Lith, but it is long gone.

[bob carnie]

Haven't done it with lith but I agree the most easily controllable and most permanent is gold toning. Warm tone papers generally tone more. Of course whether or not the particular blue hue is to one's liking is subjective.

When it comes to toning I would say Rudman is one of the best, probably the best I've seen with respect to toning black and white darkroom prints.

If a more subtle shift to blue-black is desired rather than a pronounced blue, adding small amounts of phenylmercaptotetrazole to a print developer will do it. Again the effect will generally be stronger with warmer toned emulsions.

Michael I would like you to say that word three times in a row.

[Michael R]

Ha. It’s usually just referred to as PMT. Formulary used to sell it in solution but not anymore so it’s a little harder to get these days. It’s also the active ingredient in Moersch Finisher Blue which might be easier for some to obtain.


Michael I would like you to say that word three times in a row.

[esearing]

I have always had trouble with Blue toning... in fact this trouble is the reason I started gum printing

And one day I will try gum since you make it look so easy.