MGWT takes in selenium very quickly, so I don't like it any stronger than 1:20, and rather cool. I sometimes used it optionally for triple-toned prints. My favorite method of split toning differs from Bob's. You might want to try both. I dev the print in 130 glycin, which leaves it a bit warm; but that is what you want at the start - finely divided silver. But it should be fully developed for DMax in the deep shadows. Then it is toned anywhere from one to seven minutes in a dilute version of GP-1 gold toner, in order to get blue-black shadows. Note that the classic GP-1 formula recommends usage at about four times the concentration
of gold than is really necessary - time can be substituted for concentration. Gold toner must be disposed at the end of each session, so higher dilution will keep the cost reasonable, as will using only enough dilute volume to keep the surface of the print wet by rocking the tray. Rinse well before proceeding. Then go to very dilute Kodak brown toner. This is an easy-to-use sulfide, and now sold under other brand names since Kodak has stopped producing it. I now use Legacy brown toner. You must work very quickly to get the print evenly submerged in mere seconds or it will go blotchy. Pull the print early or it will overtone, and immediately immerse it in a tray full of plain water to instantly remove toner from the surface. The full toning effect will occur during the long wash cycle. I use an archival slot washer. It takes a bit of practice to learn to predict the result, which is difficult to repeat exactly from print to print; but that uniqueness print to print is part of the beauty offered by
this technique. You can make it either as subtle or as warm as you wish. I generally aim for a more subtle effect.
Bookmarks