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Thread: A few recent selenium toning notes with WTF

  1. #1

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    A few recent selenium toning notes with WTF

    For those interested, these two sets of tests were made on Ilford Warmtone Fiber: the first on my standard, semi-matte; the second on gloss surface, which I normally use only for proofing. The developer was EcoPro. Toning was carried out at approximately 68 degrees F. Prints were thoroughly washed before toning.

    I made whole-sheet graduated “step tablets” in the manner of making test strips, having worked out the times needed to produce Zones I through IX on different grades, 1, 2, and 3. These I cut into strips for toning. Images and step-tablets are not the same, of course; I made these only as general guides.

    I normally start with a 1:19 dilution. At 1:29, I found that toning was minimal and slow to change. I took it up to 20 minutes, which very closely matched 7 minutes at 1:19—no benefit. The hope that it might tone high and low values more closely was not realized.

    At 1:19, a slight density gain and a slight color shift in the lowest values seems to occur within a two minutes. Five minutes offered noticeable density gain in the lowest values and only a subtle color shift toward purplish brown. At 7 minutes, the density further increased, and the color continued to warm noticeably up through Zone V, less above that, with a subtle appearance of split toning as a result. At 9 minutes, the color was noticeably richer at the bottom end and only somewhat so at V and above. At 12 minutes, the split was enhanced beyond my preference. For 1:19, the area between 5 and 7 minutes is probably where most of my prints will land.

    Having found the split-toning effect to generally become equally pronounced at somewhat lower dilutions, I tested at 2:9 (approximately 1:5), which had yielded more chocolatey tones, with more consistent toning over the tonal range, in a test some years ago. These tests confirmed that. However, times are much shorter! At three minutes, a very slightly-reddish/brown print is obtained, with the high values warming along with the lows. At one minute and one-and-a-half minutes, prints similar to 7- to 9-minute 1:19 prints may be created, but the lower dilution offers just a hint more toning (color change) in the higher values than the 1:19. At 2 and 2-and-a-half minutes, the result is quite warm, with the tonal change reaching up into the high values more than the shorter times. Small changes in time have significant effects, but the shortness of time may also be problematic for some artists and could produce uneven toning in a large print.

    Finally, it seems to me that the color of the gloss paper for a given time equal to that for the semi-matte, especially in the 2:9 dilution, gave a somewhat less purple and more brown tone. However, other variables may be at work here, and I may retest to confirm or override this.

    For me, in any case, these two dilutions offer a fairly full range of options for the kinds of print I envision on this paper.
    Philip Ulanowsky

    Sine scientia ars nihil est. (Without science/knowledge, art is nothing.)
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  2. #2
    Vaughn's Avatar
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    Re: A few recent selenium toning notes with WTF

    It has been since the early 90s since I silver printed, but I used a warm tone paper (Portriga Rapid 111) and also selenium-toned.

    I preferred the slightly reddish brown color I was seeing, before the paper went to a more purplish color. I think my experience was similar to yours, with obvious differences in paper. I used KRST at 1:16, warm (110F), for 45 seconds (drain for 15 seconds, then into water). Even color change with no significant split toning as I recall. Repeatable results, which was important to me. A nice tool to fine-tune one's printing.
    "Landscapes exist in the material world yet soar in the realms of the spirit..." Tsung Ping, 5th Century China

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    Re: A few recent selenium toning notes with WTF

    Philip,

    A couple of things: first, in my experience, toning longer at a weaker dilution and toning for a shorter time in stronger toner delivered the same results. Your "more chocolatey" results might appear if you simply toned longer in the weaker dilution. If not, that's an interesting development. It may be particular to the warm-tone paper.

    Second, although you mentioned in your PM that you didn't see much difference in evenness of toning between grades 2 and 3, it would still be interesting to see if something showed up at the extreme, say grade 4.5 or more. I seem to notice a difference with the more neutral-tone papers I use.

    The fact that VC papers split tone a bit makes toning trickier that it used to be (although grade 3 Seagull G split-toned easily...) and makes visually evaluating your print while it tones and pulling it when the desired effect is reached all the more important.

    Best,

    Doremus

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    Re: A few recent selenium toning notes with WTF

    IT helps to make an 8x10 test page with 1 second exposure increments to create various shades of grey, then cut into 1 inch strips, keep one untoned OR print a step wedge. Then you can tone the strips in various toners/dilutions and see the effects on dark, middle, and light tones compared to the untoned strip.

    like this
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    Mike in NY's Avatar
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    Re: A few recent selenium toning notes with WTF

    I get the feeling I'm choosing paint colors at Sherwin Williams.
    I dream in black and white.

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    Re: A few recent selenium toning notes with WTF

    Quote Originally Posted by Mike in NY View Post
    I get the feeling I'm choosing paint colors at Sherwin Williams.
    #6 2nd row is same color as Benjamin Moore Revere Pewter. #9 second row is close to SW Accessible beige. Both common interior paint colors for those obsessed with color coordination of their art and walls.
    The magic you are looking for is in the work you are avoiding.
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  7. #7
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    Re: A few recent selenium toning notes with WTF

    Quote Originally Posted by esearing View Post
    IT helps to make an 8x10 test page with 1 second exposure increments to create various shades of grey, then cut into 1 inch strips, keep one untoned OR print a step wedge. Then you can tone the strips in various toners/dilutions and see the effects on dark, middle, and light tones compared to the untoned strip.

    like this
    that explains it very easy. maybe save some test strips from printing sessions. do you use fresh toner every time?

  8. #8

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    Re: A few recent selenium toning notes with WTF

    Selenium I always mix working from stock just before use.
    Thiourea I make up concentrated stock solutions A (thiourea) and B (Sodium Hydroxide) and then dilute before use.
    The magic you are looking for is in the work you are avoiding.
    http://www.searing.photography

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