TONING KENTMERE PAPERS
Toning
Creating a subtle visual representation of the chosen
subject, with depth and interest, is an aim of any specialist
B&W photographer. Toning can be a means to enhancing
the subject portrayed and is surprisingly easy. Four
of the most common toners are listed in this leaflet, with a
few suggestions on how to use them.
Generally toners need to be chosen with a colour sympathetic
to the subject matter, with the best results often being
created by subtle split toning.
Caution
Chemicals used in toning can be toxic if not used carefully.
Never eat, drink or smoke whilst working with toning chemicals.
Avoid contact with skin and eyes.
Wear rubber gloves and suitable eye protection.
General Notes
Prints that are to be toned should be thoroughly fixed and washed.
Fixer left in the print can seriously degrade the results obtained during
toning, overwashing is not a problem.
Prints should be thoroughly re-wetted, if they have been dried, before
they are toned. Uneven results can be obtained, if the print is dry when
it enters the toner.
Toners tend to become exhausted quite quickly, do not expect to tone
20 identical prints from the one mixing of toner. Always make up fresh
toner before each working session.
Although the toners in this leaflet work with all Kentmere papers,
the fibre base papers tend to be more suitable than the resin coated.
Technical enquiries
Please address any technical enquiries to;
Kentmere Limited Photographic Division, Staveley, Kendal, Cumbria LA8
9P8.
Telephone: 01539 821 365 Fax: O1 539 821 399
Raw Chemicals and Toners
The raw chemicals and toners mentioned in this leaflet are available
from:
Silverprint Limited,
1 2b Valentine Place, London SE1 8QH.
Telephone : O1 71 -620 0844 Fax : O1 71 -620 O1 29 Silverprint also
stock a full range of Kentmere products.
Kentmere Sepia Toner
Sepia toning is perhaps the most popular and widely
used technique, producing the classic "turn of the century"
image. Kentmere Septa Toner is a two part odourless process.
All Kentmere papers tone well with Kentmere Sepia Toner. Kentmere
Sepia Toner offers infinitely variable tones, according to dilution
and time.
Prints to be toned should be thoroughly fixed and washed prior to any
toning.
Kentmere Sepia Toner comes as parts A + B: a bleach and toner. By varying
the dilution of the toner (part B) a range of tones can be obtained. Used
neat a rich chocolate brown is produced, the colour moving towards yellow/brown
with increasing dilution.
The chloro-bromide type emulsions, Kentona and Art Classic, tend to
produce a more yellow/brown result than the bromide type emulsions.
Method
-
Immerse print in the bleach solution A until all the black image is bleached.
-
Wash in water until the water is no longer coloured.
-
Tone in solution B diluted as required.
-
Wash in running water for at least 4 minutes for R.C. papers or at least
30 minutes for fibre papers .
One of the inherent problems with this process is creating a rich lustrous
brown, yet retaining detail in the highlights. Moving up a contrast grade
before bleaching gives the d.max required, but at the expense of the detail
in the highlights; moving down a contrast grade gives the reverse. Many
subjects cannot easily be "printed in" by shading to overcome this. Try
the following suggestions:
Method
-
Using Fineprint VC, create a print and note the contrast grade you are
satisfied with.
-
Choose an area of the print sensitive to contrast, eg. a face and highlight;
make a test exposure time of 75% grade 4 contrast and 25% grade 1 contrast.
Manipulate the result until you achieve the same overall grade as the original
print but a fraction darker. Individual negatives may require further refinement
is. using 65% grade 5 and 35% grade 0.
-
Bleach and tone the print in the normal way. The finished prints will have
far greater depth and tonal range, as more of the silver halide in the
emulsion is exposed and developed to give the chosen contrast.
Copper Toner
Copper toner can provide a delights soft subtle warm
red to prints and especially suits high key or crosslit portraits.
Soft focus, backlighting and twenties "period" images
particularly suit this process.
Solution A
Cupric sulphate
Potassium citrate
Water to make |
7g
30g
1 Litre |
Solution B
Potassium ferricyanide
Potassium citrate
Water to make
|
6g
30g
1 Litre |
Store A and B separately, mix equal parts of A and B together
to give a working solution. The colour range achievable is from a subtle
warm black to an almost brick red, depending on how long the print is toned
for. Prints should be made slightly darker than required, as the image
tends to be bleached with longer toning times. Prints should be thoroughly
washed to avoid staining. With the longer toning times the print surface
can tend to become matt.
Blue Toner
With the correct choice of subject, or just a gentle
wash fn the sky/highlights, blue toning can produce some fascinating
results. Blue toner is an additive process; depending on the
degree of toning, starting with a slightly lighter print is recommended.
Blue toning is not as archivally permanent as some other forms
of toning.
Solution A
Potassium ferricyanide
Sulphuric acid 10%
Water to make
|
2g
lOml
1 Litre
|
Solution B
Ammonium ferric citrate
Sulphuric acid 10%
Water to make |
2g
lOml
1 Litre |
(10% Sulphuric acid can be replaced with Tartaric acid, this will produce
a more subtle colour change)
Store A and B separately, mix equal parts of A and B together
to give a one bath working solution. The working solution should be made
up freshly before use. The colour change is progressive from a subtle cooling
of the image tone to a deep Prussian blue. To achieve the more subtle blue
tones, dilution of the working solution 1 + 1 will make the toning more
controllable.
The print will tend to increase in contrast and density during toning,
a slightly lighter exposure might be preferred for the original print.
The whites of the print will be stained yellow on removal from the toner;
this will gradually clear with washing. Wash for 30 minutes after toning.
If the wash water is alkaline, the blue may tend to wash out; this can
be remedied by adding a small amount of acetic acid stop bath to the wash
water.
A solution of 1 % Sodium carbonate (alkaline) can be used to
clear any unwanted blue from highlights or print border. Interesting effects
can be achieved if the print is re-fixed, after a brief rinse, once toning
is completed. Depending on the type of fixer, this can convert the Prussian
blue to a bright blue.
Kodak Rapid Selenium Toner
Creatively, low key subjects demanding the most intense
of blacks, with mid-tones gaining a Purple - brown hue
are best eg. pictorial landscapes. The most intense
results are achieved with the Kentona paper; superb results
can be created by slightly over printing, toning, then lightly bleaching
back the selected highlights.
Kodak Rapid Selenium Toner is the most practical and
safe way of undertaking this process. The toxicity of the raw
materials means we do not recommend making this product
from the base chemicals.
Use as a single bath toner at dilutions of 1 part toner to 3 - 1 9 parts
water.
Selenium toning is one of the most universally accepted ways of improving
print permanence. Selenium toner used at a dilution of 1 + 20 or greater,
can improve image permanence without significantly changing the image colour.
Kodak rapid selenium toner will work with all Kentmere papers, the results
will vary depending on the emulsion type.
Selenium toner initially cools the image tone slightly, then progresses
to a subtle purple tone; longer toning times (up to 20 minutes)
can increase the purple brown tone. The chloro-bromide type emulsions,
Kentona and Art Classic, will show a more significant change in image colour
to the purple brown.
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