Warm - Neutral - Cold Why Bother?

Discussion in 'B&W: Film, Paper, Chemistry' started by dancqu, Mar 17, 2005.

  1. dancqu

    dancqu Member

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    If a print is going to be toned and/or archived with
    a resulting change in hue then why be concerned with
    the print's hue prior to treatment?

    There are a lot of threads dealing with the paper's hue
    and that after this or that developer. I think there must be
    quite a few turning out prints that have no intention of
    toning and/or archiving. I wonder how commen is NO
    post usuall processing treatment. Dan
     
  2. David A. Goldfarb

    David A. Goldfarb Moderator Staff Member

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    The toning result will be affected by the tone prior to toning.
     
  3. Ian Grant

    Ian Grant Subscriber

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    My first answer was to your question in the title, and at first I thought well if you don't know then you have no understanding of the subtle arts of printing.

    But actually you make a fair point.

    Many of us will be useing a sequence of processing for archival permanence and usually the final process is Selenium toning, while this itself changes the tones on Chloro-bromide papers it has little effect except a slight increase in Dmax on Bromide papers. Larger shifts can be made by exploiting this paper type / developer combination.

    So we control the feel of our prints by our choice of paper and developer, knowing from experience what results we'll obtain.

    Now I should stress we are talking about subtle changes rather than the more obvious full on Sepia toning post processing.
     
  4. rogueish

    rogueish Member

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    Agfa's Sistain (sp?) does not effect print tone and is for archival purposes. So the cold/warm tone chosen by the printer in paper/developer combination would be the look when finished.
    Since I'm limited on space/time/money ( :rolleyes: who isn't?), not all my prints get toned. Just the ones I am finally truely happy with - read :not many.