i havent been able to use a darkroom for a while, so have been scanning my negs to see if they will be worth a print once I can do it properly.
Mr preferred methods were Ilford MGFB, with dilute Neutol WA and a reasonably short dip in Kodak rapid selenium (1:15 @ 20 deg) to remove the greeny hues. I got a fairly pleasing neutralish image.
Since scanning, I've been messing with digi toning and have come up with some very pleasing inage colours (on MY monitor anyway - they never look the same elsewhere)
What i want to know is - when i do get round to silver printing them, how do i tone to get the same effect. I usually work in a greyscale file until the inage is as i want it - then convert to RGB - open a colour balance layer and add 8 red & 4 yellow to the shadows; 4 yellow to the mids; and 1 yellow to the highlights. Those of you who have the time or inclination to try this out in p'shop, and who know their toning - how do i recreate this look? It is a kind of mild sepia/ wam effect. My thoughts were to use a warm tone paper with a creamy colour base and then maybe a brown toner - but which? - sepia, polysulphide, thiocarbamide, viradon???
I know the answer is most likely to be test, test, test - but anything I can do to avoid xtra expenditure .... :roll:
Buy Tim Rudman's book on toning? Ive got it and it is really very complete.
Sorry, Leon, I'm not an expert. I mostly lith print and quite like the colours when I've finished developing, so hardly ever tone.
check out this homepage, it is split toned in hypo-alum.
ilford galerie turns a nice coppery brown, ilford warmtone turn a nice reddish brown, in hypo alum. not as brown as what i see from your scans but very nice. if you go this way let me know, i have some experience with it - it can be finicky.
i think tim rudman's book is a good suggestion and i think you are on the right track using warmtone as a base, probably with a brown or thiocarbamide toner.
In my experience, a cold tone paper developed in warm tone developer and then toned in thiocarbamide toner is perhaps the most flexible in terms of getting anything from subtle warmth to a real straight-on brown. Ilford MG IV or Zone VI brilliant both respond very well to thiocarbamide. A commercial version of this toner is the Fotospeed odorless variable sepia toner.
I second everyone's recommendation to get Tim Rudman's book on toning. It is complete to an exhausting degree.
thanks guys - looks like I need to buy the book then.
John - that is very much what I am after - anything you can tell me about the process would be well received.
As I've stated in a number of post previously, I have attained a nice brown tone with Ilford FB warm tone developed in Zonal Pro Warm tone developer, then afterwards toned in Kodak Selenium toner 1:9 for about 4 minutes.
You don't see much color shift until you go into the selenium. It has a chocolate colored tone. The color of the tone seems to relate to the dilution of the Zonal Pro. I use it at 1:6.