Would the bleach included with Kodak's Sepia Toner or Sepia Toner II packages be appropriate for this purpose, and if so, at what dilution?
Yes, it's a Ferricyanide/bromide bleach so ideal
Different papers and even paper/developer combinations have an effect on how fast a bleach works. You need 1/10th or less the normal strength needed for full bleaching for toning, 1/100th may be sufficient.
I foresee some experimentation in my future.
I don't see why there would be any difference, either. Except one is is irreversible. I probably wouldn't want to try this on prints that are difficult to replicate.
If you're just using a bleach on the highlights then the differences are not as significant, Farmers reducer exhausts quite quickly in use which helps the control-ability when retouching. The prescence of the thiosulphate help particularly when reducing shadow areas.
I seem to remember in a previous thread you used ferricyanide & rapid fixer as a reducer, and Ron Mowrey (PE) pointing out the aggressive nature of the combination.
Perhaps a simpler explanation is that Ferricyanide on it's own attacks the smaller grains first, that's why it's used with or without bromide for split toning, but with Thiosulphate added Farmers Reducers attacks the larger "black" grains as well at the same time.
If you put a print in a ferricyanide/bromide bleach some blacks don't bleach until the last moment, which is what's used in split toning, you control the time to pull from the bleach. Put a print in fresh Farmer's and leave it and it'll lighten more progressively across all the tones - very different.
Farmer's cannot contain commercial fixer only plain sodium thiosulphate anything else is very different in behaviour.
Barry Thornton's Edge of Darkness describes a process whereby you selenium tone first, then wash, then apply the Potassium Ferricyanice/Potassium Bromide bleach (and 3g/liter is still kind of strong, in my experience); then fix again, but you can redevelop and do it all over again as long as you wait to re-fix until you're satisfied. The selenium holds back the darker areas, and the highlights get a fuller bleaching.
As other have noted, you get some changes in color (more with some papers than others); and every re-bleach, re-fix, re-develop or re-whatever that you do seems to take its toll on the print, until after several rounds you end up with something that just looks really...tired.
Bob, it's not an easy task to bleach and refix, then do any toning. If you bleach to completion and refix, everything is gone and there's nothing to tone.
I am printing solarizations, the highlights are a mid grey, all I want to do is lift them up to a brighter level, I am not bleaching to completion.
I have found that all my tests in the past lack a POP that I think brighter highlight region could give.
I cannot get it *the pop*without some way of making them brighter.