I've been using replenished Selenium toner for over 25 years, I've never used it any other way. It keeps indefinately, I just filter mine when needed.
The environmental impact of selenium is exaggerated as it's used as a fertiliser supplement,ome plants/vegetables need it as do humans (in our diet) far more goes down the drains from people taking tablets to counter Selenium deficiency.
I think that he is talking about the two stage sepia process and not about selenium toning and was drawing a parallel in terms of his problem of rapid exhaustion with the Fotospeed sepia process
Originally Posted by johnnywalker
Temperature is very important. Makes sures its luke warm or you'll be waiting forever.
that is correct !
Thanks guys, I'm too easily confused these days!
Originally Posted by lhalcong
If I had been present at the creation, I would have given some useful hints for the better arrangement of the Universe.
Alfonso the Wise, 1221-1284
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"The Print" by Ansel Adams says to use the selenium toner at 75-80F, not 68F as for the other baths.
Originally Posted by Andre Noble
Adams got a few things about toning wrong. He also advocated mixing the toner with hypo-clearing agent and then tossing it way before capacity was reached, both bad practice now.
Originally Posted by silveror0
From the Kodak Technical Publication on Toning Black-and-White Papers:
"1. Dilute the toner with water according to the tone change
2. Immerse a thoroughly washed print in the toner solution
at 20░C (68░F) and agitate the print. Complete toning
occurs in 2 to 8 minutes, depending on the paper type
3. When the print has almost the required tone, remove it
from the toning bath; toning will continue to some
extent in the wash."
I tone all the time with fix, toner and wash-aid all at the same temperature (I usually work at ambient temperature when printing) and the toner works just fine. Heating it up, and keeping it warm during an hours-long session is just too much of a PITA.
It does work fine but the timing changes considerable. This can make it hard to attain a consistent look by time alone, and with the relatively subtle changes of dilute selenium on neutral paper that many of us use, just to remove the green and cool it slightly, it's hard to judge visually too while it's wet and considering it continues in the wash. I like to remove the green tinge but stop short of a detectable purple one.
Originally Posted by Doremus Scudder
It seems Kodak and Ilford could have some serious discussion over toning procedures, each presenting their backup data. They agree on using ambient temp, but differ on how to dilute the toner. The following is from Ilford's website:
When optimum permanence is needed, perhaps for archival storage of prints, the following fixing and washing sequences at 18-24║C/65-75║F (including wash water) are recommended using ILFORD WASHAID (Ilford's version of Hypo Clearing Agent). Do not add a hardener to the fixer. Be careful not to exceed the capacity of the fixer and not to extend the fixing time as both these make washing more difficult.
Optimum permanence sequence with selenium toner for fiberbase prints:
ILFORD RAPID FIXER (1+4)
Selenium toner diluted with
working strength ILFORD
WASHAID instead of water,
ILFORD WASHAID (1+4)
Fresh, running water
There's no mention of any step between fixing and toning, so presumably the print goes directly from fixer to toner, as recommended by AA. He used plain hypo w/ sodium sulfite (inhibits staining) as the second fixer, prior to toner, perhaps to mitigate the hardening from Kodak Fixer (1st fixer).
Last edited by silveror0; 05-26-2013 at 12:51 PM. Click to view previous post history.
I have had staining in going from fix to tone without a wash. To be more accurate, I've transferred to a holding bath after fixing and then, some time later, toned, so that's probably equal to a brief wash. That was with Adox MCC110 though, not Ilford paper.