Warm - Neutral - Cold Why Bother?
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
The toning result will be affected by the tone prior to toning.
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.
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.