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  1. #11
    thefizz's Avatar
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    I feel that toning for longevity is a good selling point but I would like to keep colour shifts to a minimum. I will have to try some different papers with selemiun to see which changes the least.

    I am also interested in trying Sistan due to it not changing the tone of the paper but some people are saying that its not known for sure if it works. Has anyone else got views on Sistan?

    Also, is heat sealing prints a good alternative to toning?

    Thanks for your help so far.
    Peter

  2. #12
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    Quote Originally Posted by titrisol
    Toning for permanence you mean? I would do it just for the sake of it.

    is your customer willing to accept the tone-shift?
    Toning for permanence in Selenium will be barely noticeable, toning for effect of course will, the differance is the dilution and times involved.

    Most manufacturers will give instructions for both.

  3. #13
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    Bear in mind that Tim Rudman claims that a selenium tone only improves the permanence of the parts of the print that it affects i.e. in order for all the print to have its permanence improved the print must be fully toned.

    Others state (with just as much certainty!) that a partial tone in dilute selenium will improve the permanence of the whole print. According to Tim Rudman, this will only affect the areas the toner reaches, i.e. the shadows.

    I'm not qualified to speak with any authority on this subject, but it is worth knowing that there are two schools of thought.

  4. #14
    ann
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    It is not just Tim Rudman stating this opinon, it is the IPI that has published the facts with regard to types of toners and the archival properties.

  5. #15

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    I've only used Sistan for about a year, so I'm not sure how well it works. Most authorities says it makes sense that it would work on theoretical grounds. One thing I have found is that Agfa's warning not to let large drops of the stuff dry in is to be taken seriously. When I dried treated prints flat after squeegeeing, I was getting bleached spots on prints that didn't dry fast enough. Now I dry the prints at an angle.

  6. #16
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    Thanks for the correction, Ann. I'd only seen it from Tim Rudman.

    You are, of course, absolutely spot on and here's a link to prove it - http://silvergrain.org/Photo-Tech/toners.html#t003

  7. #17
    ann
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    Frank, no problem, my reply was to add additional information.

    There are a lot of papers out, but not easy to find. Thanks, for providing this link for others.

  8. #18
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    I think it depends on the paper/dev combo used as well. A cold-tone developer should help in restraining the tone shift, even when toning is complete.
    I tone using Paterson selenium 1+4 to completion (about 10-15 minutes)

    ILFORD MG neutral and cold show almost no changes IMHO. The "greenish tone" is gone, and the cold tone becomes a tad bluish. Shadows deepen a little.

    AGFA MCC/MCP paper shows more tone shift when developed in Ethol LPD 1+3 than 1+12. The tone is deep-purple and "creeps" from the shadows up. (see attachment)

    ILFORD MG-WT shows a very similar behavior to the AGFAs

    Quote Originally Posted by Ian Grant
    Toning for permanence in Selenium will be barely noticeable, toning for effect of course will, the differance is the dilution and times involved.

    Most manufacturers will give instructions for both.
    Attached Thumbnails Attached Thumbnails AGFAMCC111_selelim_toned_untoned.jpg  
    Mama took my APX away.....

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