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  1. #11
    smieglitz's Avatar
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    Quote Originally Posted by Tom Stanworth View Post
    ..Forte papers go nuts if you are not careful!
    I concur. I just experimented with some Forte Classic MG and it really reacts well in toners. And, very quickly too. The first print got away from me in KRST 1+6. The stuff reminds me of old Portiga Rapid. And the cream base is sweet and reminiscent of Kodak Ektalure. The Natural surface is akin to old Luminos textured papers.

    Yesterday I printed the same image in: Thiocarbamide-Sepia at various bleach times and AB toner dilutions; Thiocarbamide-Gold; Thiocarbamide Sepia then Thiocarbamide-Gold; Selenium (KRST); Selenium then Thiocarbamide-Gold; and Thiocarbamide Gold then Selenium. Wonderful variations in effect. I'll scan the results and post to the technical gallery when I get a chance.

    AFA the original question, I usually print with slightly lower contrast when planning to selenium tone. I give slightly more exposure if I will use a toner that incorporates a ferricyanide bleach. I much prefer warm-tone papers as they react in selenium to change color to a greater degree than cold-tone papers.

  2. #12
    Bruce Osgood's Avatar
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    I'd be interested in knowing if anyone feels there is a difference between Ilford/Harman's and Kodaks selenium toners?.

    I mean in the images they produce not necessaraly in the componets they use.

  3. #13
    Colin Corneau's Avatar
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    Me too. I have both but so far have only used the Harman brand.

  4. #14
    vic vic's Avatar
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    i dont know the ilford brand selenium, but a strong delution indeed changes the print appearance quite dramatically. ilford MGW paper for example goes to strong purple-red-brown tones with cold/sterile look ... at least with kodak and fotospeed seleniums.

    im refering to fotospeed and kodak seleniums that are very similar, almost seem to be identical actually in practice
    a much more deluted selenium will have far less dramatic effect both on color and on contrast. 1+20 to 1+30 delutions for 1 to 3 minutes give some sparkle to the print... the tones seem to be more differentiated in all tonal values. personally, i dont make any special adjustments in printing. i just make the archival toning and the dry print looks and feels almost identical to the wiped and not fully dried print without archival toning... true too all papers, normal, warmtones, but especially true that the sparkle of the toned dried paper is maintained in its "look" with matt and semi-matt papers (otherwise, usually matt and semi matt papers loose the luminosity when dry)

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