The tone I'm after is a golden brown sort of ochre hue. It's basically the tone I get in wet plate.These two statements are a bit contradictory -- the example you showed is not a golden brown ochre hue at all -- it's very cool, and I think very difficult to achieve with any Fomatone papers. Fomabrom, (and Emaks, Adox, and Slavich) on the other hand, produces nice tones like these, as Marianne produces, but I don't know how she does it. I tried and could not get anything useful at all out of Fomabrom. That begin said, I haven't worked with it much.Of that sample gallery, this tone is most appealing to me: http://www.moersch-photochemie.de/co...ie/easylith/11
I've used both the Easylith and SE5 with different combinations, but there was very little difference between the two, other than a more neutral colour, longer, with SE5 than with Easylith. Most of the images in my gallery are of a Foma 131 or 132 with Moersch variety and I think fall to the warm salmony colours Foma is known for. A few are more neutral, and those were probably the first prints pulled out of the printing session. Anyway, I went to Tim Rudman's workshop last September and he seemed to indicate that the best way to tame the colour with Fomatone was to tone it, but you would need to experiment with gold, selenium (or combination of) and/or sepia. One of the workshop participants got some nice sandy colours after a bleach/sepia dip.