I've been plagued with typos today, Roger. For one thing, I meant to say snatch development in the last post relative to EMaks paper, rather than
pull processing, which is a film term. And I was referring to the current
Iford warmtone, not anything obsolete. The Adox paper is incapable of a
true cold tone, though it is a lovely rich paper in its own right. Fineprint responds well to conventional developers but tends to obtain a nutmeg overtone, analogous to how Seagull got a slight purple-sepia tone with selenium. This can be pleasing, but it's not what I generally do. To obtain
a true cold tone I develop Fineprint in amidol, give it a couple minutes or
so of gold chloride toning, and then a bit of selenium. It goes cool in the
gold then enriches a bit more in the selenium. A much more pronounced
cooling effect than possible in Forte Polygrade V, Adox MCC, or Galerie.
You can split tone it if you wish with a hint of Kodak brown following all the above (well rinsed in between), but the effect will be far less than in
Mutigrade WT. Lately I've printed some old 8X10 negs which looked great
on Brilliant but are even better on Fineprint. But as with all these things,
nuance is the name of the game in toning; go overboard and things tend
to get artsy/craftsy instead.