The first thing I would recommend is Tim Rudman's book, The Photographers Toning Book - The Definitive Guide.

If you are toning for archival reasons only, any paper will benefit from it.

If you are toning for color also, in my experience, you will find that warm tone papers tone a lot more noticeably than ordinary papers.

Warm Tone developers also will have an effect on the finished tone work.

The following is what I use and the color I achieve.

Ilford MG FB Warm Tone developed in LPD at 1:6 then Kodak Selenium toned in about 1:9 ---a warm slightly eggplant (sort of purpleish) color.

Bergger MG FB Warmtone developed in LPD at 1:6 then selenium toned 1:9 --- a warm brown tone

ILford MG FB Warm Tone developed in Zonal PRo Warm tone developer, selenium toned - --- a very nice warm brown tone

This is what I use mostly. When I sepia I am not as thrilled with the results and they seem to vary more than with selenuim, partly because with sepia the bleach process is another variable. However the colors that I get are usually very warm with a more yellow color to them.

Also in my experience selenium add contrast as well as darkens the print a little, and when I sepia it tends to make the print a bit lighter.

Hope this helps and I'm sure others will have many more ideas. One thing to keep in mind is that duplicating from one print to the next is difficult, at least for me. Every time out, it is a little different.

Also all the examples I gave are for portraits, which is a little different than with scenics in that you are not dealing with the plus or minus look of changing flesh tones.

Also a last piece of advice, keep careful records of your techniques so that you can come close next time.

Michael McBlane