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#1
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Gold toning
As total noob in toning I need some advice on gold toning.
As I can read, the toner is used full strength. What I don't know is how long does it work? Does it stop working after it gets exhausted or does it work till the last drop? How long does it last in the bottle? In what way does it affect bromide papers like Ilford FB, Adox Vario Classic /Efke Varycon? Do they go cold or indeed blue? Thanks! Miha |
#2
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My experience is only of the Tetenal product. That is used straight from the bottle undiluted. It slowly exhausts and the colour of the tone achieved will change as it does so. It is very easy to ruin it by contamination, so keep dedicated funnels, and trays in which to use it and nothing else. Make sure prints are very well washed before putting them in the toner.
As you surmise the tone achieved is a cold blue to blue/grey and will have different effects on different papers. It can also be used in conjunction with other toners. An example. |
#3
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Dave, I have yet to see a better example than this for authentic sea toning. When I first saw the thumbnail somewhere else I thought it was a colour shot that had a great muted blue.
Mike |
#4
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It has been quite some time since I've used gold toner, certainly not on todays papers and I always mixed my own (originally because it wasn't available commercially in the UK). In my experience colour shift (if that is what you are after) was more pronounced with warm tone chlorobromide papers. I also used to double tone, selenium first then a brief tone in gold. This preserved the warm darker tones and a blue-grey to the highlights - beautiful with Record Rapid. Would be interesting to try this with some of the current papers from Foma and Adox.
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"To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which will never be seen again" Ralph Waldo Emerson. Timespresent Arenaphotographers |
#5
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Thanks for the tips!
I intend to start toning in gold for the maximum permanence and cool tones it provides. I'm not after strong colour shift. Gold seems to meet my needs. Miha p.s. Lovely photo Dave! |
#6
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I second all the above. Gold toning works best with warm-tone papers and will often show no discernable difference on cool or neutral papers. I've had good results with Ilford MGWT and Kentmere Fineprint Warmtone. It also has the effect of very slightly lightening the highlights, so a slight increase in printing time may be necessary (less than 10%, though IME).
Rob Gold toner is expensive, but well worth the effort. |
#7
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I second the need to wash prints well before gold toning, particularly if using selenium first.
Another thing to be aware of is that the colour intensifies as the print dries, so if you achieve the tone you want in a wet print, it will almost certainly be too dark when the print dries. It's worth experimenting with test strips and scrap prints before tackling one of your cherished prints. I mostly use gold toner with lith prints and find that not much toning is needed to get pronounced shifts in image colour. It also means that the toner has less work to do and will last a bit longer.
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************************************************** ************************* More photos live here http://www.flickr.com/photos/arm_a_dillo/ |
#8
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Small point, but as it is colourless, do not confuse it with the water tray and dump it down the sink thinking it is water.
Yes, the memory is still painful... |
#9
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Bob,
Me too and more than once. JON.
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JB-Creative Imagery Jon Butler. http://real-silver-prints.com/ "I Prefer it in the Dark" |
#10
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Just the thought gives me chronic palpitations.
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