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> Printing Adjustments for Toning ? |
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#1
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Printing Adjustments for Toning ?
Does anyone make a conscious adjustment to their prints in order to compensate for the effects of Toning?
I am doing Selenium and then Gold As far as I can judge it isn’t necessary as the Toning expands the tonal range of the paper – mostly deepening the shadows, although the Gold does lift the pale highlights to an even paler tone. Thanks Martin |
#2
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Martin, I've had to 'fine tune' the odd print when selenium toning to add a hint of colour, particularly when the blacks are on the threshold of showing detail. Selenium toner can darken such areas a bit too much for my taste.
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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 |
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#4
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I've been thinking about this myself recently.
Ive read that Selenium toning to improve Dmax will deepen the shadows by 1/2 a grade, so how do people adjust for this when printing? eg. If your work prints are grade 3 do you just make your final print grade 2 1/2 then tone? How do you compensate for toning when split grade printing? |
#5
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Mike, If I know the shadow areas will darken through toning so that there is a real risk that I could lose important shadow detail, then I usually print the shadow areas a little lighter, by holding back if possible or adjust grade.
One must not confuse increase in contrast with loss of shadow detail. The shadows can darken through toning but still retain detail. Personally I'm more interested in retaining detail then I am about an increase in local contrast. Also not all papers respond equally to toning with regard to an increase in D-max. As I said above Se toning can darken important shadow areas a bit too much for me if care is not taken.
__________________
"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 |
#6
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Yes, it is my intention to make prints that will eventually be toned and therefore I always make an attempt to not let the prints get too dark, biasing slightly to the lighter / higher contrast, 'pop-ier' side. I seem to always recognize when I've made an untoned fixer wet print too dark, but I find it much harder to recognize a wet fixer print being made too light. One more thing that keeps it interesting. As I've gone along, over time, getting more experienced in the darkroom, I've ( and others I'm sure) had to separate the scientist for the artist just to produce a body of work and not let yourself get too tied down looking for constants. Deciding what works within a parameter of variables and subject matter has kept me going with at least some consistency.. okay , too much info...
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www.victorkrag.com |
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Need to watch the highlights when sepia toning too; it's all too easy to lose fine detail at the top end. Usually an adjustment needs to be made at the printing stage to print in the highlights. Another big problem is over-washing after the bleach - a long wash isn't necessary, just enough to remove the bleach. Warming the print in hot water before it goes into the toner helps, too.
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#8
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I usually only tone subtly in thio, just to 'warm' the highlights slightly and don't adjust the exposure at all. The same with selenium as I like just the slightest touch of 'plumminess'. The only time I print specifically for toning is when I use gold toner (which is not very often on my budget!), when I print about 10% darker to compensate for the slight bleaching effect.
Rob |
#9
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I tend to sepia tone only very slightly to warm the image, I use weak bleach, at least half of the recomemded dilution,so that I have total control, and I sometimes weaken the toning solution, and I find that this way I do not need to adjust the exposure,Richard
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#10
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with selenium, I tend to print a touch light and lower in contrast, but will adjust the toning time to suit the image. sometimes I just give them a quick dunk to pick up density in the very low values and the rest of the image remains very similar. On other ocassions I tone more extensively. There is some wiggle room and you will get used to it. With some papers, you can actusally pick up quite a bit of highlight density if you tone long enough and can actually rescue prints that are a bit light and flaky as long as the top high values are OK (ie not blown/absent). Orientl seagul as I used it up until three years ago would gain huge density in selenium if left long enough. Generally I prefer to give a touch of toning only to give a kick to the lows and a touch to the mids. The print needs just be a bit low in contrast and pushed up the scale a touch for this to work fine. The selenium then gives great separation in the mids and lows where perhaps things were a bit low contrast and lacking in substance. Papers differ a great deal so get a feel for a paper and stick to it (or a couple).
For thio/sepia, good highlight detail (more than you need for a straight print) is a must. also remember the more yellow the mix on the variable versions the more you lose in the highlights. If the brew is deeper brown you lose less. |
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