Is the print colour a major consideration in your interpretation of the final image? If so, how will you achieve the required colour? If the print is to be sold or is to be part of a permanent collection can you be sure that it is archivally processed?
When considering the above, one process will have a bearing on most of the factors involved in making the final image into the Fine Print that was first visualised. That process is toning.
Selenium and gold toning are generally accepted as the optimum methods of giving archival permanence to the photographic print. In addition, either process can change the contrast and colour of the final image. With this in mind, I tested selenium toner from both Kodak and Fotospeed, and gold toner from Tetenal and again Fotospeed.
And so, on a miserable dull and damp December morning, I again made my way to the relative comfort of a well-lit (by safelight that is) darkened little room to see just how various papers were affected by the different toners.
The selenium toner was diluted 1 part toner to 6 parts water, although I will discuss dilution in more detail later. Gold toner comes in one-litre bottles to use and re-use repeatedly, undiluted. Selected prints were then toned in either selenium or gold; in one case I toned a print in both selenium and gold.
Before discussing the final results, and for the benefit of those readers who have not toned prints, perhaps the following information may be of use. Developed photographic images are made from finely-divided metallic silver which is susceptible to atmospheric attack, so in order to reduce this prints are usually toned in either selenium or gold, both being more stable than silver, and capable of replacing it or coating it.
The toning process can also have other effects on the photographic emulsion; selenium will affect the dark mid and low tone areas first, by making them slightly darker which increases the contrast of the print. Therefore, it is necessary to make an allowance for this when making the print.
Dependent on the dilution selenium can also change the print colour from red/brown to purple or more subtle hues. Generally the stronger the dilution the more pronounced the colour change. For example, I have used selenium diluted 1 to 4 to achieve a rapid and very noticeable colour change, and on other occasions I've used the solution at a dilution of 1 to 15 or even 1 to 20 which takes longer to work and is probably easier to control.
Having said that, there is no guide time to selenium toning as the variables involved are considerable - the tonal range of the print, the strength and temperature of the toner all have significant effect on the way the toner works. I would suggest that you make an identical reference print which can be held in a tray of water while toning the second print.
Do not continually look at the print being toned, as you will not pick up the subtle changes that occur. From time to time, refer to the reference print in the water and in this way you will detect the changes in contrast, and then in colour. Generally, the black areas will go slightly darker first.
Once a few prints have been toned you will not need to refer to a reference print as you will know how and when to detect the changes.
Gold toning is less varied in its effect on prints, in that the colour changes to a delicate blue. Again there is no recommended time but it will take longer than the time taken to selenium tone a print. For example, the prints made for this test took from 6 to 10 minutes to tone to the required colour. All fibre prints should be washed for 30 minutes or passed through a hypo clearing bath and washed as instructed before toning otherwise staining can occur. The same applies to RC papers but the times are reduced. A word of warning about selenium toner in particular � always wear gloves and tone in a room with good ventilation as selenium is very toxic, and don't forget to label the container that the dilute solution is stored in.
The untoned test print, on Ilford Multigrade IV RC paper
The Tetenal Gold toned print
The Fotoprint AU20 Gold toned print
The effects of both Tetenal and Fotospeed gold toner were also similar, and it would be unfair to suggest that one was better than the other. Let us now consider the benefits or otherwise of the toning process.
When compared with the un-toned reference print the prints made on Ilford Multigrade IV are noticeably cooler in colour and the blacks are just slightly darker. Those prints gold toned are a delicate blue, which does work well on winter snow scenes.
The prints made on Agfa Multicontrast Classic and Sterling Premium Fibre were also noticeably cooler when toned in selenium. Those fibre prints that were gold toned were also a delicate blue, and I felt that the fibre paper took the gold toning better than the RC paper.
The most noticeable change occurred when I selenium toned and then, after a half-hour wash, gold toned a print made on Sterling Signature (the untoned print is shown above - click the graphic link to view a large repro of the final result). The increase in the density of the blacks was very noticeable and the print took on a richness that is not evident in the un-toned version, in addition to which, the combination of selenium and gold toning has produced a slight split toning where the light tones have a coolness and the darker tones have the characteristic red/purple colour of a heavily selenium toned print. (Editor's note - this looks superb in the printed edition, just can't show it properly in WWW!).
Clearly, this is not 'wrong' but I would argue that in selected images a noticeable colour change will enhance the final appeal of the print.
Ansel Adams is probably the best-known photographer who did not like the colour change produced by selenium and this is one of the few times that I would dare to question the great man's thinking. I agree that it is a matter of personal taste, but all that I am asking is that photographers keep an open mind and treat each print individually.
Perhaps the odd print toned to achieve a colour change will best convey the highlight that occurred at the taking stage and bring the print to life with a glow similar to the early morning light that we all so much wish to capture. In addition, you can also rest easy in the knowledge that the image will be committed to paper never to fade with the ravages of time.