The DARKROOM COOKBOOK, Third Edition

112 THE DARKROOM COOKBOOK
(Formulas: Toners: Ansco 221 Sepia Toner). In some formulas, a copper bleach may be used,
but this should not be confused with direct copper toners (see Direct Toners, above).
The B&R process converts the metallic silver in a print back into clear silver halide by
combining the metallic silver with a halide, or mixture of halides. Once the silver has been
reconverted to a halide, the print is redeveloped with a toner, a toning developer, or any
number of solutions that will cause the transparent halide to reappear, usually exhibiting a
warm tone.
Stopping the bleach process when some of the metallic silver is still visible will often
create a deeper color than bleaching to completion. However, it is less controllable because
the precise moment to pull the print may not be repeatable unless carefully timed. Partial
bleaching may also create a split-toned effect that may, or may not, be desirable.
The most common bleaching agents are copper sulfate, potassium permanganate, potassium
ferricyanide, and potassium or ammonium dichromate. Most B&R toners require a
darker print than usual as there is often a loss of density. However, this is not always the case
as copper bleaches will intensify the print.
Many sulfi de/sulfur-based toners can cause damage to light-sensitive materials, such as
undeveloped negatives and papers. If you can smell the sulfur (rotten egg smell) then do not
use the toner in a room in which undeveloped materials are stored. These toners can be used
outdoors in daylight if necessary.
Caution: Sodium sulfi de in solution smells like rotten eggs. The smell has been known
to cause some people to have headaches. Use in a well-ventilated area; outdoors works
just fi ne. Also, sulfi de can damage undeveloped sensitized materials such as fi lms and
papers in a darkroom. This is another good reason to use sepia toners outdoors.
COLD AND WARM TONES
Cold Tones
One of the best methods to achieve blue-black tones is to use gold chloride. Not only does
the gold chloride tone the print to various shades of blue, it also serves to protect the silver
from degenerating.
Gold chloride works in direct ratio to the amount of silver in the print. When there is no
metallic silver in the print, such as the clear highlights, the gold chloride will have no effect
on the paper.
The following are suggestions for gold toning.
● The most brilliant blue tones will be secured on glossy papers.
● Papers of the slow chlorobromide variety will be more successful for blue toning than fast chlorobromide
or bromide papers.
● The paper developer affects the results. If you develop in glycin or pyrocatechin, the blue tones
will be lighter. Any developer that produces a brownish color by direct development is good for