[pure-silver] Re: question about blue toners
- From: "Richard Knoppow" <dickburk@xxxxxxxxxxxxx>
- To: <pure-silver@xxxxxxxxxxxxx>
- Date: Tue, 10 Nov 2009 21:48:00 -0800
----- Original Message -----
From: "Antonio Banfi"
<antoniomarioenrico.banfi@xxxxxxxxxxxxx>
To: <pure-silver@xxxxxxxxxxxxx>
Sent: Tuesday, November 10, 2009 4:01 PM
Subject: [pure-silver] question about blue toners
By the way,
someone ever played with Foma blue toner? I guess it's a
monobath
iron+chloridric acid toner; what I was wondering is if you
can increase the
suggested dilutions (1+4 max.). Just more time to get the
toning effect
(something I'd like), or something else happens (like
stains, inactivity
etc.)?
Thanks J
Antonio
I couldn't find an MSDS for Foma Blue Toner but most of
these toners are based on the substitution of silver by iron
in the toning process. The iamges are not stable, Alkaline
water will fade them and they may fade on exposure to light
although dark storage is supposed to regenerate them. The
color is similar to a blue print. I have no idea of what
dilution does other than it probably slows the toning. Here
are a couple of formulae:
Ansco/Agfa 241 Iron Blue Toner
Water (preferably distilled) 500.0 ml
Ferroc ammonium citrate 8.0 grams
Potassium ferricyanide 8.0 grams
Acetic acid, 28% 265.0 ml
Cold water to make 1.0 liter
Any exposure to iron during toning will result in spots or
streaks.
Prints to be toned should be fixed in a plain, non-hardening
fixing bath.
When prints have been toned they will be greenish but will
wash out to a clear blue.
It is suggested that the wash water be slightly acidified
with a small amount of acetic acid.
Delibrate moderation of the blue tone can be gotten by
treating washed prints in a 5% solution of Borax.
Note: this formula does not specify the type of ferric
ammonium citrate scales to be used.
Kodak Iron Toner T-12
Ferric ammonium citrate (green scales) 4.0 grams
Oxalic acid 4.0 grams
Potassium ferricyanide 4.0 grams
Water to make 1.0 liter
Dissolve each chemical separately in a small amount of
water, about 250 ml and filter before mixing together. This
soluton does not keep well except in brown bottles
Immerse the well washed print in the toning bath for 10
to 15 minutes until the desired tone is obtained. Then wash
until the highlights are clear.
Toned images obtained with this formula are not
abasolutely permanent since they consist of a mixture of
silver with silver ferrosyanide and ferric ferrocanide. On
exposre to the atmosphere, which usually contains traces of
hydrogen sulfide, the silver ferrocyanide is converted to
silver sulfide which is usually apparent as a metallic sheen
on the surface of the toned print. This sulfiding of the
image can be preventeed almost completely by coating the
prints with Kodak Print lacquer.
The final tone depends not only on the time of toning
but also on the density of the original print.
Prints to be toned should be washed thoroughly and
treated with hypo eliminator to insure freedomf from hypo.
If hypo is present inferio tones will result.
Note from RK, HE-1 is a bad idea, use Kodak Hypo
Clearing Agent and wash well before toning.
Note that both of these formulas work best on warm tone
paper and that the type of developer may affect the final
tone.
I have two additional formulae from _Photographic Facts
and Formulas_ which I copy for comparison but I am not sure
they are reliable.
No.1
Ferric ammonium ditrate (10% solution) 60.0 ml
Potassium ferricyanide (10% solution) 60.0 ml
Acetic acid (10% solution) 600.0 ml
Pesumably the water in the individual solutions is all that
is required.
No.2
Ferric ammonium citrate 0.4 grams
Potassium ferricyanide 0.4 grams
Nitric acid 0.75 ml
Water 480.0 ml
Ther is another set of blue toners using gold. These
produce very permanent images, and, in fact, are related to
the standard treatment for microfilm. However, the gold
required makes them somewhat expensive. The Blue color from
gold toners is very dependant on the original image color
much like selenium toning. On neutral and cold tone papers,
or on negatives, there is little effect other than slight
intensification. On very warm tone papers there is a
definite blue color. On most papers the blue is a subdued
slate blue. Gold toned images when subsequently treated in a
sulfiding toner will turn brick red.
For much more about toning see Tim Rudman's books on
toning. A Google search will find them.
--
Richard Knoppow
Los Angeles, CA, USA
dickburk@xxxxxxxxxxxxx
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