Kodak Printer Accessories User Manual

TECHNICAL DATA /

REFERENCE

Toning Black-and-White Materials

May 2006 • G-23

Photographic print toners are chemical solutions used to treat
black-and-white prints after processing. What does
treatment with a toner solution do to a black-and-white
print?

• Changes or enhances the image color to convey a

mood or impression, from subtle to extraordinary.

• Extends the life of the print image during di sp lay or

storage. Toning converts the black-and-white silver
image to an inert compound, which reduces the harmful
effects of intense light, ultraviolet radiation, oxidizing
gases, extremes of temperature and humidity, and
fumes. All Kodak toners will protect the image whether
or not they produce a color shift.

• Enhances the maximum density (D-max) in the

image. With some toners, you can increase the shadow
densities in prints with little or no change in the image
tone. For example, you can treat KODAK
PROFESSIONAL POLYMAX Fine-Art Paper
(discontinued) in KODAK PROFESSIONAL Rapid
Selenium Toner to produce a richer range of tones in the
shadow areas. The curve below shows the increase in
upper-scale contrast and D-max of KODAK
PROFESSIONAL POLYMAX Fine-Art Paper toned in
Rapid Selenium Toner (diluted 1:40).

SELECTING A KODAK PROFESSIONAL
PACKAGED TONER

The visual effect of a toner depends on a combination of
factors:

• the toner and toner dilution

• the paper emulsion type, surface, and stock tint

• the length of the toner treatment

• the processing of the paper
Not all toners perform the same way with all papers. Be

sure to select a compatible paper/toner combination. See the
tables Tones Produced by Paper/Toner Combinations and
Degree of Toning Produced by Paper/Toner Combinations.

KODAK Packaged Toners

KODAK PROFESSIONAL Rapid Selenium Toner.

Produces several cool chocolate-brown hues with warm-tone
papers, purplish brown tones with neutral-tone papers, and
very little or no change with cold-tone papers. Use the 1:20
dilution for print protection. To increase shadow contrast
and maximum density with a minimum tone change, use a
1:20 or 1:40 dilution. You can also use this toner with
black-and-white films. It converts the silver image to silver
selenide.

3.0

KODAK PROFESSIONAL POLYMAX Fine-Art Paper
KODAK PROFESSIONAL DEKTOL Developer
20 C (68 F) for 2 minutes
treated in KODAK PROFESSIONAL
Rapid Selenium Toner (1:40)

2.0

for 4 minutes

DENSITY

1.0

0.0

F002_1087AC

1.0

0.0 1.0

LOG EXPOSURE (lux-seconds)

(1:2).

Toned

Untoned

2.0

KODAK PROFESSIONAL Brown Toner. Produces a

variety of brown tones on neutral- and warm-tone papers.
You can also use it to treat black-and-white negatives and
slides for long-term keeping. It converts the silver image to
silver sulfide.

KODAK PROFESSIONAL Sepia II Warm Toner.

Produces noticeably warmer brown tones on most
black-and-white papers than KODAK Sepia Toner. It
includes a bleach and a redeveloper. It converts the silver
image to silver sulfide.

KODAK PROFESSIONAL Sepia Toner. Produces warm

brown tones on cold-tone papers or yellowish brown tones
on warm-tone papers. It includes a bleach and a redeveloper .
It converts the silver image to silver sulfide.

©Eastman Kodak Company, 2006

Tones Produced by Paper/Toner Combinations

Tone KOD AK Tone r Dilution

Reddish Brown Brown Dilute according to the packag e instructions.

Chocolate-Brown Brown Dilute according to the package instructions.

Warm Brown

Sepia (full)

Cool Brown Sepia Dilute according to the package instructions.

No Tone Shift Rapid Selenium 1:20

Sepia II Warm Dilute according to the package instructions.

Note: To produce the tones listed in the table, the papers were developed in KODAK PROFESSIONAL DEKTOL Developer (1:2)
at 20°C (68°F).

ADJUSTING PRINT EXPOSURE AND
DEVELOPMENT

Some toners will have an effect on print density and contrast.
If you know you will treat your prints with a toner before you
expose and process them, you can plan ahead to allow for
changes.

• KODAK PROFESSIONAL Sepia Toner, KODAK
PROFESSION AL Sepia II Warm Toner, and KODAK
PROFESSIONAL Brown Toner will reduce print
densities. Develop prints fully, and make them slightly
darker than normal.

• KODAK PROFESSIONAL Rapid Selenium Toner
tends to intensify the image. You may want to shorten
print development time slightly. However, toning a fully
developed print with this toner yields an increased tonal
scale.

Note: Exposure and development modifications also depend
on the paper emulsion type and grade.

GUIDELINES FOR PRINT PROCESSING

Toning cannot disguise poor print quality. Use a properly
exposed and processed print made from a high-quality
negative. A good candidate for print toning should have a
full tonal scale with good detail in the highlights and
shadows.

To obtain consistent results with toners, follow processing
instructions exactly, use fresh processing solutions, and
establish a consistent technique. Use standard materials and
methods to control the factors that can cause toning
variations.

Development

To obtain uniform image color, use the development
temperature and time recommended in the paper instructions
(unless you adjust the time for a specific toner as described
under Adjusting Print Exposure and Development). Avoid
contaminating the developer with other solutions; don’t
exceed the capacity of your developer. De veloper
contamination or exhaustion can cause image-color
variations.

Stop Bath

Bathe the prints in the stop bath according to the
recommendations in the paper instructions.

Do not use an exhausted or overconcentrated stop bath.
Replace your stop bath frequently, or use a stop bath such as
KODAK PROFESSIONAL Indicator Stop Bath, which
signals when to change the bath.

If you leave stop bath in a tray for more than three days or
in a tank for more than one month, evaporation may cause
overconcentration. An overconcentrated stop bath can cause
mottle in the base of a toned print.

Insufficient agitation of prints, especially during the first
few seconds in the stop bath, can also cause mottle. The
mottle won’t be evident until you tone the print with a
selenium or sulfide toner.

Fixing

Improper fixing is probably the major cause of stains in
toned prints. Use two-bath fixing for best results.

Note: We do not recommend using a hardening fixer for
prints that you intend to tone, because it will make the paper
emulsion less receptive to the toner solution. Use a
non-hardening fixer, such as KODAK PROFESSIONAL
Rapid Fixer Part A only. With some toners, use of a liquid
hardener, such as KODAK Liquid Hardener (CAT 146

4239), is required after toning. (See the instructions for
specific toners under Using KODAK Packaged Toners and
Using Mixed Toners.)

Do not exceed the capacity of your fixer. An exhausted
fixing bath contains insoluble silver compounds that will
remain in prints; you can’t remove them completely by
washing. When these residual silver compounds come into
contact with a toner, they form a dark yellow stain that is
especially noticeable in print borders and highlights.

Proper agitation in the fixer is important. Stains
commonly occur when prints stick together or float on the
surface of the fixer. For example, air bubbles trapped
between or under prints during fixing can later produce
round purple stains in prints toned with selenium or sulfide
toners.

2 Toning Black-and-White Materials • G-23

Also avoid excessive fixing. Do not fix prints for longer
than the recommended time (approximately 10 minutes for
fiber-base papers, 2 minutes for resin-coated papers).
Prolonged fixing expands the paper and allows the solution
to penetrate the base. Fixer that is trapped in the base is
difficult to remove, and will make prints that are toned in
selenium or sulfide toners turn yellow. Prolonged fixing can
also reduce the silver image.

Washing

Thorough washing is especially important when you prepare
prints for toning. Residual silver salts and traces of hypo in
the paper may cause stains, uneven tones, and fading.

Wash fiber-base prints for one hour with agitation in a
tank or tray; the wash-water flow rate should provide a
complete change of water every 5 minutes. To reduce
washing time and conserve water, use KODAK Hypo
Clearing Agent according to the instructions.

Wash resin-coated papers for 4 minutes in running water.
The wash-water flow rate should be sufficient to change the
water completely during the 4-minute wash. We do not
recommend using Hypo Clearing Agent with resin-coated
papers.

Agitate prints and keep them separated during washing.
Don’t overload your wash tank.

Toning

Do not use metal trays or tanks to hold your toning solutions.
Use only unchipped enamel, hard-rubber, or plastic trays.

You can tone prints immediately after washing. (See the
instructions for specific toners under Using KODAK
Packaged Toners and Using Mixed Toners.)

If you tone prints that are already dry, soak them in water
for 2 to 3 minutes before toning.

Note: Prints toned after storage may show stains due to
adverse storage conditions.

When you tone resin-coated papers, keep toning times to
a minimum to prevent the solution from penetrating the
edges of the papers. If you tone resin-coated prints for longer
than 8 to 10 minutes, leave a large border around the image
so that you can trim off the edges if the toner penetrates
them. (It is difficult to wash toner from the edges of a print.)

After you have soaked prints in toner solution, wash them
as directed in the toner instructions.

SAFE HANDLING OF PHOTOGRAPHIC
CHEMICALS

• Handle all chemicals carefully.

• Packages of Kodak photographic chemicals carry
precautionary labels when necessary. Always read the
labels and follow the instructions carefully. For
safe-handling information for particular Kodak
chemicals, see the product label or the Material Safety
Data Sheet (MSDS). To obtain MSDSs, go to

www.kodak.com/go/MSDS.

• Keep the darkroom and mixing room clean. Clean up
spilled chemicals as soon as possible.

• Wear protective clothing, such as a waterproof apron
and rubber gloves, when mixing solutions. Always wear
goggles or a safety glasses when handling acids or
strong alkalis.

• Avoid contact of any chemicals with your skin. Some
photographic solutions and powders can cause skin
irritation and an allergic skin reaction. (Use plastic print
tongs and wear clean rubber gloves when you use
KODAK Brown Toner, because the solution is quite
alkaline.)

• Keep chemicals and processing solutions out of the
reach of children and pets. Do not store chemicals where
you handle or store food. Do not eat, drink, or smoke in
chemical-handling areas. Always wash your hands
thoroughly after handling chemicals, especially before
eating or drinking.

• Maintain proper ventilation in the mixing room and
darkroom.

• Dispose of used chemicals safely. Do not discard
sulfide-type toners with stop baths or fixing baths. The
combination of these solutions will generate hydrogen
sulfide gas. (Hydrogen sulfide gas can fog unexposed
paper and film, and will oxidize unprotected silver
images in negatives and prints.) Discard the solutions
individually, and flush the drain with plenty of water
after you discard each solution.

Drying

Dry toned fiber-base prints slowly between sheets of blotting
paper or on a drying rack.

Remove excess water from the surface of resin-coated
prints, and air-dry them at room temperature or use
circulated warm air.

Note: Drying with heat causes a shift to a cooler tone with
some paper/toner combinations. Set the speed and
temperature of the dryer to the lowest settings. You may
have to adjust the amount of toning to compensate for the
shift to a cooler tone.

Toning Black-and-White Materials • G-23 3

USING KODAK PROFESSIONAL
PACKA GED TONERS

After you have selected a toner for your prints, follow the
appropriate procedure below. Be sure to check the toner
packaging for precautionary information.

KODAK PROFESSIONAL Rapid Selenium
Toner

Note: Observe the precautionary information on all
chemical packages. The active ingredient in Rapid Selenium
Toner is a sulfite salt that has a concentration of less than 2
percent. Working solutions of the toner generally contain
less than
concentrations are not considered hazardous when you
handle the solutions under normal conditions. However, we
recommend that you use print tongs and wear clean rubber
gloves when you use this toner. If toner splashes onto your
skin, wash immediately with plenty of water.

If the prints you plan to tone are already dried, rewet them by
immersing them in a fixing bath, and then rewash them.
Otherwise, staining may occur.

1. Dilute the toner with water according to the tone change

2. Immerse a thoroughly washed print in the toner solution

3. When the print has almost the required tone, remove it

(65 to 75°F) for one hour, or use KODAK Hypo Clearing
Agent to reduce the wash time; wash resin-coated prints for
4 minutes.

Note: If you use Hypo Clearing Agent after fixing fiber-base
prints, you can use a working solution of Hypo Clearing
Agent to dilute Rapid Selenium Toner 1:20 or 1:40, and
eliminate the wash step between fixing and toning. To avoid
stains, don’t rinse the prints after fixing; immerse them
directly into the combination bath, and tone for
approximately 3 minutes for print protection or longer for a
tone change. Do not reuse this Hypo Clearing Agent bath to
treat untoned prints; it will contain traces of toner. After
using this combination bath, wash the prints for at least
30 minutes in running water at 18 to 20°C (65 to 75°F) with
frequent agitation.

1

⁄2 percent selenium sulfite. These selenium

you want.

at 20°C (68°F) and agitate the print. Complete toning
occurs in 2 to 8 minutes, depending on the paper type
and weight.

from the toning bath; toning will continue to some
extent in the wash.

Wash fiber-base prints in running water at 18 to 20°C

To Use Rapid Selenium Toner with Black-and-White

Dilute the toner 1:29. After washing the film,

Films.

immerse it in the toner solution at 20°C (68°F) for 4 minutes
with occasional agitation. Wash the film in running water at
18 to 20°C (65 to 75°F) for 20 to 30 minutes. Dry the film in
a dust-free place.

Note: You may notice a slight increase in contrast when you
treat film with a 1:29 dilution. Higher concentrations (1:3 or
1:9) will increase the contrast.

KODAK PROFESSIONAL Brown Toner

Note: Wear rubber gloves when you mix or use Brown
Toner.

1. Dilute 30 millilitres (1 fluidounce) of Brown Toner in
946 millilitres (1 quart) of water and mix thoroughly.

2. Immerse a thoroughly washed print in the toner
solution, and agitate. Tone prints for 15 to 20 minutes at
20°C (68°F) or for 3 to 4 minutes at 38°C (100°F) with
continuous agitation.

3. When toning is complete, remove the print from the
toning bath and rinse it with water for 2 minutes.

4. Treat fiber-base prints in Hypo Clearing Agent for
1 minute, and then treat them in a bath made from 1 part
KODAK Liquid Hardener
5 minutes.

Note: If hardening is required for resin-coated prints,
you can treat them in the same way.

Wash fiber-base prints in running water at 18 to 20°C

(65 to 75°F) for 30 minutes; wash resin-coated prints for
4 minutes.

To Use Brown Toner with Black-and-White Films.

Prepare the toner as described above. After washing the film,
immerse it in the toner solution at 20°C (68°F) for
15 minutes with occasional agitation. Wash the film in
running water at 18 to 20°C (65 to 75°F) for 20 to
30 minutes. Dry the film in a dust-free place.

*

and 13 parts water for 2 to

4 Toning Black-and-White Materials • G-23

* Eliminate this treatment if prints were treated with a hardening fixer during

processing. We recommend using a non-hardening fixer such as KODAK
PROFESSIONAL Rapid Fixer Part A only for prints that you plan to tone.

KODAK PROFESSIONAL Sepia II Warm Toner

1. Prepare the bleach and toning baths according to the
instructions packaged with the toner.

Note: The bleach bath (Solution A) converts metallic silver
in the print to light-sensitive silver bromide. You may want
to bleach the print under safelight illumination to minimize
the effect of light on the image. However, the effect is
extremely small, and may not be noticeable.

2. Immerse a thoroughly washed print in Solution A
(bleach) at 18 to 21°C (65 to 70°F), and agitate for about
6 to 8 minutes. Bleach the print until the blacks in the
shadows have disappeared or turned yellow (depending
on print density and paper grade).

3. Rinse the print thoroughly in running water for
2 minutes.

4. Immerse the print in Solution B (toner) at 18 to 21°C
(65 to 70°F), and agitate for about 60 seconds or until no
further tone change occurs.

5. Rinse the print thoroughly in running water for
30 seconds.

6. Treat fiber-base prints in a bath made from 1 part
KODAK Liquid Hardener
5 minutes.

Note: If hardening is required for resin-coated prints,
you can treat them in the same way.

Wash fiber-base prints in running water at 18 to 20°C

(65 to 75°F) for 30 minutes; wash resin-coated prints for
4 minutes.

*

and 13 parts water for 2 to

KODAK PROFESSIONAL Sepia Toner

1. Prepare the bleach and toning baths according to the
instructions packaged with the toner.

Note: The bleach bath (Solution A) converts metallic silver
in the print to light-sensitive silver bromide. You may want
to bleach the print under safelight illumination to minimize
the effect of light on the image. However, the effect is
extremely small, and may not be noticeable.

2. Immerse a thoroughly washed print in Solution A
(bleach) at 18 to 21°C (65 to 70°F), and agitate for about
5 to 8 minutes until the print image has disappeared or
turned yellow.

3. Rinse the print thoroughly in running water for
2 minutes.

4. Immerse the print in Solution B (toner) at 18 to 21°C
(65 to 70°F), and agitate for approximately 60 seconds
or until no further tone change occurs.

5. Rinse the print thoroughly in running water for
30 seconds.

6. Treat fiber-base prints in a bath made from 1 part
KODAK Liquid Hardener* and 13 parts water for 2 to
5 minutes.

Note: If hardening is required for resin-coated prints,
you can treat them in the same way.

Wash fiber-base prints in running water at 18 to 21°C

(65 to 70°F) for 30 minutes; wash resin-coated prints for
4 minutes.

* Eliminate this treatment if prints were treate d with a hardening fixer during

processing. We recommend using a non-hardening fixer such as KODAK
PROFESSIONAL Rapid Fixer Part A only for prints that you plan to tone.

Toning Black-and-White Materials • G-23 5

TONERS MIXED FROM FORMULAS

If you want to prepare your own toners, the formulas and
instructions for the following toners are included below.

Hypo Alum Sepia Toner T-1a. Produces cold-brown to

chocolate-brown tones.

Sulfide Sepia To ner T-7a. Produces warm-brown tones

similar to those produced by KODAK Sepia Toner. It
includes a bleach and a redeveloper.

USING MIXED TONERS

Prepare and use the toner formulas as described below.

Hypo Alum Sepia Toner T-1a

This toner will cause a loss of print density and contrast. Y ou
can compensate for this by increasing the exposure time and
the development time when you make your prints.

Mix the toner as follows:

Hypo Alum Sepia Toner T-1a

Gold Toner T-21. Produces a pleasing range of brown tones

with most warm-tone papers by “plating” the silver image
with gold. It has little effect on cold-tone papers. It tones the
highlights and the shadows of the print at a uniform rate,
allowing you to stop the toning when the print reaches the
hue you want.

Gold Protective Solution GP-1. Provides print protection

while changing the image tone only slightly.

Blue Toner T-26. Produces blue tones on some papers.

Warm-tone papers react well to this toner. Neutral-tone
papers change slightly to soft blue-black tones. Cold-tone
papers will not change.

Water at 20°C (68°F) 2.8 L
Sodium thiosulfate (pentahydrated) 480 g

Mix thoroughly; then add the following solution:

Water at 70°C (160°F) 640 mL
Potassium alum (dodecahydrated) 120 g

Then add the following solution (including the precipitate)
slowly to the hypo alum solution while stirring rapidly

Water at 20°C (68°F) 64 mL
Silver nitrate, crystals
Sodium chloride 4 g

After combining the solutions, add—

Water at 20°C (68°F) to make 4 L

* When you combine the solutions, a black precipitate may form. It will

not adversely affect the toning action of the bath if you use the proper
toning technique.

† Let the silver nitrate dissolve completely before you add the sodium

chloride.

†

*

:

4 g

1. Place a tray in a tempered water bath. Pour the toner into

the tray, and heat the water to 49°C (120°F).

2. Immerse a thoroughly washed print in the toner, and
agitate it occasionally , especially during the first few
minutes of toning. Tone for 12 to 15 minutes, depending
on the paper type. Don’t tone prints for longer than
20 minutes at 49°C (120°F), and don’t use a higher
temperature. (Prints will blister or stain at higher
temperatures.)

3. Rinse the print in warm water, and wipe it with a soft
sponge to remove any sediment.

Wash fiber-base prints in running water at 18 to 24°C

(65 to 75°F) for one hour, or use Hypo Clearing Agent to
reduce the wash time; wash resin-coated prints for 4 minutes.

6 Toning Black-and-White Materials • G-23

Sulfide Sepia Toner T-7a

Prepare Stock Solutions A and B as follows:

Sulfide Sepia Toner T-7a

Bleach—Stock Solution A
Water at 20°C (68°F) 2 L
Potassium ferricyanide (anhydrous) 75 g
Potassium bromide (anhydrous) 75 g
Potassium oxalate 195 g
28% acetic acid

* To make approximately 28% ac etic acid from glacial acetic acid, ad d

3 parts of glacial acetic acid to 8 parts water.

Sodium sulfide (anhydrous) 45 g
Water at 20°C (68°F) 500 mL

To prepare the working bleach and toner (redeveloper)

solutions, mix them as follows:

Stock Solution A 500 mL
Water at 20°C (68°F) 500 mL

Stock Solution B 125 mL
Water at 20°C (68°F) 375 mL

1. Immerse a thoroughly washed print in the bleach, and
agitate until only a faint yellowish brown image
remains. This will take approximately 5 to 8 minutes.

2. Rinse the print in cold running water for at least
2 minutes.

3. Immerse the print in the toning bath, and agitate until no
further change occurs in the tone. This will take
approximately 30 seconds.

4. Immediately rinse the print with water.

5. Treat fiber-base prints in a bath made from 1 part
KODAK Liquid Hardener and 13 parts water (or 2 parts
Hardener F-5a and 16 parts water) for 2 to 5 minutes.

Wash fiber-base prints in running water at 18 to 24°C

(65 to 75°F) for 30 minutes; wash resin-coated prints for
4minutes.

*

Toner—Stock Solution B

Bleach Working Solution

Toner Working Solution

40 mL

Hardener F-5a

Stock Solution
Water at 50°C (125°F) 600 mL
Sodium sulfite (anhydrous) 75 g
28% acetic acid
Boric acid, crystals
Potassium alum (dodecahydrated) 75 g
Water at 20°C (68°F) 1L

* To make approximately 28% acetic acid from glacial acetic acid, add

3 parts of glacial acetic acid to 8 parts water.

† Avoid using powdered boric acid; it does not disso lve easily.

*

†

235 mL

375 g

Gold Toner T-1a

Mix the two stock solutions as follows:

Gold Toner T-21

Stock Solution A
Water at 50°C (125°F) 4 L
Sodium thiosulfate, crystals 960 g
Potassium persulfate 120 g

Dissolve the sodium thiosulfate in the water. While stirring
vigorously, add the potassium persulfate. If the mixture does
not turn milky, increase the temperature. Cool to 27°C (80°F).
Then slowly add the following solution, including the
precipitate, while stirring. Solutions must be cool when you
combine them.

Water at 20°C (68°F) 64 mL
Silver nitrate, crystals
Sodium chloride 5 g

* Let the silver nitrate dissolve completely before you add the sodium

chloride.

Water at 20°C (68°F) 250 L
Gold chloride

* Gold chloride is a deliquescent chemical; it will lique fy rapidly in a

normal room atmosphere. Store the chemical in a tightly stoppered
bottle in a dry atmosphere.

*

*

Stock Solution B

Mix the toner working solution as follows:

*

*

Stock Solution A

While stirring rapidly, slowly add—

Stock Solution B 125 mL

Toner Working S o lu ti on

5 g

1 g

Entire

amount

* Eliminate this treatment if prints were treated with a hardening fixer during

processing. We recommend using a non-hardening fixer such as KODAK
PROFESSIONAL Rapid Fixer Part A only for prints that you plan to tone.

Toning Black-and-White Materials • G-23 7

Let the mixed solution stand for about 8 hours before
using it. During this time, a yellow precipitate will form.
Pour the clear solution into another container and discard the
precipitate.

Save the remainder of Stock Solution B to replenish the
toning bath as you use it. The volume that you add will
depend on the number of prints you tone and the toning time.
For example, if you tone to a warm-brown hue, add 4 mL of
Stock Solution B after every fifty 8 x 10-inch prints (or
equivalent).

1. Place a tray in a tempered water bath. Pour the clear

toner solution into the tray, and heat the water to 43°C
(109°F). Maintain this temperature during toning.

2. Immerse a thoroughly washed print in the toning
solution for 5 to 20 minutes until it has the tone you
want. (It’s helpful to keep an untoned print on hand for
comparison.)

Note: Some sediment will form in the tray, especially if
you tone more than one print at a time. The sediment is
harmless, but it can form a scum on the print. If scum
forms, wipe the print with a wet sponge or wet cotton
immediately after toning.

3. Remove the print from the toner and rinse it in cold
water.

Wash fiber-base prints in running water at 18 to 24°C

(65 to 75°F) for one hour, or use Hypo Clearing Agent to
reduce the wash time; wash resin-coated prints for 4 minutes.

Gold Protective Solution GP-1

Prepare the solution as follows. For best results, mix it right
before you use it.

Gold Protective Solution GP-1

Blue Toner T-26

The contrast and density of prints treated in Blue Toner T-26
appear to increase. You can compensate for these increases
by reducing the exposure time slightly when you make your
prints. The exact tone you obtain will vary with the paper and
developer you use. A soft gray-blue is more common than a
saturated blue.

Note: Blue Toner is fairly expensive toner to produce. For
best results, prepare the solution right before you use it. If
you tone prints one at a time in Blue Toner, the first few
prints will tone the most, and the last few may not tone at all.
To obtain consistent results, immerse up to five prints in the
bath simultaneously.

Mix the toner working solution as follows:

Blue Toner T-26

Water at 52°C (125°F) 937 mL
Gold chloride,

Mix the gold chloride solution with the water. Then, while
stirring, add—

Thiourea 1 g
Tartaric acid 1g
Sodium sulfate (anhydrous) 15 g

* Gold chloride is a deliquescent chemical; it will liquefy rapidly in a

normal room atmosphere. Store the chemical in a tightly stoppered
bottle in a dry atmosphere.

† To prepare a 1% gold chloride solution, dissolve 1 gram of gold

chloride in 100 mL of water. Or you may want to obtain a 1-percent
solution from a photographic dealer.

*

1% stock solution

†

40 mL

Water at 20°C (68°F) 750 mL
Gold chloride,
Sodium thiocyanate (liquid) 15.2 mL
Water to make 1 L

* Gold chloride is a deliquescent chemical; it will liquefy rapidly in a

normal room atmosphere. Store the chemical in a tightly stoppered
bottle in a dry atmosphere.

† To prepare a 1% gold chloride solution, dissolve 1 gram of gold

chloride in 100 mL of water. Or you may want to obtain a 1-percent
solution from a photographi c de ale r.

*

1% stock solution

†

10 mL

Add the 10 mL of gold chloride stock solution to the
750 mL of water. Dissolve the sodium thiocyanate solution
separately in 125 mL of water. Then slowly add the sodium
thiocyanate solution to the gold chloride solution while
stirring rapidly.

1. Immerse a thoroughly washed print in the solution at

20°C (68°F).

2. Treat the print for 10 minutes or until you can see a very
slight change to a bluish black in the image tone.

Wash fiber-base prints in running water at 18 to 24°C

(65 to 75°F) for 10 minutes; wash resin-coated prints for
4 minutes.

Stir until the chemicals dissolve completely.

Note: A fine white precipitate may appear in the solution if
you store it overnight. This precipitate will not interfere with
toning.

1. Immerse a thoroughly washed print in the toning

solution adjusted to 20°C(68°F) or 38 to 40°C (100 to
104°F).

2. Tone with occasional agitation for 8 to 45 minutes at

20°C(68°F), or for 2 to 15 minutes at 38 to 40°C (100 to
104°F).

Note: The toning action is so gradual that only a small
amount of agitation is necessary to prevent streaking.
Toning will occur in the highlights first and the shadows
last. Partial toning may produce blue highlights and
untoned shadows.

Wash fiber-base prints in running water at 18 to 24°C

(65 to 75°F) for at least 30 minutes; wash resin-coated prints
for 4 minutes.

8 Toning Black-and-White Materials • G-23

SELECTIVE AND MULTIPLE TONING

You can produce striking effects by using these techniques:

• Tone only particular areas of a print and leave the rest
untoned.

• Use different toners on different areas of a print.

• Tone an entire print with more than one toner.

Selective Toning

Toning selective areas involves using a liquid or plastic
frisket material to cover the parts of the image that you don’t
want to tone. For best results with this technique, choose
scenes that have a distinct line between the areas that you
want to treat differently.

You can apply a liquid frisket material, such as Photo
Maskoid Frisket or Dr. Ph. Martin’s Frisket Mask Liquid,
with a brush. These materials are available from art-supply
stores.

You can also use sheets of clear self-adhesive frisket
material, such as Transpaseal or Grafix Frisket Film, sold for
airbrush work. These materials are available from art-supply
stores. After applying the sheet of frisket material to the
print, use a frisket knife or an X-Acto blade to cut carefully
around the areas you want to tone. Peel off the unwanted
frisket material by picking up a corner with tweezers.

After you have applied the frisket material, follow these
steps:

1. Soak the print in water (fiber-base for 10 minutes,
resin-coated for 2 minutes).

2. Place the print in the toning solution. Let the toner flow
freely over the uncoated portions of the print. Don’t
worry if the print buckles or curls during toning.

Note: If possible, keep the part of the print you don’t
want toned out of the solution in case the toner bleeds
under the frisket. If you can’t do this and the toner tends
to bleed, try skipping the presoak step.

3. Wash the print as recommended in the instructions for
the toner you’re using.

4. Remove the frisket material. You can usually remove
liquid frisket materials by rubbing your fingers gently
over the print while it is still in the wash. Remove Photo
Maskoid frisket by touching sticky tape to an edge.

When you use two or more toners sequentially, follow the

same procedure for each toner.

Multiple Toning

Multiple toning can change the appearance of a print in many
ways. For example, you can produce a print that has its
original warm image tone, as well as sepia, blue, and red or
orange tones, by using only Blue Toner and Sepia or Bro wn
Toner.

The exact hues you produce will depend on the paper type.
You may want to experiment with a selection of different
papers. Cold-tone papers will yield a truer red; warm-tone
papers will produce an orange hue.

This technique usually produces a density loss in the
shadow areas of prints. For best results, start with a print that
has higher-than-normal contrast.

First treat the print in KODAK PROFESSIONAL Sepia or
Brown Toner. Wash the print thoroughly. Then tone the print
with Blue Toner T-26. The red or orange tones will appear
after approximately 15 to 30 minutes in Blue Toner at
32°C(90°F).

Toning Black-and-White Materials • G-23 9

Toning Black-and-White Materials

RETOUCHING TONED PRINTS

You can use liquid dyes, colored or graphite pencils, dry
dyes, and opaque to retouch toned prints on Kodak fiber-base
and resin-coated papers.

Use dry dyes, such as KODAK Retouching Colors, to
make large-area corrections. Use liquid dyes, pencils, or
opaque to make fine corrections—such as eliminating spots,
scratches, and reflections—or to outline and accentuate
details. If you use KODAK Liquid Retouching Colors,
which are intended primarily for color prints, you can mix
the colored and neutral dyes to match the tones in your
prints.

You cannot use reducers on toned prints, but you can use
an etching knife to lighten dark spots.

For more information on retouching, see KODAK
Publication No. O-10, Retouching Black-and-White
Negatives and Prints.

For information on other post-processing treatments for
prints, such as laminating, lacquering, and mounting, see
KODAK Publication No. F-35, Protecting and Displaying
Black-and-White Prints.

MORE INFORMATION

Kodak has many publications to assist you with information
on Kodak products, equipment, and materials.

E-30 Storage and Care of KODAK Films and Papers—

Before and After Processing

F-2 Pathways to Black and White
F-35 Protecting and Displaying Black-and-Whi te Prints

For the latest version of technical support publications for

KODAK PROFESSIONAL Products, visit Kodak on-line at:

www.kodak.com/go/professional

If you have questions about KODAK PROFESSIONAL
Products, call Kodak.
In the U.S.A.:

1-800-242-2424, Ext. 19, Monday–Friday
9 a.m.–7 p.m. (Eastern time)

In Canada:

1-800-465-6325, Monday–Friday
8 a.m.–5 p.m. (Eastern time)

KODAK Publication No. G-23

CAT 839 7705

Kodak, Kod ak Professional, Dektol, and Polymax are trademarks.

Minor Revision 5-06Toning Black-and-White Materials