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Ist eine Selentonung als Vorbereitung für eine weitere Tonung geplant, reicht es nur, sich auf den Augenschein zu verlassen, wenn man das Papier und seine Reaktion auf Selen gut kennt. Es gibt Papiere, wie das Ilford MGIV, bei dem der Tonungsfortgang anhand einer Farbveränderung kaum erkennbar ist, im Gegensatz zum Fomatone beispielsweise. Jeder, der sich mit der Wirkungsweise von Selentonern auskennt, weiß, dass dieser Toner seine Wirkung in den Schatten startet, Beim Fomatone sieht man dies relativ deutlich nach etwa 45 Sekunden bei Verdünnungen zwischen 1+7 und 1+9. Beim Ilford MGIV ist die Wirkung anhand einer Farbveränderung nicht sofort erkennbar. Unser Auge sieht die Veränderung nicht, aber sie ist durchaus vorhanden. Deshalb haben wir den Implus, die Tonungszeit zu verlängern, oder den Toner stärker anzusetzen. Ein Schuss, der nach hinten losgehen kann, denn wir benötigen für einen zweiten Toner ungetontes Silber in den oberen Tonwertbereichen.
Links die ungetonten Prints auf Fomatone 131 (oben) und MG IV (unten).
Rechte Seite, beide Prints getont mit MT1 Selentoner. Oben Fomatone 1:15 Minuten bei Verdünnung 1+7.
Unten MG IV 1+7 50 Sekunden. Eine deutliche Farbveränderung ist hier zunächst nicht erkennbar.
Wieweit der Selentoner über die Schattenpartien hinaus wirksam ist, kann man nur sehen, wenn man den Print bleicht, um die noch nicht voll durchgetonten Bereiche sehen zu können.
Dazu nehmen wir einen starken Bleicher (Kaliumferricyanid/Bromid) in der Verdünnung 1+20.
Beim MG IV (unten rechts) sehen wir, das zuwenig ungetontes Silber übrigbleibt, um einen weiteren Toner wirksam werden zu lassen. Beim getonten, aber nicht gebleichten Print ist das nicht erkennbar.
Das wenige Silberbromid beim MGIV kann zur Stabilisierung des Bildes mit Thioharnstoff (MT3) oder Schwefel (MT2, MT4, MT5) in Schwefelsilber überführt werden. Beim Fomatone ist hingegen sehr viel mehr Silberbromid vorhanden, bei identischer Tonung würde der Print etwas kontrastarm und sehr bunt ausfallen. Verloren ist dieser Print jedoch nicht, denn die gebleichten Partien können mit einem beliebigen Entwickler wieder in den vorherigen Zustand (Silber) zurückgeführt werden.
If selenium toning is planned as preparation for further toning, it is sufficient to rely on visual inspection if you are familiar with the paper and its reaction to selenium. There are papers, such as Ilford IV, where the progress of toning is hardly noticeable by a change in colour, in contrast to Fomatone, for example. Anyone familiar with how selenium toners work knows that this toner starts to take effect in the shadows. With Fomatone, this can be seen relatively clearly after about 45 seconds at dilutions between 1+7 and 1+9. With Ilford MGIV, the effect is not immediately noticeable from a colour change. Our eyes do not see the change, but it is definitely there. This gives us the impulse to extend the toning time or to use a stronger toner. This can backfire, because we need untoned silver in the upper tonal ranges for a second toner.
On the left, the untoned prints on Fomatone 131 (top) and MG IV (bottom).
On the right, both prints toned with MT1 Selenium toner. Top: Fomatone 1:15 minutes at a dilution of 1+7.
Bottom: MGIV 1+7 50 seconds. No colour change is initially visible here.
The extent to which the selenium toner is effective beyond the shadow areas can only be seen by bleaching the print to reveal the areas that have not yet been fully toned.
To do this, we use a strong bleach (potassium ferricyanide/bromide) diluted 1+20.
With MG IV (bottom right), we see that there is not enough untoned silver left to allow another toner to take much effect. This is not noticeable with the toned but not bleached print.
The small amount of silver bromide in MGIV can be converted to sulphur silver using thiourea (MT3) or sulphur (MT2, MT4, MT5). In contrast, the Fomatone contains much more silver bromide; with identical toning, the print would be somewhat low in contrast and very colourful. However, this print is not lost, because the bleached areas can be returned to their previous state (silver) with any developer.
This is probably the most apocalyptic sunset I've seen...Now I know what is like to be in Mars...Truly spectacular!
I've filled my bag with useful things for photography. One item I occassionaly forget I have is a set of corkers to go over my snow boots. If you are a landscape photographer these are MUST HAVE pieces of kit in the winter. Dont leave home with out them. This pair is ~$60 from Canadian Tire and they are awesome.
“Non fai solo una fotografia con una macchina fotografica. Tu metti nella fotografia tutte le immagini che hai visto, i libri che hai letto, la musica che hai sentito, e le persone che hai amato.”
– Ansel Adams
Siamo cresciuti senza internet,
smartphone, social vari ed evventuali, ipod , ipad e quant'altro,
venuti sù a pane burro e zucchero,
con le ginocchia sempre sbucciate e con gli amici che ne sapevano sempre una più di noi ......
our childhood .... without internet
Many thanks dear friends for your views, faves and supportive comments. These are always very much appreciated.
All Rights Reserved Worldwide In Perpetuity.
- No Unauthorized Use.
Absolutely no permission is granted in any form, fashion or way, digital or otherwise, to use my images on blogs, personal or professional websites or any other media form without my direct written permission.
If you recognize yourself in a photo in this gallery, you certainly weren't what I was photographing, if you don't want it to be published let me know and the photo, perhaps, will be removed.
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6 Comments on Instagram:
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pamrumer: Lovely architecture! @gregweir
hleichsenring: nice
chrisr3: One of our top UK classic cities, careful how you walk though the pavements tends to be narrow
scotty_barker1: Beautiful
davidlux: Love that red brick.
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