Toning Techniques

Toning transforms the silver image into more stable compounds while shifting the print's colour. A selenium-toned print gains archival permanence and subtle colour; a sepia-toned print becomes warm brown. Toning bridges chemistry and aesthetics.

This guide covers the major toning processes, their effects, and practical working methods.

What Is Toning?

The Chemistry

A black and white print consists of metallic silver suspended in gelatin. Toning replaces some or all of this silver with different compounds:

• Selenium toning: Converts silver to silver selenide
• Gold toning: Deposits metallic gold over the silver
• Sepia/sulfide toning: Converts silver to silver sulfide

Each compound has different colour, stability, and permanence characteristics.

Why Tone Prints?

Archival protection: Silver is vulnerable to environmental pollutants, particularly sulfur compounds in the air. Toned prints resist deterioration better than untoned prints.

Colour shifts: Toning changes the image colour—from cool purple-black (selenium) to warm brown (sepia) to blue-black (gold). These subtle shifts dramatically affect mood and perception.

Enhanced tonal richness: Many photographers find toned prints have greater apparent depth, especially in the shadows.

Toning and Paper

Not all papers respond equally to toning:

• Warm-tone papers show more dramatic colour shifts with most toners
• Neutral papers shift more subtly
• RC papers generally don't tone well—the resin prevents toner penetration
• Chlorobromide papers (like Ilford MG FB) tone beautifully
• Pure bromide papers show less colour change but still gain archival benefit

Getting Started: Commercial Toners

For beginners, start with ready-made toners rather than mixing from scratch:

Selenium toner (Kodak Rapid Selenium, Fotospeed ST20): Subtle colour shift, archival benefits. Start at 1+19 dilution for archival protection with minimal colour change, or 1+9 for more visible effect.

Sepia toner (Fotospeed Sepia, Ilford Harman): Classic warm brown. Comes in two-part kits with bleach and toner—follow the instructions included.

Gold toner (Tetenal Gold Toner, Fotospeed GT20): Blue-black shift with ultimate archival protection. Expensive but straightforward to use.

Selenium Toning

Selenium toning is the most common archival treatment. It provides protection against environmental deterioration while producing a subtle colour shift.

Effects of Selenium

Colour shift: Neutral-to-cool, sometimes with a slight purple cast. The shift is subtle on most papers—visible but not dramatic.

Tonal change: Shadows deepen slightly; overall density can increase. Some prints appear to gain contrast.

Archival benefit: Excellent. Silver selenide is extremely stable against atmospheric sulfur compounds.

Dilutions and Effects

Selenium toner is typically sold as a concentrate (e.g., Kodak Rapid Selenium Toner, Fotospeed ST20).

Higher concentrations tone faster and produce more colour change. Lower concentrations work slowly with less visible effect.

Selenium Toning Procedure

Timing

At 1+9 dilution, 20°C:

• Visible change: 3-8 minutes (varies with paper)
• Strong shift: 10-15 minutes
• Maximum effect: 15-20+ minutes

Temperature affects speed: Warmer toner works faster. Cold toner works slowly but may give smoother results.

Reading Selenium Tone

The colour shift can be subtle. Tips for evaluation:

• View prints in consistent, neutral lighting
• Compare toned to untoned prints side-by-side
• Check shadows—they show change first
• Wet prints appear different from dry prints; final evaluation must wait until dry

Papers That Respond Well

• Ilford Multigrade FB Classic: Good response, subtle cooling
• Ilford Warmtone FB: More dramatic shift toward purple
• Fomabrom: Strong response
• Oriental Seagull: Beautiful response (if available)

Gold Toning

Gold toning produces a blue-black colour shift and provides the ultimate in archival protection. Metallic gold is essentially permanent.

Effects of Gold

Colour shift: Cool blue-black. More obvious than selenium on most papers.

Tonal change: Can slightly reduce overall density. Highlights may shift more than shadows.

Archival benefit: Exceptional. Gold is chemically inert—gold-toned prints should last indefinitely in proper storage.

Gold Toner Formulas

Gold Protective Solution (GP-1): A traditional formula that deposits gold without bleaching:

• Water (at 50°C): 750ml
• Gold chloride (1% solution): 10ml
• Sodium thiocyanate: 10g
• Water to make: 1 litre

Mix in order given. Use at 20°C. Tone for 10-20 minutes.

Commercial gold toners: Available from Tetenal, Fotospeed, and others. More convenient but expensive.

Gold Toning Procedure

Gold Toner Capacity

Gold toner exhausts as the gold is deposited on prints. One litre typically handles 10-15 8×10 prints before noticeable weakening.

Cost consideration: Gold chloride is expensive. Gold toning is typically reserved for exhibition prints where maximum permanence justifies the cost.

Selenium + Gold Combination

For ultimate archival permanence:

1. Selenium tone first (1+19 or 1+9, to desired level)
2. Wash
3. Gold tone (to desired blue-black shift)
4. Final wash

This "belt and suspenders" approach provides maximum protection.

Sepia Toning

Sepia toning converts the silver image to silver sulfide, producing warm brown tones reminiscent of 19th-century photographs.

The Two-Step Process

Unlike selenium and gold (which work directly), sepia toning is typically a bleach-and-redevelop process:

1. Bleach: Potassium ferricyanide converts metallic silver to silver ferrocyanide (the image fades to pale yellow/tan)
2. Redevelop: Sodium sulfide converts the silver ferrocyanide to brown silver sulfide (the image returns as warm brown)

Sepia Toning Procedure

Bleach solution:

• Potassium ferricyanide: 50g
• Potassium bromide: 50g
• Water to make: 1 litre

Use at 1+9 dilution for controlled bleaching.

Sulfide redeveloper:

• Sodium sulfide: 50g
• Water to make: 1 litre

Use at 1+9 dilution. Work in well-ventilated area—releases hydrogen sulfide (rotten egg smell).

Controlling Sepia Tone

Full bleach: Complete bleaching produces maximum brown (lighter, warmer).

Partial bleach: Stop bleaching before the image fully disappears for darker, less warm tones with more retained silver.

Variable sepia: Commercial kits (like Fotospeed Variable Sepia) offer multiple redeveloper options for different brown hues.

Thiourea vs Sodium Sulfide

Sodium sulfide:

• Traditional, effective
• Very strong odor (hydrogen sulfide)
• Requires excellent ventilation

Thiourea:

• Less odorous
• Slightly different colour (can be warmer)
• Some formulas are odourless

Commercial sepia kits often use thiourea for studio practicality.

Split Toning

Split toning combines two toners for dual-tone effects—typically different colours in highlights vs shadows.

Partial Sepia Split

The most common split tone:

Selenium-Sepia Split

An elegant combination:

Result: Cool purple-black shadows, warm brown highlights, with smooth transitions.

Creative Possibilities

Split toning opens many combinations:

• Sepia highlights, selenium shadows
• Blue-toned highlights (gold or iron), brown shadows
• Variable intensity across the image

These effects require testing and practice but create distinctive, sophisticated prints.

Other Toning Methods

Copper Toning

Produces red-brown to orange tones. Less common, requires careful handling (copper salts are toxic).

Iron Blue Toning

Creates blue images (think cyanotype colour). The print is bleached, then redeveloped in iron/ferricyanide compounds.

Tea and Coffee Toning

Non-chemical toning using tannins:

1. Make strong tea or coffee
2. Soak print for extended periods (hours)
3. Wash and dry

Result: Subtle warm staining, not true toning. Not archival—the organic compounds may degrade over time. Fun for effects, not for permanence.

Dye Toning

Some toners add dyes to the image. These can produce vivid colours but are not archival—dyes fade.

Toning Workflow Considerations

When to Tone

In the processing sequence: Tone after fixing, after washing aid (if used), and before final wash.

For dry prints: Re-wet prints for 10-15 minutes before toning. Dry prints that aren't fully softened may tone unevenly.

Print Preparation

For even toning:

• Process archivally (two-bath fix, thorough washing)
• Remove all residual fixer (causes uneven toning)
• Ensure prints are fully wet before toning

Testing

Always test first:

• Make extra prints for toning tests
• Test each paper/toner combination—responses vary
• Keep reference prints (toned and untoned) for comparison

Record Keeping

Note your toning parameters:

• Dilution
• Time
• Temperature
• Paper type
• Observed effect

This allows you to reproduce results.

Safety Summary

General rules:

• Always wear gloves when toning
• Work in ventilated spaces
• Never mix toners with acids (releases toxic gases)
• Dispose of toners as chemical waste
• Label all containers clearly

Equipment Needed

Summary

• Toning converts silver to more stable compounds while shifting colour
• Selenium provides archival protection with subtle cooling; toxic—requires gloves and ventilation
• Gold offers ultimate permanence with blue-black shift; expensive
• Sepia creates warm brown tones via bleach-and-redevelop; strong odour requires ventilation
• Split toning combines methods for dual-tone effects
• Always test paper/toner combinations before important work
• Process prints archivally before toning for best results
• Handle all toners with appropriate safety precautions

Toning adds the final dimension to a fine print—the subtle shift in colour that transforms a good photograph into something distinctive. Whether for archival protection or aesthetic effect, toning is a skill that repays careful practice.