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Resumen del manual
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 display 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). 3.0 2.0 1.0 0.0 0.0 1.0 DENSITY 1.0 2.0 treated in KODAK PROFESSIONAL KODAK PROFESSIONAL POLYMAX Fine-Art Paper KODAK PROFESSIONAL DEKTOL Developer (1:2). Rapid Selenium Toner (1:40) for 4 minutes Toned Untoned 20 C (68 F) for 2 minutes LOG EXPOSURE (lux-seconds) F002_1087AC 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. 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 KODAK Toner Dilution Reddish Brown Brown Dilute according to the package instructions. Chocolate-Brown Brown Dilute according to the package instructions. Warm Brown Sepia II Warm Dilute according to the package instructions. Sepia (full) Cool Brown Sepia Dilute according to the package instructions. No Tone Shift Rapid Selenium 1:20 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 PROFESSIONAL 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 ...