I've got a few more worth printing, but this is the last in the series for now. I see plenty of possibilities for this lens - but this is probably my favourite yet.
Subtle Selenium toning can produce beautiful purple splits as the highlights meet midtones. I will experiment more with this combo.
Do you use Fomatone 132 matte, or 131 glossy? I have a strong feeling that they respond completely differently to selenium toner. Mine usually turns the dark shadows into a brown ugly mess.
I use the glossy '131', with the selenium at 1+19 - the print doesn't stay in there long (60 seconds at most). I find it depends hugely on the density and tonality of the print to start with. The first Nigella I printed went much darker, browner and purple in the shadows, whereas the lighrer toned prints responded better.
Similarly, bleach on its own removed an olive green cast on the darker prints, while bleaching, toning in sepia and then selenium toning cooled the prints massively - the lighter versions apperaing alomost as though they had been toned in Gold.
I will be experimenting more with this - the paper and Lith printing are both new to me.
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