Actually, what I’m going going to say might be important to some and should be of knowledge to any darkroom printer.
Brown toner will save any print that is too dark. There was a time where I couldn’t adjust to the drydown of some papers. Especially ilford matte: prints looked gorgeous and the next day, when they we’re dry, i’d tear them all with frustration.
I couldn’t go through this anymore and that’s when I found out that brown toner acts on the dark parts of the image. This is how I saved A LOT of prints that we’re missed/too dark. Those prints went from being good for garbage to looking awesome with those deeeep brown tones.
Just now as I type this, I have saved 6 prints that were candidates to get ripped because too dark. Now they are just intense enough, warm. They look good! A bit too brown, but they have been salvaged.
Yesterday’s prints we’re all on the light side. When prints are light, I dip them in brown toner just enough to get the warm tinge. Anything other than a slight warm tone for prints that are very light to begin with, starts to look ugly quite quickly, pink and orangey. Dark prints with lots of black in them are the best candidates for brown toning. And the Bonus is that you gain extra archival properties.
Direct brown toning is extremely simple. A dip of a few seconds/minutes right after a quick rinse and before a Kodak Hypo clear bath. Then wash.
My advice is to keep all the missed/dark prints that you have and when you have enough for a toning session, tone them all. Chances are that you will salvage them.
NB23 I quite like what I assume to be deep brown toned prints in your case. It would be nice to see just how brown the toner was able to make the prints
Thanks
pentaxuser