For people who have worked with them, it's well known that brown toners are difficult to control compared to more predictable toners like Selenium. Here's my own learned observations for subtle med-brown/tan toning slated for small batch processing:
1. Do a few test strip tones (you saved these right?) and record the time it took to reach approximately the tone you want. You will be able to ballpark this tone after initially washing off the polysulfide from the print. You don't have to wash it for 10 minutes to visualize this. Take that time and cut it in half or even 1/3rd.
2. With the reduced time in hand, tone to this time and do a pre-rinse to remove all of the residual surface toner. Then place it in a tray with ample running water and let it continue to wash for at least 1-2 minutes or so, dumping the water at least once. Transfer to a strong HCA bath for holding (be smart: get the PF sodium sulfite). Remember to agitate this HCA bath as time permits. It's very important that you provide ample rinsing/washing before transferring to the holding bath. I'd even say maybe more important than how strong the HCA bath is. Any residual sulfide in the print is going to taint the holding bath and over-tone prints unless you're constantly agitating it or have an uneconomically strong HCA bath.
3. Learn to watch for after-toning. If your prints in the holding bath (particularly the earliest ones in it) are starting to take on a reddish tinge, then you need to change the water or shift them around. By far, the reddish brown look is the best indication of after-toning. It wouldn't be an issue if it was aesthetically pleasing - but it usually isn't.
4. Use a low dilution for a predictable browne tone. This is usually the recommended dilution on the bottle. You won't be able to harness the higher dilutions until you figure out what you're doing. It could probably be argued that not all dilutions are even aesthetically pleasing. With Viradon I use 1+24 or 4ml per 100ml of water. I've also used it with really high dilutions (1+200) before to add a peach tint. I typically don't use with 1+50, 1+100, etc. often, not because they're problematic, but because I don't know them well enough yet.
5. Use distilled water. With Viradon this is a must to avoid issues. I personally use water from my dehumidifier and it does not cause haze within Viradon, even after left standing still. This is usually a good indicator that the water is pure enough - as my tap water has issues with it and it's known to play well with distilled water. However, Kodak Brown Toner seems to be more resilient to water of questionable purity.
6. Do not allow residual sulfide to fling all over the place as even the smallest amount goes a long way. You don't want it in your HCA bath.
7. Do not tone longer because you think it's not toned enough. Stick to your reduced time based off initial test tones.
8. Remember these times with specific papers and toner combinations. I Selenium tone all of my prints to remove the developer cast and deepen the blacks. If you only Se some of your prints then the times aren't going to be the same with a brown toner in all situations.
9. Avoid sharing trays and avoid using "clean" trays for prints that are not completely washed. Polysulfide, like Selenium, tends to taint any tray it comes into contact with, so I don't use my white trays for washing.
10. Try to avoid unreasonable large batches of prints. The longer you let them sit without moving water the more you risk after-toning.
11. If you regularly Selenium tone, but irregularly brown tone, try to plan ahead and only Se tone to the point of shadow drop or tint neutralization but not violet/purple zone. If you go too far you'll have less to work with in brown toner.
With the particular papers I use, 45s-60s in Viradon 1+24 is just enough to provide a warmish brown to the shadows and mid-tones. Caveat emptor: I usually Selentium tone everything 1+20 and this is going to alter times. I'd start with a minute and go from there if you are unsure. Everything about polysulfide and related toning relies on "latent" procedures - meaning that, unlike Se toner, what you immediately see is usually not what you'll get when you're done, so you have to adjust for this. It's similar to turning on the lights to observe a perfectly exposed print in the fixer: looks great, but you're usually screwed once it's toned or dried.
Ralph, Wolfgang, and other die-hards will probably have some thoughts on polysulfide toning as well.
1. Do a few test strip tones (you saved these right?) and record the time it took to reach approximately the tone you want. You will be able to ballpark this tone after initially washing off the polysulfide from the print. You don't have to wash it for 10 minutes to visualize this. Take that time and cut it in half or even 1/3rd.
2. With the reduced time in hand, tone to this time and do a pre-rinse to remove all of the residual surface toner. Then place it in a tray with ample running water and let it continue to wash for at least 1-2 minutes or so, dumping the water at least once. Transfer to a strong HCA bath for holding (be smart: get the PF sodium sulfite). Remember to agitate this HCA bath as time permits. It's very important that you provide ample rinsing/washing before transferring to the holding bath. I'd even say maybe more important than how strong the HCA bath is. Any residual sulfide in the print is going to taint the holding bath and over-tone prints unless you're constantly agitating it or have an uneconomically strong HCA bath.
3. Learn to watch for after-toning. If your prints in the holding bath (particularly the earliest ones in it) are starting to take on a reddish tinge, then you need to change the water or shift them around. By far, the reddish brown look is the best indication of after-toning. It wouldn't be an issue if it was aesthetically pleasing - but it usually isn't.
4. Use a low dilution for a predictable browne tone. This is usually the recommended dilution on the bottle. You won't be able to harness the higher dilutions until you figure out what you're doing. It could probably be argued that not all dilutions are even aesthetically pleasing. With Viradon I use 1+24 or 4ml per 100ml of water. I've also used it with really high dilutions (1+200) before to add a peach tint. I typically don't use with 1+50, 1+100, etc. often, not because they're problematic, but because I don't know them well enough yet.
5. Use distilled water. With Viradon this is a must to avoid issues. I personally use water from my dehumidifier and it does not cause haze within Viradon, even after left standing still. This is usually a good indicator that the water is pure enough - as my tap water has issues with it and it's known to play well with distilled water. However, Kodak Brown Toner seems to be more resilient to water of questionable purity.
6. Do not allow residual sulfide to fling all over the place as even the smallest amount goes a long way. You don't want it in your HCA bath.
7. Do not tone longer because you think it's not toned enough. Stick to your reduced time based off initial test tones.
8. Remember these times with specific papers and toner combinations. I Selenium tone all of my prints to remove the developer cast and deepen the blacks. If you only Se some of your prints then the times aren't going to be the same with a brown toner in all situations.
9. Avoid sharing trays and avoid using "clean" trays for prints that are not completely washed. Polysulfide, like Selenium, tends to taint any tray it comes into contact with, so I don't use my white trays for washing.
10. Try to avoid unreasonable large batches of prints. The longer you let them sit without moving water the more you risk after-toning.
11. If you regularly Selenium tone, but irregularly brown tone, try to plan ahead and only Se tone to the point of shadow drop or tint neutralization but not violet/purple zone. If you go too far you'll have less to work with in brown toner.
With the particular papers I use, 45s-60s in Viradon 1+24 is just enough to provide a warmish brown to the shadows and mid-tones. Caveat emptor: I usually Selentium tone everything 1+20 and this is going to alter times. I'd start with a minute and go from there if you are unsure. Everything about polysulfide and related toning relies on "latent" procedures - meaning that, unlike Se toner, what you immediately see is usually not what you'll get when you're done, so you have to adjust for this. It's similar to turning on the lights to observe a perfectly exposed print in the fixer: looks great, but you're usually screwed once it's toned or dried.
Ralph, Wolfgang, and other die-hards will probably have some thoughts on polysulfide toning as well.
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