Palette Toner has pushed open the boundaries of metallic toning to allow an array of vibrant hues to be created from a single kit. Using traditional toning
methods the four colors contained in the kit can be combined to proxduce a multitude of tones. Being a traditional toning system it is controllable and allows
many copies of the same toned print to be made. Palette Toner is suitable for both Fibre and Resin Coated B&W papers.
The kit comprises four toners : Titanium Yellow, Vanadium Yellow, Red and Blue. Each color dilutes 1+9 with water and to it Activator must be added directly to
the toner working solutions at the rate of 25ml/Ltr before the toner will tone. The Intensifier is only to be added to the Blue and Red elements for those who want
the color to really shout out . Additionally, not in the kit, you will need table salt and Hypo (sodium thiosulphate) crystals for clearing and refixing.
Within each color there are many hues obtainable. The variety is immense simply by adjusting time and combinations. Like the three primary colors (Yellow,
Magenta and Cyan) placing the print to be toned into each solution for varyingtimes creates a color mix in the final image. Washing between solutions is essential.
The working solutions can be rebottled for further use except for the blue. The blue working solution will not keep.
All the elements are available separately so that when you run out of an element you do not have to purchase a whole kit. Full detailed instructions are only
contained in the kit. The keeping properties of the working solutions is good and of the concentrates, 2 - 3 years.
ST20 Odourless Vario Sepia Toner
Fotospeed ST20 Odourless Vario Sepia Toner can produce a wide range of sepia tones on Fibre and Resin Coated B&W papers. It comprises three parts : Part 1 -
Bleach ; Part 2 - Toner ; Part 3 - Toner Additive. Parts 1 and 2 mix separately to make two working solutions with Part 3 being added in it's concentrated form to
Part 2 working solution to adjust the shade of sepia required. Part 3 is needed to activate the toner.
Part 1 : Bleach - Dilute 1+9 with water to make the volume of working strength solution required. Should you wish the bleaching time to be faster or slower make
up the solution stronger for faster bleaching and more dilute for slower bleaching.
Part 2 : Toner - Dilute 1+9 with water to make the volume of working strength solution required.
Part 3 : Toner Additive - This should be added, without dilution, directly to part 2 working solution in the quantity
required to produce the shade of sepia required. The table
gives a GUIDE to requirements. The additive can also be used
to replenish the toning solution to hold the desired hue of
|COLOR||PART3(ml) / WORKING PT 2(ltr)
Having selected your print to be toned ensure that it has been fully fixed and washed. In the case of dry prints first soak them in water to ensure that the
emulsion is fully wet. This takes about one minute.
1. Place the print in the bleach bath and agitate gently. Bleaching times may vary according to paper type. Complete bleaching of a print, to the point where
there is no 'black' image apparent, can take up to 2 minutes. Prints may be removed from the bleach at any time without waiting for full bleaching to take place.
The toner will only tone silver that has been bleached, any remaining silver from partial bleaching will stay as silver black and can add character to the final
sepia toned print. After bleaching rinse the print well in running water for 2 minutesfor RC and 5 minutes for FB to remove all traces of the bleach.
2. Place the bleached print into the tray of Sepia Toner with the required amount of additive and agitate well for about one minute to fully tone the print.
3. Remove the print and wash for 3 mins for RC and 15 mins for FB and dry in the normal manner. Both the Bleach and Sepia Toner working solutions can be kept for
reuse in airtight containers.
Each litre of working solution should process 30 - 8 x 10 in prints, depending on paper and image.
If there is doubt that the print to be toned has been fixed and washed thoroughly, it should be refixed and washed fully before toning. Staining on the toned
print can result from the print having been inadequately fixed and washed beforehand. Variable Contrast papers may require the bleaching time to be extended over
those published. Alternatively, the bleach can be diluted 1+7 (or stronger) with water to reduce the time required in this solution for variable contrast papers.
A properly sepia toned print will be archivally permanent. The whole procedure should be done under normal room or daylight conditions.
ST10 NON Vario Odourless Sepia Toner
Fotospeed ST10 NON Vario Sepia Toner is an odorless toner which will produce a fixed sepia tone on both Fibre and Resin Coated B&W papers. It comprises two parts: Part 1 - Bleach & Part 2 - Toner. Each part mixes separately
to make two working solutions. This toner will give a traditional sepia color with no control over the color.
Part 1: Bleach - Dilute 1+9 with water to make the volume of working solution required.
Part 2: Toner - Dilute 1+9 with water to make the volume of working solution required.
Having selected the print to be toned ensure that it has been fully fixed and washed. In the case of dry prints, first soak them in water for 1 minute to ensure
even take up of bleach.
- Place the print in the bleach bath and agitate gently. Bleaching times may vary according to paper type.
- After bleaching, place the print into running water for 1 minute for RC paper and 5 minutes for fibre paper.
- Place the print into the toner bath, agitate gently and observe the image reconstructing. Full toning will be completed in 1 minute with fresh solution.
- Finally wash the print in running water. Wash RC papers for 2 minutes and fibre papers for 10 minutes.
Both the Bleach and Toner working solutions can be kept for reuse in airtight containers. Both solutions will however
deteriorate once used and a slow-down in activity should be anticipated together with a color shift in the toner on
subsequent prints. To maintain consistency of sepia tone, it is advisable to make up only small quantities (approx. 200mls)
of working solution at a time. After putting 5-8x10 prints through 200mls of solution, it will become exhausted. Each
litre should process 25-8x10 prints assuming average density.
If there is any doubt that the print to be toned has been fully fixed and washed, it should be refixed and rewashed thoroughly before beginning toning. Staining
on a toned print can result from the print having been inadequately fixed and washed beforehand.
Variable contrast papers may be slow to react with the bleach. If this occurs extend the bleaching time or make the bleach more concentrated.
The whole procedure should be done under normal room or daylight conditions.
COTTS Finger 'Condoms'
It is advisable when using chemicals to wear some protection for your fingers. Gloves are sometimes inconvenient and cumbersome. So, welcome to something that covers only the of fingers, Finger Cotts,
fantastic protection for fingers and very easy to put on and take off.
AD10 Antique Dye
Antique Dye AD10 gives a sepia toned print that ancient mature look. Modern papers have white highlights. Old prints have 'nicotine' stained highlights. Antique
dye enables you to recreate the old look of the prints of yester-year. A single solution, that is very simple to use but very effective.
While the process is most effective with sepia tones prints, it can be used with straight black and white prints. Ensure that the print has been fully washed
prior to Antique Dying since the print should NOT to be wash after, but simply wiped with tissue and allowed to dry naturally.
Dilute the AD10 from 1+9 to 1+29 according to personal taste and place the print into the solution. Observe the slow change and remove when the effect required
has been achieved.
Do not wash or rinse. Only wipe the surface dye off the print and allow to dry naturally. Rebottle solution for reuse.
RT20 Copper/Red Toner
Fotospeed RT20 Copper/Red Toner is a liquid toner which is supplied in a two part concentrate that makes a
single working solution. It is specifically designed for the toning of Fibre and Resin Coated B&W papers. The
shade of the Copper/Red tone is adjusted by the length of time the print is allowed to stay in the working
solution. The longer it remains in the solution the more toned it becomes.
MIXING INSTRUCTIONS & USAGE
Part 1: Dilute 1+4 with water to make half the volume of working solution required.
Part 2: Dilute 1+4 with water to make half the volume of working solution required.
Pour the two diluted solutions into the same processing dish and ensure that they are well mixed together. The toner is now ready to use.
Prints for Copper/Red toning should ideally be up to 15% denser than normal to compensate for the slight reducing effect of this toner.
Having selected the print to be toned ensure that it has been fully fixed and washed. In the case of dry prints first soak them in water to ensure that the
emulsion is fully wet. This takes about one minute. Now put the print into the dish of toner working solution and agitate it gently. The toning time takes
anything from 1 minute to a maximum of 10 minutes when no further toning will take place.
You will have to decide the shade of tone you require by observing the change in color and removing your print from the solution when ready.
Now fully wash the print for 5 minutes for resin coated papers and for 15 minutes for fibre based papers. Dry in the normal manner. Wipe the surface of the
print with paper towel while it is in the wash to remove the scum deposited during the toning process. The whole procedure should be done under normal room or
Working solutions do not keep. Concentrates keep for at least one year in sealed bottles.
The kit consists of 3 parts and the table below shows the mixing sequence with water Equal amounts of each part. The whole procedure should be done under normal
room or daylight conditions.
TONING BLACK AND WHITE PAPERS
Ensure that the print has been well fixed and very well washed before toning.
Mix up the required amount of working solution according to the table and pour into a processing tray. Place the print in the toning solution and agitate gently
until the depth of tone is visually reached. Remove and wash well for 3 minutes or until the yellow stain has come out of the whites. A salt bath can be used to
speed the removal of the yellow 'stain' from the highlights but wash well after. Dry the print naturally.
Where possible ensure that the film to be toned is of optimum density and has been properly fixed and washed. Before toning dry films, soak them for about 2
minutes in water.
Toning takes between 2-10 minutes depending on the density of the film image.
For lengths of film such as 135/36 Exp. or 120/12Exp place the film before wetting into a tank spiral as for normal processing. In the case of pieces of film and
sheet film then tray process.
Fill the spiral tank with the required volume of toner to submerge the spiral and agitate the spiral in the open tank continuously in both directions. Examine
intermittently. A light blue 'fog' may appear during toning but this will disappear during the washing sequence.
Now wash the film for 5 minutes under running water and preferably use a rinse aid such as Fotospeed RA50 Rinse Aid in the final 30 seconds to ensure perfect
uniform drying without streaking. Do not over wash the film since the dye will gradually wash out if the film is over washed.
INTENSIFYING (DARKENING) THE BLUE TONE
After toning and washing, the print can then be placed into B&W print developer diluted 1+9 for 2 minutes. The blue tone will completely disappear. Then wash for
1 minute and retone following the same procedure. The result will be an intensified blue tone. This procedure can be repeated several times to continue the
intensification process. Prints for Blue Toning can be made lighter to compensate for the addition of density during the toning process.
INTENSIFYING (BRIGHTENING) THE BLUE TONE
Place the toned print into normal fixer diluted at 1+4 for one minute. This will remove the blue tone leaving a 'ghost; blue in the highlights. Then place the print into running water for
1 minute. If you like the image then dry to keep. Otherwise now place the print back into the blue toner and retone. The blue comes back brighter. The fixing process can be
repeated and the print reblue toned for an even brighter result. Finally wash and dry.
One litre of working solution will tone 6-135/36 Exp black & white films or the equivalent of 20 sheets 20x25cm black and white paper. Once the toner darkens discard and replace.
The working solution will not keep. Concentrates of the three parts will keep for up to two years in full tightly capped bottles and for about three months in half
full capped bottle.
|WORKING SOLUTION(MLS)||WATER (ML)||PART1 (ML)||PART2 (ML)||PART3 (ML)
SLT20 Selenium Toner
Fotospeed SLT20 Selenium Toner is a liquid toner which is supplied in a single part concentrate. It is specifically designed for the toning of Fibre and Resin Coated B&W papers to produce a wide range of subtle warm
purple black tones or at higher dilutions for Archival Permanence techniques. The shade of the tone is adjusted by dilution and the length of time the print is allowed to stay in the working solution. The longer it
remains in the solution the more toned it becomes. Resin coated papers can be slow to react with selenium, particularly the variable contrast papers. Papers with chlorobromide emulsions are the exception and will
produce very effective results.
Dilute from 1+3 to 1+12 with water to make the volume of working solution required depending on the speed and depth
of tone required and the type of paper to be toned. The whole procedure can be done under normal room
or daylight conditions.
Having selected the print to be toned ensure that it has been fully fixed and washed. In the case of dry prints first soak
them in water to ensure that the emulsion is fully wet. This takes about one minute.
Now put the print into the dish of toner working solution and agitate it gently. The toning time takes anything from 1
minute to 15 minutes depending on the shade of tone required.
Now fully wash the print for 5 minutes for resin coated papers and for 15 minutes for fibre based papers. Dry in the
Resin coated papers can be slow to react with selenium toner. With this type of paper mix the working solution at the
lower dilution (1+3) and use a temperature of 25°C if necessary to assist the process.
ARCHIVAL PERMANENCE TECHNIQUE
Dilute 1+39 with water to make the volume of working solution required. Follow the instructions as above for toning
in mixing instructions. Archival Permanence can be achieved with no appreciable change to the original tone of the print.
The working solution will keep for 2 months in a bottle and for at least a week in the open dish. Concentrates will keep for at least one year in the original
GT20 Green Toner
Fotospeed GT20 Green Toner is a liquid toner for the toning of Fibre and Resin Coated B&W papers. It
comprises three parts: Part 1 - Bleach; Part 2 - Toner; Part 3 -Toner Additive. Part 3, when added to Part 2
working solution increases the shade of green. Also the length of time in the Part 1 Bleach affects the amount
of black silver remaining prior to toning.
Part 1: Dilute 1+4 to make the volume of solution required.
Part 2: Dilute 1+4 to make the volume of solution required.
Part 3: This should be added without dilution to Part 2 working solution in the quantity required to produce the shade of green tone required. The table
to the right gives a GUIDE.
Prints for Green toning should be up to 20% denser than normal to compensate for the reducing effect of this toner. Having selected your print to be toned ensure
that it has been fully fixed and washed. In the case of dry prints first soak them in water to ensure that the emulsion is fully wet. This takes about one minute.
Now put the print into the dish of bleach working solution and agitate it gently. You can bleach for 1 to 5 minutes depending on how much black silver image you
wish to remove.
Remember, the more you remove the less contrast your print will have. Now remove the print and wash in water for 3 minutes
|COLOR||ML OF PT3 / LTR. WORKING PT2
Working solutions will keep for 4 weeks after mixing.
Concentrates will keep for up to one year in full tightly
capped bottles and for about three months in half full capped
The whole procedure can be done under normal room
or daylight conditions.
AU Gold Toner
Fotospeed AU20 Gold Toner is a single working solution and should NOT be further diluted. On RC prints Gold
Toner shows little or no steel blue hue. Fibre prints will exhibit this cold blue hue. RC prints first require sepia
toning, washing and then gold toning to replace the sepia with a reddish/peachy tone - also works on fibre.
The solution is supplied as a working solution and should be used directly from the bottle. Used on prints (RC or FB) that
have been sepia toned, washed, then placed into the Gold Toner, a rich red/peachy tone will slowly produce in the highlights
and midtones. The longer the print is left in the toner the redder the tone will become.
On B&W fibre papers, a previously untoned print left in the solution for 20 minutes will take on a distinctive steely blue
tone. Used on an untoned B&W RC print it will make the print archivally permanent but with little or no change in tone.
The toner should be returned to the bottle for storage after each session. It can be used until it no longer tones which is
approx. 60 - 8x10's.
Fotospeed AU20 in a full, tightly capped bottle will keep for several years.
Fotospeed DY15 Fotodyes are designed to be used on any photographic emulsion. As true dyes, they are completely absorbed by the emulsion leaving no surface
The dyes come in 11 different colors with one reducer . All the dyes can be fully intermixed and /or diluted to produce any color or shade required. The dyes
are extremely concentrated and caution should initially be exercised when diluting for use. It is very rare to use the dye undiluted except to color 35mm title
When using for the first time, we suggest you test the strength of color on scrap prints. As a first test use 3 drops of dye to 1 teaspoon of water. You can then
see the effect of stronger color by adding more drops of dye.
To obtain the best results prepare the surface by wiping over with a 2% solution of wetting agent such as Fotospeed RA50
but removing surface moisture before applying the dyes. While this step is not essential it will assist in even dye takeup
particularly on large areas.
Although these dyes are water soluble, it is difficult to remove them with water since they are absorbed by the emulsion.
The dye can be completely removed by using the Reducing Agent in the kit undiluted with a cotton bud. After
removing the dye remove the surplus reducer with damp cotton wool before drying the print.
To add strength to weak areas use a dilute solution of the required color. Use a cotton wool swab for large areas but
remove surplus dye with slightly damp cotton wool to prevent uneven run down. These dyes are ideal for retouching color
prints as no surface mark will be left by the dye.
BLACK AND WHITE PRINTS
The techniques described for color prints can be used to hand color B&W prints. Where toning has been used the
Fotodyes can add selective subtle color to small areas of the print. For retouching untoned black and white prints the
Fotospeed DY10 B&W Retouch Kit is more suitable.
Off color transparencies will be greatly improved by immersion in a dye bath complimentary color, but do remove surplus dye before drying.
Both prints and transparencies can be spotted-in by stippling with an almost dry brush, be careful not to use too strong a dye.
Greatest dye take-up will occur when the print or film is not pre-wetted. Nothing will be gained by prolonged immersion,
as once the emulsion is thoroughly wetted, it cannot take up more dye. If the color is not strong enough, repeat the
process after drying, maybe with a stronger dye bath. Be sure to dab off surplus dye before drying.
When dyeing large areas it is better to protect the parts of the image you do not wish to dye. This can best be done by first
painting those areas with Fotomask which is a quick drying liquid plastic that easily peels off after dyeing. Fotomask is
very useful for dyeing title slides when, by masking and dyeing in sequence, a limitless range of colors can be
produces on one slide, but do remember the dye will also be absorbed by the back of the film.
RINSING AND DRYING
If large areas have been dyed whilst others have been kept dry with Fotomask remove the Fotomask before drying and wet
the complete print or film to avoid cockling during drying. This step is not necessary if only small areas have been dyed
OTHER USES FOR FOTODYES
Undiluted, these dyes are ideal drawing inks of greater purity and brilliance than waterproof inks. Containing no fluorescence,
they photograph true to color. Diluted and applied by airbrush they are used to produce colored showcards,
exhibition signs, etc.
The dyes are in a highly concentrated form, however where greater saturation is required, add 0.5% of Acetic Acid
to the dye which will increase saturation by up to 50%. Do not dilute the black dye. All other colors can be
diluted to form pastel colors. All colors can be intermixed to produce a limitless range of colors. Here are a few examples:
|50% Yellow + 50% Crimson||=Orange
|15% Yellow + 85% Crimson||=Vermillion
|25% Yellow + 75% Cyan||=Leaf Green
|7% Yellow +93% Cyan||=Deep Green
|40% Yellow +10% Cyan + 50% Water||=Yellow Green
|30% Yellow + 30% Cyan +40% Crimson||=Brown
|52% Yellow + 20% Cyan +28% Crimson||=Burnt Sienna
|32% Yellow + 14% Cyan +54% Crimson||=Flesh
DY10 B/W Retouch Kit
Fotospeed DY10 B&W Retouch Kit is suitable for use on all black and white prints. The kit can be used to add density
by using the dyes, or to remove density with the silver image bleach. The silver image bleach can be used to
remove either small black spots or large areas that are not required in the finished print.
The kit contains silver image bleach, black dye, grey dye and burnt sienna dye. The dyes leave no surface marking.
For protecting areas of a print from toning or dying. Being bright red it is easy to see where it is being applied. The red
pigment will not stain or discolor photographic emulsion. By brush, using bold strokes flowing it towards the required outline.
Fotomask has good surface tension and resistance properties, therefore only the thinnest coat is needed. Avoid over
brushing, which due to the rapid drying characteristics will cause lifting and sticking. If this should occur or the brush
becomes sticky, simply dip the brush in Fotomask Brush Cleaner until pliable and continue.
To remove Fotomask simply attach a piece of adhesive tape or similar to the edge of the Fotomask and peel off in one sheet.
If you have toned the print always ensure that you re-soak the area under the mask before drying the print to avoid cockling.
Fotomask has been found useful to cocoon printed blocks, also to protect precision metal surfaces from the effects of
pollution and oxidisation. It is also used to protect optical surfaces and as a printed circuit etch resist. Its instant removal
without solvents is a great advantage over traditional greases and waxes. Fotomask must not be used in an airbrush.
Do not use the Brush Cleaner to dilute Fotomask as this will prevent it stripping. CAUTION - Fotomask will bond
permanently to some plastics.
MKS50 Fotomask Brush Cleaner
During the application of Fotomask, brushes will become sticky and they should therefore be occasionally cleaned in this
solution to keep them pliable. After using brushes to apply Fotomask they should be cleaned in this solution by inserting the
brush into the can of brush cleaner.
Do not decant the cleaner but rinse the brush in the can remembering to replace the cap immediately after use.
Do not use the Brush Cleaner to dilute Fotomask as this will prevent it stripping.
CAUTION - Both these products are highly flammable and must not be used near naked flames or in confined
spaces. Replace caps when not in use.