This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
Life Of A Toning Bath. A Toning Bath is good as long as it will tone prints in a reasonable time. The formula given will tone 25 cabinet, or 4x5 prints, or their equivalent. If a greater number of prints are to be toned, prepare a larger bath in the same proportions; if a less number are to be toned, use a smaller bath. A good plan for the beginner who has only a few prints to tone is to use only a portion of this bath, enough to tone the prints. When through toning pour the bath into a separate bottle and label "Old Toning Bath." The next time you desire to tone use half of the old bath and half fresh solution. During toning if you find that the bath is toning slowly, having become exhausted by the number of prints toned, simply strengthen by adding fresh toning bath, or more gold and enough borax to neutralize the gold. Should you find it necessary to strengthen the bath by adding more gold, and should you add the chloride of gold (which is acid) without neutralizing, you would be adding a certain amount of acid, which would cause the entire bath to become acid. To avoid this, when you wish to strengthen the toning bath pour one ounce of gold solution in a graduate and add a few drops of No. 3, the borax solution. Place in the graduate a piece of red litmus paper. When this turns blue you will know that you have added enough borax. You should not add this neutralized gold to the bath at once. Allow it to stand so that it will ripen for about five minutes. Never add any more acetate of soda to your bath after you begin to tone, as it will have no effect unless added to the bath an hour or so before toning, thus giving it an opportunity to ripen.
A Desirable Tone. A very pretty tone for a print, especially if it is a landscape, can be produced by toning only until the highlights are cleared up pure and white, but not bleached; retaining all the detail and leaving the shadows a beautiful deep red. Be careful that the highlights do not tone faster than the shadows, leading to flat, bleached whites and shadows that cut off muddy in the hypo. If your bath were acid you would find that the whites would have a pinkish tint and would be apt to bleach. If too alkali the shadows would take on a very muddy tone. Have the bath just sufficiently alkaline to tone the shadows at the same speed as the highlights and reach the proper shade in from four to six minutes. By manipulating the gold bath, printing-out papers in general can be toned to any desired color, from a warm sepia to a deep rich purple.
69. For glossy or highly glazed papers a warm red tone is more pleasing and suitable. Therefore, the formula given in this instruction is for warm tones. Remember that muddy whites with streaky shadows are caused by too much alkali in the gold bath. Blue edges and muddy shadows are caused by toning too slow in the gold bath, the bath not having enough gold in it. Also from insufficient handling of the prints in the bath, or by using old paper. No print should remain in the gold bath longer than from 6 to 8 minutes.
MORNING GOSSIP - BRITTANY Study No. 5 By W. G. Corthell.
WOODS IN SPRINGTIME Study No. 6 See Page 385 By W. H. Porterfield.