Thanks for the link, Bruce! The aesthetics side of it is interesting.
I also find it interesting that in the early days of photography the
color/tone was largely determined by the process. Cyanotypes were
blue, but then they could be toned (although often with adverse
affects on their archival qualities). Other processes were various
shades of brown. There were always some who looked for ways to change
the tone after the print was made with various methods from chemicals
to teas. Looking through an old Kodak formulas guide, I was surprised
to learn of Kodak T-9, a Uranium Toner.
http://www.jackspcs.com/toner.htm
I would imagine that this was one justification for Kodak operating a
nuclear reactor in Rochester (unknown to the general population) for
many decades.
http://www.democratandchronicle.com/article/20120511/NEWS01/305120021/Kodak-Park-nuclear-reactor

Color printing of when inkjet printing digital B&W negatives on
transparency material (for contact printing) - although for different
reasons. Rather than making the negative with black/grey one prints it
as orange, since the orange does a better job of blocking UV rays than
even black/grey does. I've seen CMKY values of 0,71,71,0 suggested
(for example). It varies a bit depending on your printer and inks
used.

On Fri, Aug 9, 2013 at 7:56 AM, Bruce Walker <[email protected]> wrote:
> Interesting article with excellent reasons to tone monochrome images
> and prints. The second comment provides more background on it and a
> good reason to print b&w using full RGB rather than just a black
> inkset (more print density).
>
> http://jrileystewart.com/blog/2013/07/27/the-psychology-of-a-toned-monochrome-print-or-way-more-than-bw
>
> I don't do b&w often but I sometimes use some tone when I do. I'm
> going to pay more attention to that now.
>
> --
> -bmw
>
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