In many cases pleasing effects may be obtained by tinting film which
has already been toned, the result being that the clear portions
or highlights assume the color of the dye, while the shadows and
half-tones project a tint intermediate between that of the dye and
the toned deposit.
Considerable judgment is necessary, however, in choosing suitable
tints to blend with any given tone.
The most successful combination of toning with tinting is in the
production of sunset and moonlight effects over water, by first
toning blue and then tinting orange, red or yellow.
The following combinations will cover most cases required:
Tones A, B, C, D, E, F, J, K, L. Tints Nos. 2, 5, 6.
Tones G, H, I. Tint almost any delicate shade.
It is considered unnecessary to illustrate every combination of tone
and tint above, so that only typical examples are given. It must be
noted that toned film (except tones A and F) absorbs the dye more
quickly than untoned film, so in order to duplicate appended samples,
the dye-baths should be diluted accordingly.
Very pleasing effects may also be obtained by locally tinting toned
film, the color being applied either by hand with a brush, or by
stencilling.