The driveway is curling into the shadows of late November. It is caught, taken to the computer to be bathed in a light sepia tone and shared throughout the world the next morning.
During my darkroom days, the only toner I ever worked with was selenium and that was used primarily for print permanence. Its faint purplish tone is barely discernible and, at least to me, does not resemble the various pre-sets for it found in photography software.
The word “sepia” has become synonymous with “old.” Early albumen prints had a wonderful warm-toned look, but they were susceptible to fading. Print impermanence would remain an issue in photography right up until the digital era. “Sepia,” it turns out, can also mean “faded.”
When Susan Sontag said, “all photographs testify to time’s relentless melt,” she was well-aware of the double entendre. The photographs, as well as their subjects, are the testimony she had in mind.
JOHN TODARO 
I used both toners but I have to admit neither one was a pleasure to work with. But what a beauiful difference they made when added to the appearance of the finished print. This shot takes good advantage of the tone, John. Nice work.
Nice to hear from you, Ken 🌟 thanks for the comment.
I agree about toned gelatin silver. Digital prints have their place, but the comparison suffers from apples and oranges.
The photo paired with the first two sentences: so lyrical! That’s not to say I don’t like the rest, too.
Thanks
This picture has such a great “feel” to it: the slanted light illuminating the rock in the foreground, the leafless, late fall forest and the alluring path leading to a warm meal, perhaps? Very nice picture.
Appreciate that. Many thanks 👋