In article <1995Oct21.050654.4829@rgfn.epcc.edu>, ab186@rgfn.epcc.edu says...
>I am at a bit of a loss as to how to approach Selenium toning my >photographs. Has any one had any expereince with this? I under >stand that is it supposed to be the final step in making very >archivally stable photographs, but I also understand that it causes >a shift in the tone of the blacks?

I may ruffle some feathers with this post, but here goes.....
Selenium toning appears to have two results: a slight intensification
of the print (similar to having used a slightly higher contrast grade of printing paper), and a shift in color toward (IM[NS]HO) a very
uncool reddish purple (I never could figure out the appeal of this
very unatractive color for prints - and, to me, the color is warmer,
not cooler, than the untoned paper.). Judging from what I have overheard from some of the photo literature, there is little, if any,
aid to preservation when selenium toning is done in moderation (with
less than full purple coloring of the print), but then, overwashing
may also shorten print life.... (Nothing like being a heretic in the
religion of archieval print processing.)
But, back to your original question. Experiment. Wash prints reasonably well before beginning to tone. Have a wet untoned print on the same paper nearby for color reference. Stop the toning process
when you are almost at the effect you want. Wash and dry the print
and examine it dry (and compare it with an untoned print to see if
you ever want to do it again :<). Actually, I have seen some specialty photography that looks great on heavily toned prints, and
I occasionally use it to perk up some commercial prints when I am
too lazy to go back and do them right.
Hope this helps.