Park; near Budapest.
Chromogenic film is often "soft" (lacking in contrast):
many lab prints lack "sparkle." For example, I printed the
Hungarian memorial sculpture on Ilford Multigrade Warmtone paper at
the hardest grade available (5) before toning it with sulfide toner.
Digitally, contrast control is even easier, and every bit as convincing.
Getting a good, consistent image tone on color paper demands a special
printing channel for black and white and good quality control: even
then, strictly, the pictures are monochrome ("one color"),
not true black and white. Chromogenic films printed on color paper can
however look greenish, sepia, magenta, yellow, blue, or even purple,
all on the same roll. Kodak has gone a long way to sort this out, and
Kodak chromogenic film processed in a good Kodak lab should give you
consistently neutral to warm image tones. Labs can get true (but still
chromogenic) black and white paper for their machines, but few bother.
In the traditional "wet" darkroom, though, you can choose
a paper that suits you: warm, neutral, or cool. Then you can tone it:
selenium for extra warmth, gold for a cooler image, sulfide for sepia,
even iron for blue, copper for red, and uranium (!) for orange. Selenium,
gold, and sulfide have the additional advantage of increasing archival
If you are a glutton for punishment you can use color paper and play
endless games on your enlarger's filters, but dye images (including
chromogenic black and white, which cannot be toned) are not as permanent
as silver or archivally toned images.
Digitally, image color can be changed very easily, but a constant problem
is metamerism (color shift under different light sources). Few ink jet
prints that look right under tungsten light will look right under daylight,
and vice versa.