I have a query. My photographic background comes from the days of chemical photography (not digital). We used to make use of toning to preserve prints (Selenium, platinum, sepia, etc.).
In DT I used to use the color correction module. Now obsolete in Ansel. This module had a virtue very appreciated by me because it allowed me to tacked the images without "tinting" the whites. In the current modules I have not been able to do this. They all end up "coloring" the whites. The tacking only attacked exposed and developed silver halides, the whites not having such halides, were not affected.
Yes, it's normal. The same number does not have the same effect depending on the setting, so the GUI has been adjusted for consistent visual effect. Numbers are just symbols, they don't mean anything in themselves.
To match the ease of converting my B&W photographs to a tonal tonal shift such as Sepia, Cyanotype, Platinum, Selenium, etc., I have to use a tonal shift to convert my B&W photographs to a tonal shift such as Sepia, Cyanotype, Platinum, Selenium, etc.
I have only found with this tool that it allows to be worked by independent channels and allows the "scene mode".
Again, this is a GUI that expects 100% to sit at the far end of the graph, aka display-referred framework. It can work to some extend in scene-referred, but I don't see why you would want that for toning monochrome.