Spotting prints

[Jim17x]

Until recently i have done very well with keeping dust off my negatives but now im losing the battle! Every time a print comes out and i see a spot i inspect the negative for dust, blow it off and start printing again. This is getting tiring and im wasting paper and time. I have never spotted a print before and was wondering what was the best way? I noticed that B&H has a pen spotting kit for sale and was wondering if anyone has tried this kit and if so, were the results good?


http://www.bhphotovideo.com/c/product/92544-REG/Spot_Pen_SOSP10K_SpotPen_Retouching_Pen_Set.html

 

[Nige]

Until recently I'd never really used the pens (couple of plays at yearly camera club spotting demo) as I've still got a supply of the liquid but I tried the pens 'seriously' (ie. on real prints!) after someone (an APUGGER) gave me a set and they worked really well IMO.

Do a search for threads regarding how to spot and numerous handy hints.

 

[mr rusty]

I use diaphoto ink applied with a sharpened cocktail stick.http://shop.silverprint.co.uk/Bamp;W/products/580/

 

[Bruce Osgood]

I'm new to spotting also. I seleced the felt tip pens and what I've learned so far is to start with a lighter shade tan you think is necessary, spot small and wait till tomorrow to decide.

 

[David Brown]

... a pen spotting kit for sale and was wondering if anyone has tried this kit and if so, were the results good?

As with most other questions of this type, people are going to tell you to use what they use. So, use acme ink, or use Spotone - it lasts forever. This works great if you have Spotone, which of course, has not been made in many, many years.*

To your question: Yes the pens work fine on fibre paper. You might not have such good luck on RC paper. Just like any other technique, it takes a bit of practice. Bruce is correct - start light.


*I have my lifetime supply, but I use the pens.

 

[BobMarvin]

IMO its best to use spotting dyes (Marshall's are virtually the same as the discontinued Spotone) and a really good fine-tipped brush (the one I bought for $5 from B&H was useless; the $15 one I got at an art supply store works great). In my experience you only have to roughly approximate the tone of your print. Putting a tiny dot in the center of a white spot makes it seem to vanish, thus the need for a good brush.

 

[paul_c5x4]

As with most other questions of this type, people are going to tell you to use what they use. So, use acme ink, or use Spotone - it lasts forever. This works great if you have Spotone, which of course, has not been made in many, many years.*

I have a full set of six Spotone colours - This covers the need for most prints, and when I need a different colour, I have a book of Velox tints - Something else that hasn't been made for a very long time.

If I had to rely on modern materials, I'd probably get a few blocks of watercolour (search for "Winsor Newton half pan").

 

[Jim17x]

Thanks everyone for the advice.. I'm going to give the pens a try.

 

[DREW WILEY]

As already noted, Spotone is now marketed by Marshall's. Easy to get and seems to be identical. It's pretty much the standard in terms of
ease of use and predictability over time. The dyes are easy to mix, to match your exact print hues. For spotting brushes I'd go to a decent art store. The cheap kind sold in photo outlets are really awful.

 

[Arklatexian]

Until recently i have done very well with keeping dust off my negatives but now im losing the battle! Every time a print comes out and i see a spot i inspect the negative for dust, blow it off and start printing again. This is getting tiring and im wasting paper and time. I have never spotted a print before and was wondering what was the best way? I noticed that B&H has a pen spotting kit for sale and was wondering if anyone has tried this kit and if so, were the results good? ......... I don't know if this will help but when I built my darkroom, I put a ground/earth rod as close to the darkroom as I could get it and I "ground" all my enlargers. This is to drain off static electricity which may be part of your problem. Back to your immediate problem, those pen spotting kits work well as the ones that I have owned are usable in both cold tone and warm tone papers......Regards


http://www.bhphotovideo.com/c/product/92544-REG/Spot_Pen_SOSP10K_SpotPen_Retouching_Pen_Set

 

[Roger Cole]

I have never been able to get the pens to work on RC OR FB. They seem to just put some density around the perimeter of the spot, which makes it look WORSE.

Granted I use only FB glossy, not matte, and I think they might work better on matte papers.

I have the full set of Spotone. A bottle is practically a lifetime supply and if it dries up can be revived with a little water.

 

[jeffreyg]

Whichever material or technique works best in one's hands I didn't notice what I consider an important suggestion. Have an unexposed but processed sheet (or a white border of a print) of the same paper and establish the tone desired before applying to the actual print. He can hold it right next to the area to be spotted for comparison. I like the "dry" brush technique as well and use sable artist brushes.

http://www.jeffreyglasser.com/

 

[Jim Jones]

I've also used Dr. Ph. Martin's products for spotting photographs. the Synchromatic Transparent Watercolor Ink Dead Link Removed seems the most appropriate of their current products for spotting prints and negatives.

 

[BobMarvin]

"I don't know if this will help but when I built my darkroom, I put a ground/earth rod as close to the darkroom as I could get it and I "ground" all my enlargers. This is to drain off static electricity which may be part of your problem"

I don't know if this will work with the wiring used in all countries, but in the US I've grounded my enlarger simply by running a wire from the enlarger chassis to the screw that holds the switch plate in place on the closest electrical box.

 

[DREW WILEY]

There are all kinds of ways of controlling static. A simple perusal of a cleanroom supply outlet will introduce you to the subject. Avoid latex
paints and use oil base. Have formica countertops you can wipe down. If you're filthy rich you can even order up the Formica soaked in silver nitrate so you can ground the entire countertop. Static dissipative mats and grounded gloves. All kinds of options. My film room is a true clean room, but I didn't need to go to those extremes. Ordinary laminates and ordinary oil-based enamel on the walls. A good industrial air cleaner,
a cleanroom smock, and a well-filtered airline.

 

[cliveh]

You need an O and OO spotting brush, use black and grey ink and don't try to mask the blemish. The ideal way is to build up a series of dots that no longer attract the eye to the spot (practice makes perfect). Hope this helps.

 

[M Carter]

I've got the holy grail... 12-color Marabu palette of warms and cools. Bought it forever ago and it's got forever left in it.

I also have a loupe from Edmund Scientific that's at least 30 years old... I think of it as a "retoucher's loupe", since the "cone" is open on one side to get a brush in. Makes spotting much more accurate.

I try to get rid of dust at the start though... when i see dust on a print, I pull the neg (I tape the holder shut and handle the holder) and angle the neg against a hard light with a magnifying glass, looking for those spots. A tiny paintbrush and a blast of air usually gets it - some pieces just don't want to budge sometimes.

This is tough to do without three hands though... I am wondering if I can rig something up with a magic arm to hold the neg holder or the magnifier... I have a couple of these:

 

[RalphLambrecht]

my 2cents are attached but in short,forget the pens and go with brushes and ink

 

[RalphLambrecht]

spotting is an art but a very rewarding one.