647. Spotting Prints

Spotting Prints. Black spots on the negative cause white spots on the print, for they keep the light from acting upon the sensitive silver in the emulsion of the paper. These must be removed by spotting. The method of applying the spotting ink to the print is exactly the same as that for spotting the negative. The same brush may be employed, and also the same black India ink, which latter must be blended by dilution to match the color of the print. There is one difference, however, between the spotting of prints and the spotting of negatives: A more opaque color may be employed for spotting negatives than for spotting prints.

648. When spotting prints the end of the stick of opaque should be moistened and rubbed over a small surface of glass plate; then with the brush well moistened with saliva, or by dipping it into a tumbler of clean water, thin down the ink to about one-third its original density; then charging the brush with the diluted opaque apply it with the tip of the brush to the spot to be eliminated. Of course the density of the surroundings determines the density of the ink to use. If, for example, the surrounding portions are light gray, the ink must be reduced to this color; if quite dark, a stronger color may be employed, but even then, owing to the fact that the paper readily absorbs the ink and it is quite difficult to remove a surplus amount, it is far better to apply a very diluted color a number of times than to have too much ink adhere and then necessitate removing with the etching knife.

649. A practical way of blending the ink for use would be as follows: Apply the moistened end of the stick of opaque to a small piece of glass or a regular pallet, or on a porcelain water color slab, and then gradually thin out toward one edge. A drop of water should then be placed on one corner of the glass plate or pallet, and the tip of the brush dipped into it. Then very carefully rub the brush on the lightened portion of the ink - just a sufficient amount to get a little of the ink on the tip. Now, by twirling the brush between the thumb and finger gradually draw it away from the ink and remove as much of the surplus quantity as possible. The tip of the brush may then be touched to the white spot very carefully. If one application does not remove the imperfection repeat the operation until you have blended the white spot to match the surrounding tint.

650. A more convenient method, and one employed by the majority of retouchers when spotting, is to moisten the brush on the tongue or between the lips and then touch the brush to the ink and remove any surplus quantity by again placing the brush between the tongue and lips. A little practice with this method will enable you to secure the exact quantity of ink on the brush to properly remove the imperfection on the print. After a few trials you will realize how very little of the ink is required, except in the spots that come in the deepest shadows.

651. There should be no white spots in shadows, however, if the negative itself has been properly spotted and any opaque portions removed with the etcher, but should there be any white spots on the print in the deep shadows, they may be easily removed by using a stronger charge of the ink in the brush. A little practice will soon enable you to govern the correct amount of ink to have on the brush when removing spots of different tones on the print.

652. The spots in the sky, on faces, and on conspicuous portions of high-lights, require spotting out on the negative. If, for any reason, the spotting is carried too far here, a certain amount of spotting will be required on

the print, but the merest trace of color will invariably do what is required.

653. The greatest fault in the spotting of a print is a bad match between the tone of the print and the ink. Gaslight prints, platinums, and all other cold tone papers may be spotted with the regular India ink and the tone between the spotting and the print itself match perfectly, for all will depend upon the amount of dilution of the ink to match the tone of the print. Prints should not be spotted by artificial light, for no matter how good the match may seem to be at the time, you will be sure to find the spots very conspicuous when you look at your work by daylight. In spotting ordinary black and white prints, also negatives, one of the best substitutes for the India ink is a preparation manufactured by F. Weber & Co., No. 1125 Chestnut Street, Philadelphia, Pa. They have a liquid black No. 3, which may be diluted slightly with water and applied to a small piece of glass or porcelain, and used in exactly the same manner as previously directed for working with the regular India ink.