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  #11  
Old 25th March 2021, 02:01 PM
Tony Marlow Tony Marlow is offline
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It is probably due to the same reason that RC papers need a very short wash. The resin papers coating before the emulsion is applied is impervious and does not allow liquids to soak in. The surface of fibre papers is porous and allows liquids to soak right into the body of the paper underneath the emulsion layer.

Tony
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  #12  
Old 25th March 2021, 02:03 PM
Terry S Terry S is offline
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Your comments make a lot of sense Tony.

Terry S
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  #13  
Old 25th March 2021, 02:32 PM
Keith Haithwa Keith Haithwa is offline
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Quote:
Originally Posted by Terry S View Post
I don't know the reason why it is so Keith, but as many will tell you, for whatever the reason is, it is DEFINITELY much easier to spot a FB print than it is an RC one.

I've been trying to improve my skill at this over the last few days and I can spot an FB print almost with the first or second touch up, but RC? Well that can take half an hour plus before I get even close. The inks or whatever, just seem to soak into FB print emulsion straight away, whilst it doesn't with RC.

The only way to understand this is to have a go on the two different papers oneself.

Terry S
I have found no difference between the two Terry, hence my confusion. I use tiny dots of pigment to gradually fill the offending spot and there certainly isn't enough liquid to soak right through the emulsion and into the substrate.

It's the way I was taught some sixty years ago using watercolour pigments and I've never found need to change it except that instead of dampening the brush with saliva (no H&S then) I dampen it using water with a tiny drop of wetting agent then wiping the brush on tissue before picking up a touch of pigment.

However, whatever works is the right way in my book, fortunately I use a diffuser enlarger now so spotting is almost a thing of the past thank goodness.
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  #14  
Old 25th March 2021, 03:29 PM
Terry S Terry S is offline
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Quote:
Originally Posted by Keith Haithwa View Post
I have found no difference between the two Terry, hence my confusion.
It's interesting that you find that Keith, for I have just spotted two prints, with one being RC and the other FB. The FB print was a pleasure to spot, whereas the RC is only decent, even though it took a lot more time.

You obviously must have a magic brush.

Terry S
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  #15  
Old 25th March 2021, 04:27 PM
Keith Haithwa Keith Haithwa is offline
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Quote:
Originally Posted by Terry S View Post
......You obviously must have a magic brush.
Terry S
Wow, I never thought of that.
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  #16  
Old 25th March 2021, 08:37 PM
Terry S Terry S is offline
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I meant to ask previously Keith, what is the pigment exactly, that you use?

Terry S
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  #17  
Old 26th March 2021, 09:17 AM
Keith Haithwa Keith Haithwa is offline
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As mentioned earlier I use watercolour pigment Terry, the solid cake variety that comes in little 'pans' of colour and the one I use is 30+ years old. Not very 2st century but it does the job on the very rare occasions when it's needed and frankly, as photography is now only a hobby, it's not something I fret about. I was simple curiosity that piqued my curiosity and now thats quenched I'll exit stage left.
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  #18  
Old 26th March 2021, 01:04 PM
Terry S Terry S is offline
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Quote:
Originally Posted by Keith Haithwa View Post
As mentioned earlier I use watercolour pigment Terry, the solid cake variety that comes in little 'pans' of colour...
Keith, just rereading the post, I see that you had already mentioned using watercolours.

One final question though - I have tried various watercolours, including ones for colour prints, which contain black, but they have always sat on the surface of prints and when you start looking they pop out at you. Does your spotting / paints not do that? Do you use the paints as is, or do you add something to them?

Terry S
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  #19  
Old 27th March 2021, 09:06 AM
Keith Haithwa Keith Haithwa is offline
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Quote:
Originally Posted by Terry S View Post
Keith, just rereading the post, I see that you had already mentioned using watercolours.

One final question though - I have tried various watercolours, including ones for colour prints, which contain black, but they have always sat on the surface of prints and when you start looking they pop out at you. Does your spotting / paints not do that? Do you use the paints as is, or do you add something to them?

Terry S
If a print requires extensive spotting, or has large defects, then I would reprint it. I'm talking about really tiny spots and If I knew where to look I could probably see them but as for popping out, no. I don't do forensic examination of prints though, I try look at them at the appropriate viewing distance and see them for what they are and to notice spotting it would have to have been applies with a trowel.

I have a small dish on which the colour has been painted on at various dilutions and then allowed to dry and I have a small eye dropper bottle of distilled water with a tiny drop of wetting agent added which I use.

In use I touch the tip of the brush into the water and wipe off the excess on a tissue. I then pick up a tiny amount of the dried colour and check the shade on a scrap piece of the same paper. It has to be slightly lighter than required because I build up the tone gradually.

It's old school I know but it works for me and it has the added advantage that if I go too far then the pigment can be lifted off with a damp brush before it dries and another attempt made. Once dry the surface coat on the emulsion seems to hang on to the pigment and it becomes permanent as far as I can tell.

Since I moved on to a diffuser enlarger spotting has become a rarity and it must be two or three years since I last had need to do any thank goodness because my ancient eyes with their myriad of 'floaters' make it really difficult for me.
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  #20  
Old 27th March 2021, 01:05 PM
Terry S Terry S is offline
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Thanks for your informative post there Keith, much appreciated.

Terry S
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