From: Steve Shapiro (sgshiya@redshift.com)
Date: 02/19/02-02:37:37 AM Z
From: "Judy Seigel" <jseigel@panix.com>
Subject: Re: Miss Scarlet, in the Studio, with the Brush
>
>
> On Mon, 18 Feb 2002, Jeff Buckels wrote:
>
> > At the suggestion of Dick Arentz in the Platinum/Palladium Book, I got
> > some Crocein Scarlet to spot pinholes on my negatives for pt/pd
> > printing. You know, the red material will mask the UV light, etc. I
> > was surprised to find that Crocein Scarlet comes as a powder. The
> > mystery I need solved is: How do I use this stuff? Anybody know? I
> > mean, I suppose you make a solution w/ some amount of some liquid plus
> > some amount of the powder, get a teeny weeny brush, etc. etc. Anybody
> > used this? Thanks. -jeff buckels
>
> I, too, am wondering where you found crocein scarlet, since Kodak has
> (AFAIK) long discontinued it. As supplied by Kodak it was a very
> AMAZINGLY strong dye, which, much much diluted (with distilled water) also
> kept indefinitely. Advantage over black was that you could see where it
> was, advantage over opaque materials was that it's not so fragile or easy
> to destroy once you've painstakingly deployed it. Which is also the
> disadvantage, since if you don't like result it's a pain to soak out.
>
> If one had the skill & patience, one could beef up whole areas in a weak
> negative. However that skill is devilishly hard to achieve, or so it
> seemed to the impatient. Transitions of the impatient are rudely apparent,
> gradations clumsy rather than "photographic" -- at least for "drawing."
> Broad flat washes are less parlous.
>
> Judy
>
>
Jeff:
Crocien Scarlet is the easiest to use of any negative assists on the market
and is still available. It can be removed with 28% Amonia or water, the
former is the easiest. You apply the solution onto the 'face' of the
negative not the emulsion side, for once on the emulsion it may damage the
negative.
According to "Lootens on Photographic Printing and Enlarging" you begin with
six two ounce bottles, flat covers and one dropper, some 28% Amonia and the
red powder.
Label all the bottles with tape and write the numbers 1 through 5 and put an
A on the sixth. Mix 5g of the powder with one ounce of distilled water and
a half of a drop of the Amonia mix into to the bottle labeled #5; in bottle
1 add five drops frombottle 5 to the same amount (one ounce water and half
drop Amonia) of water; in #2 add 10 drops, into #3 add 20 drops and into #4
add 40 drops.
With some experimentation, you can add a full stop or as little as the most
subtle threashold levels as you find necessary to touch up tobacco smoke in
a portrait or cathedrial shafts of light in a landscape or architectural
photograph. Pinholes, too. Some of us use it to minimalize dodging in thin
negatives. You can use five drops in a liter of water (of the #3) to soak
the whole negative to intensify a weak, under exposed negative; and the
whole thing will rinse off after twelve hours of soaking in plain water.
It does require a delft hand with a fine brush, or for large areas you can
use a cotton swab or cotton ball. When you dip the brush (shake the
solution of choice first as the suspension tends to seperate after sitting),
stroke it on a towel or [I use a small matt board scrap] something
relatively smooth and clean to prevent too much of the liquid leaking all
over the negative uncontrollably. It will be a kind of syruppy stuff and
may leave noticable brush strokes when the print is made, but you can even
that with a wet brush.
Be sure to let it dry at least an hour before printing or modifying the
'touch-up.'
Th-th-that's all, folks.
Steve Shapiro
author
"Carmel - A Timeless Place"
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