Re: Miss Scarlet, in the Studio, with the Brush

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From: Steve Shapiro (sgshiya@redshift.com)
Date: 02/19/02-07:41:35 PM Z


----- Original Message -----
From: "Judy Seigel" <jseigel@panix.com>
Subject: Re: Miss Scarlet, in the Studio, with the Brush

> Steve,
>
> wouldn't it be easier to remake the negative?
>

Actually it IS easier to remake the negative. Using ortho, lith negative
material under a 15watt bulb at 48 inches for 4 seconds sandwiched
underneath the negative allows us to make a mask, a corrective mask and add
density to a negative. Develop in Dektol at 1:3 you get a perfect 1/3
denisty increase. With less light, you can burn-in or dodge and area of a
[large] negative and make the corrective mask to make life easier when
somebody wants one of those 'masterpieces' that sell over and over again.
(Yeah, right)

Crocein Scarlet is used mostly to retouch portraits, like wrinkles or adding
highlights. It IS easier, however, to add density to a thin negative
because if you want to go with yet another method, you can wash off the
'retouching dye' easier.

S. Shapiro
> J.
>
> > 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.J.
> >
> > 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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