Quote Originally Posted by Lee Shively
Spotting is no big deal to me. I use Spotone and, mostly, warmtone papers with some Ilford MG IV neutral tone. I usually tone in Kodak Rapid Selenium Toner, Nelson Gold Toner or Kodak Brown Toner. I have a plastic "I Can't Believe It's Not Butter" canister top that has been splashed with Brown, Sepia and #3. Although it dries out, it can be reused until nothing is left. I use it following every print session and I can mix the colors to match virtually perfectly. I give a #000 sable brush a lick with my tongue and dip it into the solidified mixture, wipe the brush to remove the excess and go to work.

The trick is to start light and work darker and to use the smallest amout of Spotone possible.

By the way, a bottle of Spotone lasts for years. I used my first Spotone #3 bottle for 20 years before it needed to be replaced. I splashed my current mixture on the canister top over four years ago and I'm still using it. It's no wonder the company recently went out of business.
Same method I use. I can't focus close enough with my current contacts, so I went to Hobby Lobby and got a magnifying visor and the max magnification lens. I think ideally, it would be best to use one of those work lamps with the circular florescent bulb and the highest power magnifying lens in the middle as possible.

Additionally, I've had best luck with a 10/0 brush. I've got a saucer into which I've dropped three or four drops of spotone #3 and let it dry. I've been using that saucer for about a month and I'm not out of spotone yet. To apply the dye to the print, I lightly drag the very end of the very tip bristles of the brush (at the point where I can barely see it with a magnifier) across the spot and slowly build up to just under the density I want.