The Art of Retouching by Cezar Popescu

ANTHONY'S PHOTO SERIES,

No.

THE

ART OF

RETOUCHING BY

BURROWS & COLTON THIRD AMERICAN EDITION

REVISED BY THE AUTHOR,

NEW YORK E.

& H. T.

OURDAN

ANTHONY 1891.

& CO.

H. T.

591

ANTHONY

& CO.

BROADWAY, NEW YORK.

PREFACE.

WHEN

the

"ART

written, little

OF RETOUCHING" was

would be so universally welcomed as

and as edition

has been

;

was readily disposed

after edition

copies finding their

first

hope was entertained that

way

to all

parts

the

world, with favorable reports from every quarter

the author decided to fully rewrite and enlarge the

original

points

noted

America.

book,

him

and exhaustive

applicable

during

many

his

useful

sojourn

retouched

Having

during that time he plete

introducing

able to

many negatives make a more com

treatise,

embracing points

American

which would never occur

taste in

and

European

negatives practice,

P KEFACE

-310 <*-

adjusting instructive matter to the requirements

The author

of both.

encroaching upon

disclaims the idea of

still

others' work,

though endeavor-

ing to lay before his readers a lucid quotation of

other professionals' experience as well as his own,

which

based upon some years of study

tistic pursuits,

The same

both

this

in ar-

country and abroad.

characteristic absence of elaboration

which gave the

first

edition of this

book such a

one throughout all superfluous matter has been carefully avoided, reputation, distinguishes this

and everything contained

;

in this edition

anteed to be perfectly practicable onstrated to anyone requiring

938703

it.

guar-

can be dem-

INTRODUCTION.

T^OR

the past few years, nearly every subject

connected with Photography has been ten up to such an extent that said concerning

it.

little

writ-

remains to be

Retouching seems to be the

only one which has not received the attention

unquestionably deserves

Art of Photography it

abounds

Retouching

is,

;

for, as beautiful as the

there can be no doubt that

shortcomings, and to meet these

without dispute a powerful adjunct.

Articles have appeared at different times which

and advantages, but none have given the reader an insight into have treated generally of

its effect

the details of this interesting and important branch.

The

object of this

book

to give such

detailed instructions, as to enable

minute and

anyone with an

INTRODUCTION.

Vil

ordinary amount of taste to acquire the art of

Retouching

in a short time.

implied that one

Of course

to succeed in

class retoucher in a

becoming a

not first-

few days by simply reading

through the directions given.

The production

these artistic effects cannot be learned mechanically.

would take one year of

communicate of

ties

art,

careful study to

to the work, the high

and rare quali-

and when accomplished, the labor

would scarcely be appreciated by the public generally as

an individual acquirement, judging as

does of the finished picture

as a whole.

Re-

touching as an artistic pursuit, has not been carried to

such a degree of excellence as to demand a

high of

duce.

artistic

feeling,

though naturally the more

one possesses the better work he

While admitting

will

pro-

that a few personal les-

sons at the hands of a practical retoucher with an art education, is

would greatly advance beginners,

claimed that by following carefully the instruc-

tions given,

for

to learn, results

whichever system

may

proposed

be obtained with reasonably

INTRODUCTION.

Vlll

short

practice,

months cedure. i.e.,

which would

to master

One

by trying a other,

little

the

learner

by the ordinary course of pro-

thing

to adhere to

take

particularly

one system of this

until

recommended, mastered

method and a

an uncertain style

little

;

for

of an-

acquired, to practice

which, takes longer time than

necessary, from

the fact of there being no established order in the routine employed, resulting in effects altogether unsatisfactory.

This book being intended as a

practical instructor,

we will launch

once into the

subject, treating each point with that degree of

care and minuteness of description necessary to

give the reader a clear conception of

it.

ilETOUCHING.

CHAPTER "OR

the production of

good work

necessary to be capable of

glance just what amount of labor

determining at a is

required upon

a negative, and what alterations are to be to

improve

ing

its

edge and

made

printing qualities without destroy-

character.

practice,

very

This

will

take more or less

depending upon the retoucher's knowlartistic

apply the remedy

talent, if

being impossible to

one does not possess the

As we power of correctly appreciating a defect. remarked in the preface, the greater artistic talent one possesses, the easier he can portray

in his

THE ART OF RETOUCHING.

mind a point

deficient in physical resemblance or

a possible improvement.

All the niceties of exe-

cution are to a large extent mechanical, but the

power

of vivifying a portrait

tellectual faculty. explicit, in the

amount

an undeniable

to be

done upon a negative,

ured plates are introduced which describe

muscles and lines of a

ommended ticing, as

face.

The

reader

will

materially assist

and accustom him

when commencing

him

ment.

this

Throughout

rec-

model

advance-

work the reader

as-

be entirely ignorant of the Art of Re-

may render

the book

insipid to some, to the beginner

it is infi-

touching little

retouch, a practice

will aid greatly in the student's

the

to mentally dissect a

which

sumed

fig-

all

to refer frequently to these while prac-

they

correctly,

face

in-

endeavor to show the reader the

work

render explanation more

;

and although

this

nitely important to treat the subject thus, in order to give

him

all

possible practical information.

will greatly assist

a vocation,

any one taking up retouching as will

make

a careful study of the

HOW TO of faces,

anatomy

BEGIN.

and learn

to give to or retain

each face, the peculiarity of character

At the same time

sesses.

it is

pos-

equally important

improve the printing qualities of the negative

and to modify the lighting and expression but to know how to do this, and, in so doing, to lose ;

the points above mentioned would be useless.

The

study of

facial

anatomy and

analysis will

by no means prove beneficial as applied to negatives only, but

groundwork

as crayon,

deed

it is

oil,

once mastered, for

any future

may be used

artistic

study, such

or India-ink and pastel work.

to be regretted that

many

of the

In-

Cray-

on Artists" had not paid due attention to branch

;

had they done

so,

vile

this

crayon work would

have enjoyed a wider popularity to-day hundreds of

;

but the

productions that are circulated

through lack of knowledge of the anatomy of the

human

owing have so condemned face,

to which likenesses are lost, this

kind of portraiture that

the public have lost faith in

it,

regarding adher-

ence to original likeness as a matter of chance.

THE ART OF RETOUCHING.

These remarks are not altogether inapplicable to

photography

;

how comparatively few photog-

raphers can always ensure a truthful

likeness

Nothing can be more annoying than to produce a faultless negative (chemically

have

and

ruined by the retoucher,

artistically)

and

who without any

regard to expression, drawing or anatomy, aims

simply at making the negative perfectly smooth

and all

fine.

succeeds

traces of character,

of either sex, and

all

in this

manner

and as a

in effacing

rule treats faces

ages, in precisely

the

same

way, instead of which he should have striven to retain the peculiarities he has removed,

work the

face of a

man

and not

of sixty, as delicately as a

schoolboy's.

Every individual is distinguished by certain peculiarities, and these must be so treated that where they exist prominently as defective individualities, they will remain, and yet not attract special attention.

the student progresses, bearing in mind

the hints advanced, he will soon attain proficiency in this.

will learn to

make with

facility

any

HOW TO alteration taste

suggest, such as a fixed, star-

may

ing and unnatural

BEGIN.

look,

assumed by so many

per-

sons while sitting for a portrait, into an easy, natural smile

;

or to change the forced, sinister smirk

assumed under

conditions into a calm and

The

pleasing expression. great service here subject to the

;

same

all

plates will be found of

muscular organisms are

lineal

changes under parallel

circumstances, such as grief, joy, pain, pleasure, etc.,

the plates

may be

These changes are

adjusted to any portrait.

all

possible,

and one unac-

quainted with the method of effecting them often surprised at the

alter a negative to suit his taste.

much

This

is in

truth

upon negatives than in drawing or particularly to those whose knowledge

easier

painting, of

power a retoucher has to

drawing

limited, as in a

ling of the face

all

negative the model-

indicated,

leaving the re-

toucher only photographic exaggerations to over-

come, and to harmonize the whole so that each feature effectively maintains

portuning the spectator's eye.

place without im-

its

The most

difficult

THE ART OF RETOUCHING.

subjects are the persons

taken "just as they are''

who

do not wish

When

they are"

too

weak to

soft,

print,

upon being

Negatives of such

be flattered with impunity, as that they

insist

may

usually turns out

be represented "just as

the indications of modelling are

they can always be seen

transmitted light sufficiently to enable the

The

retoucher to strengthen them to any extent.

common

error into which beginners are very apt

a tendency to give too

fall, is

much

rotundity

to the face, producing prints absolutely devoid of character, there being a total absence of the deli-

cate modulation and half tone which gives a pict-

ure

all

the

life it

may

have.

Exaggerations of photography have also to be looked

to.

culties

it is

ter.

These are the most formidable

the retoucher's misfortune to encoun-

Perhaps the most troublesome of

displacement the nose.

diffi-

(if

It is

shapes that

the

such a term can be applied) of

surprising the

may

all, is

be given to

number

of different

this feature

by the

slightest alteration of the light or the position of

HOW

TO BEGIN.

the sitter or camera. builds

much

of this fact

his

of a judicious

As an

photographer

upon a knowledge conversance with the effects and

to avoid the latter

by such changes enabling him and avail himself of the bene-

employment

instance of

whose nose

artist

of his reputation

defects obtainable

fits

The

this,

of the former.

take the case of a lady

of the retrousse stamp.

Mr. Smith

photographs the subject, posing her with the head slightly elevated

and the camera raised to a

level

with, or even a little lower than, the sitter's head,

and

such a position as to give a nearly

portrait, the light

and

top.

full-face

reaching the sitter from the front

a natural consequence the patron

not satisfied with her portrait

The shape

of her

nose has been completely altered, the end enlarged

and the bridge

pression quite foreign to her.

Mr. Brown

next photographer visited, who, being an cides at once the position, feature,

and

an ex-

flattened, giving the lady

etc.,

the

artist,

de-

most suitable

accordingly gives his sitter an

meditative and artistic pose, avoiding both

to this

easy,

full

face

THE ART OF RETOUCHING.

and

profile,

allowing a

soft, diffused light to

reach

the model from an angle of about forty-five de-

grees top and side, giving a good exposure and

developing thoroughly.

this

means he brings

out every shade of detail possible, so that

commences

thing to work upon, and to

any

when he

to retouch the negative he has some-

extent.

The

lady

able to modify the nose

naturally gratified, be-

cause her photographer has taken the most pleasing view of her face.

nor yet advisable, to

no harm

It is

not always important,

flatter a lady's portrait

;

but

ever done by choosing the more favor-

able view and better side of the face, bringing forth

those points which are manifestly the most advan-

tageous to the

Now,

as Mr.

sitter.

Brown has given

not our purpose to deal with

satisfaction,

it is

his negative, but

the rejected one of the unfortunate Smith, with a view to bringing

as near to the

perfection as that of Brown. ly

The

same point of

unnatural, bad-

formed nose he has produced must be convert-

ed or modified

one of the type most suited to

PLATE

HOW the

sitter's

into a

TO BEGIN.

peculiar style of beauty

Roman

not to alter

or an aquiline nose, which would be

as great a mistake as that already made, but to

modify

by approaching

slightly to

whichever of

these would, without any alteration of the likeness,

produce a more pleasing picture, always being careful to leave no possibility of the departure from nature being perceived. is

retrousse, the rest of

this lady's

her features

will

nose

be,

doubt, in keeping, seeing which the retoucher to

make

no is

correspond or harmonize with the rest

of the face.

This

not at

be accomplished

working, as

all

times an easy matter, but can

most cases by a

shall

describe

little

judicious

when speaking

this part of the face.

practice prevalent

under-development

among photographers of negatives is much to be

deprecated, as tending to increase the labor of the retoucher.

Many

photographers seem afraid of

their developer, allowing

plate so

little

time that

all

to remain

upon the

the imperfections, such

THE ART OF RETOUCHING.

deep

lines, freckles, etc.,

which with proper de-

velopment appear semi-transparent, are absolutely clear glass others, under the impression that they ;

are using a lightning process, under-expose, finish

the

and

damage thus commenced by using too

strong a developer, in the hope of bringing out details they are conscious of briefly to

impress upon the

ment should be well out,

having exposed too film.

The

develop-

carried on until the details are

and the

freckles, etc., partially subdued.

In badly freckled faces, the development carried

much

may be

farther than usual.

excellent

way of subduing warm water just

before sitting,

or to rub well with a rough towel.

This makes

wash the face

freckles

the surrounding portions of the face red, and as

the freckles are yellow, by giving a

exposure than usual, they in

the negative.

are so

much

fully

longer

be scarcely visible

the worst cases they

reduced, and the retoucher's work

consequently so

rapher

Even

will

little

much

lessened, that the photog-

compensated

for his extra trouble.

HOW The

face

TO BEGIN.

also be well powdered,

may

which

will

lines,

it is

greatly reduce the exposure.

When

retouching freckles and deep

often found a difficult matter to get the pencil to take, in

parts that have been once touched, the

pencil having so glazed the surface

upon

first

its

application that further density with lead cannot

be given.

For

this reason

it is

necessary for the

operator to be able to judge pretty nearly of the

work needed,

lead on with the quire.

When

order that he first

a retouching

medium

the unvarnished film, after as

on the

film

may get

much

stroke as the spot will re-

much

finished, the negative

used upon

as can be put

may be

var-

nished, the surface then abraded or treated with

the resin solution and the face reworked upon the varnish.

Rembrandt negatives must be treated

rather

differently to those ordinarily lighted, for in these

more than

in others,

proper lighting

the distorting effect of im-

very apparent.

The nose

by no means the only part of the face which be-

THE ART OF RETOUCHING.

comes distorted or exaggerated, and which

much expe-

quires very careful manipulation and rience to restore to lines,

its

true form.

re-

All freckles,

comedones or black heads and marks

every description are exaggerated in this style of lighting to a far greater extent than in ordinarily

lighted negatives.

These defects are again

quently made more

and

glaring by under-exposure

over-intensification,

trasts.

A tendency to

producing too strong con-

hardness should always be

overcome by the retoucher when for

him

it is

not possible

to govern the photographer,

latter is the

one

fre-

though the and as it

to obviate this defect

;

can at no time be overcome so well as during the operations of exposure and development,

should

then receive attention. In elderly persons, the lines of the face and

texture of the skin are ly

when

much deepened,

distressing negative for a hardly

toucher,

particular-

a top light has been used.

worked

re-

one which has been focussed pretty well and a small diaphragm used in the

to the front,

HOW TO lens.

Such a one

will

BEGIN.

be found to be extremely

troublesome, requiring the most to

make

The labial furrow (No. from the nose

5, PI.

working

ways deeper on the

running

in the

which the picture brightens

the line running

to the corner of the light than

same

mouth

is al-

on the shadow side

of face, from the fact that in the side,

skillful

a presentable picture.

one on the shadow

direction as the light in

taken, the light enters

and

whereas, on the other or light

;

side the light crosses the direction of the furrow,

which, being shielded by the muscle over lis

Labii Superioris, the

Ala (No.

7, PI. i)

applies in a measure to to such a

common

no light enters. all

marked degree

other

;

it,

Nasi-

elevator of the

The same lines,

rule

though not

hence the shadow side

of a face always contains less modelling and half tone, but, being in shadow, rectified

skillful

most beginners

working.

fail at first

can be improved or

Upon satisfy

this point

themselves

with their work, and yet a moment's reflection

should show them at once where the fault

lies,

THE ART OF RETOUCHING.

which, in most instances, consists in their the entire shadow side, half tone and as

filling

making

smooth as they know how, and then adding

all,

high light to correspond, as they think, with the other side of the

face.

They

forget to consider

that the light does not strike both sides alike

Due

regard must also be given to perspective

muscles,

etc.,

;

seen from one point differ materially

from those seen from another point of view, both in

When

appearance and lighting.

used (which,

reflectors are

employed, should be so placed as

to avoid strong reflection

and

false lights) there is

often a false light produced in the eyes, ticularly that reflector.

upon the shadow

This

the negative, and

par-

side or next the

impossible to remove nicely

must be touched out upon the

by some retouchers to

print.

Methods

but as they are neither clean nor certain,

this,

it is

best to leave

are given

to the spotter to remove.

Properly speaking, false lights of any kind should not exist.

Another thing the retoucher has

custom himself

to, is

to be able to

tell,

to ac-

upon seeing

HOW TO

BEGIN.

lines or peculiar marks,

any unusually deep

wheth-

er they are photographic exaggerations or really characteristic points of the subject, and, ations, to decide

what extent

exagger-

of modification they

will

bear without destroying the character of the

face

upon which he

at work.

mole or

scar,

for instance, will usually be exaggerated, but fully

removed, the likeness would surfer a

loss

and as a number of

;

truth is

would soon

little

departures from

totally obliterate all likeness,

better to indulge in none.

The

license

of successful

artistic

portraiture

permits a representation as favorable to the sitter as possible

tery which

;

there

is,

nevertheless, a limit to

flat-

only definable by peculiar circum-

stances of the case, as with personal imperfections

a resemblance can often be secured without nalizing the blemish, and even it

subdue

it,

sible,

by no means if

done with

when

this is

sig-

impos-

illegitimate practice to

discretion, taking care to

preserve distinctive impersonation.

The

hair,

hands, and drapery should also re-

THE ART OF RETOUCHING.

ceive an adequate share of attention, though these

portions of a negative do not require such elaborate

work

as the face

done must be done light

and shade

The

;

at the

carefully,

same time what

and with the same

effect as the rest of the picture.

hands, unless nicely formed, in good focus

and well posed, should always be as subdued as possible,

and

no instance should either the hand

or any accessory be

more prominent, or

eye more, than the

face.

feature of

all

attract the

This should be the main

negatives, the remaining portions

being simply arranged and kept partly subdued.

When

the face

not the most attractive part in

the negative, the retoucher must always intensify it

by means of plumbago applied

when portions

at the

are too bright, they

back

may be

;

and

greatly

reduced by rendering the matt varnish transparent with turpentine varnish or

diversity of effect

may be

dammar

varnish.

obtained by lighten-

ing parts of the background, a surprising differ-

ence being easily obtainable with a few ful

taste-

touches on the back, with a stump charged

HOW TO with

soft

plumbago,

BEGIN.

powder,

pastel

or crayon

sauce.

With landscape generally but

little

negatives, the retoucher has to

;

but

it is

what to do when one has them. little

work

required,

worth doing

well.

who can make

well to

worth doing

credit

know

As, however,

at all

due to a man

a passable picture of an indifferent

negative, than to one

who produces good work

having always a negative of the best quality and

most suitable to retouch. to

that

imply

indifferent

;

landscape

but

This

not intended

negatives are usually

seldom happens that the

re-

toucher has anything to do with really good ones,

whereas upon the

less perfect

ones the lights have

often to be put in or existing lights subdued, the

cloud effects to be

made

rest of the picture,

and, in most cases, the whole

of the sky to be

This

worked

to harmonize with the

in.

frequently done by combination printing

(of which mention

but this plan

made

another chapter)

often impracticable, and the sky

;

THE ART OF RETOUCHING.

26 left to

the resources of the retoucher to do the

is possible with it. Mentioning this may seem superfluous; but these things must all be

best that

known

to the pupil before attempting to retouch,

it is

little

use working upon what one does

not thoroughly understand, or trying to

make

im-

provements without a knowledge of what they are to be,

CHAPTER

II.

The Materials and Their r

"HE

Selection.

requirements of the retoucher, are a

re-

touching desk, a supply of pencils of various

grades, a magnifying glass, several small brushes,

stumps of paper and color,

viz.,

neutral

leather, a tint,

few cakes of water

Indian red and carmine,

and a bottle of a good, hard matt varnish, one which dries quickly with an even matt surface,

and upon which work can be done with the harder grades of pencils.

The full

negative should be fully exposed, thin and

of detail

;

over-dense negatives are at

unsatisfactory to

work upon.

all

times

Unfortunately

it is

not always the retoucher's fortune to get negatives possessing such degree of excellence as he would

THE ART OF RETOUCHING.

wish, in fact,

it is

the practice of

many operators

allow indifferent ones to pass, consoling themselves

make

all

to be regretted, being

with the thought that the retoucher can

This

defects good.

no means conducive to the production

work or advancement the case, and being so, est

means

of the art

we must

good

however,

it is,

;

resort to the readi-

of correcting the error.

This view

taken from the standpoint of a professional

who

toucher,

many

re-

negatives from

operators and employs a number of

different

assistants, a steady increase of business

skilled

being

receives daily

sufficient

guarantee of his

ability to

speak

authoritatively. If it

be intended to work the negative upon the

varnish,

will

be necessary to abrade

its

surface

with cuttle-fish powder, or some other abrading substance, to cause the pencil to bite.

This slight

matter, which would appear so simple,

means the

least important,

systematically and with the tion as

by no

and requires to be done

same amount

of atten-

any of the subsequent operations.

Care

THE MATERIALS AND THEIR SELECTION. being taken that no gritty particles are

29 in

the

powder employed (which would scratch the film). Place as much on the face as will cover a dime and proceed gently to grind the surface with the ball of the

not

finger

a circular motion, as

would be the most usual course, but more up and

down the

face,

ellipses, the

the course of the finger describing

greater diameters of which are

The

the face.

down

surface thus produced, takes the

lead better and gives a finer touch than circular

Rub

abrasion. tive

the

such a position as to be able to see that

powder

until will

when

very carefully, holding the nega-

not cutting through the

feels tolerably

rough

;

little

film,

and

practice

to enable one to distinguish

be necessary

the right condition

obtained.

Examine

with a magnifying glass from time to time to see that the peculiar tooth which indicates the proper surface

produced, perfectly matt and containing

no shiny patches

powder with a

;

soft

now

dust

off

the superfluous

brush and wipe from the part?

not to be retouched.

not sufficiently abraded,

THE ART OF RETOUCHING.

repeat the operation, as this precaution

save the retoucher from removing in

may

often

his

work

all

consequence of the pencil refusing to take in

some

necessitating the entire re-abrasion

parts,

of the negative.

Various gums and solutions are employed place of

powder

to give a tooth to the film

;

these

may answer for some kinds of varnish, but as an

abrading material,

be found

cuttle-fish will

more generally useful. The most useful solution where abrading is not advisable (as for negatives intended for subsequent enlarging, etc.) solution of

common

a simple

resin in turpentine

;

the au-

thor has used this for the past two years upon

every variety of varnish to be had

in the

Ameri-

can market, and finds no cause to complain of general

utility.

Solar prints

enlargements

made from negatives retouched upon none

of the

its

it,

show

markings usually met with when a

small negative has been abraded.

Negatives that

have been retouched upon an abraded surface

and required

for enlargement,

may be improved

THE MATERIALS AND THEIR SELECTION. by having some of abraded portions

;

solution rubbed over the

this

this will

prevent the lines from

showing.

saturated solution of the resin in turpentine

should be kept on hand, and the clear portion luted by twice

its

each of which the retoucher

one which answers

Formulae for

bulk for use.

other solutions will be found

his

touch

di-

another chapter,

may

try, selecting

best.

seldom

happens that two retouchers can at first use precisely the same materials for working, as they may

The more

not have the same touch.

delicately

work upon a negative is to be done, the finer and at the same time the more abraded or matt the

must be the surface. unvarnished films that done collodion,

any it

This so

much

why retouching upon finer

and softer than

upon varnish, the matt surface of the which has been hardened or tanned by

reliable

may

means, being so exquisitely

fine that

be worked upon to any extent, having a

tooth which takes the pencil as readily as paper.

As touching upon such

films requires very delicate

THE ART OF RETOUCHING.

work (on account

may

of the facility with which lead

be put on, a novice

the beginner

;

his studies

he accustoms himself to handle

the pencil in such a feathery stroke

commence

advised to

varnish, until

upon

apt to do too much),

for,

way

as to produce a light,

although working on the film

decidedly more pleasant and expeditious, and

negatives so treated produce superior prints, takes

much longer

films than

upon Having once mastered the

varnish. nish,

to learn

little

very

ficiency in

practice

art

upon var-

upon

required to attain pro-

working upon the medium.

Another reason why the beginner should use varnish until he can

make

sure of his touch

is,

that

not being thoroughly accustomed to the work he is

constantly is

negative

upon

making mistakes, or

which

have to be removed.

will

but upon the

manently cases the

when

printed that he has done too

varnish, this can be face,

finds

fixed

much

Upon

done by re-abrasion of the

film, a

stroke once

made

and cannot be removed.

employment

his

sur-

per-

In such

of the turpentine solution

PLATE

MATERIALS AND THEIR SELECTION. advisable, as

affords greater facility of touch-

ing over and over upon one head until perfection

by simply removing the work with a wad of cotton charged with turpentine and applyis

attained,

ing

more medium

fore, carefully

as directed, proceeding as be-

noting previous errors and avoiding

a repetition of them. PENCILS. In selecting pencils, the greatest pains should

be taken and the greatest

difficulty will

be found,

as few makers produce leads of an uniform qual-

Those used

ity.

finest

and

closest

well moulded,

for retouching

and absolutely

general work, Siberian leads will

must be

the

manufacture possible to procure, free

from

HHH

grit.

For

HHHH

be found the most suitable grades, using a

harder one for fine dotting and upon those parts

which require but a light touch.

Having procured your pencils, proceed

to sharp

en them by cutting away the wood, leaving about .one half an

inch of. the

lead

free .to

be point-

THE ART OF RETOUCHING.

Rub

ed.

the lead

paper until point.

has a very sharp, long and slender

The wood must be

tusely, to prevent

being used, thus

now

cut

away

rather ob-

obstructing the sight while

allude, of course, to the ordinary

cased pencils. fer

a piece of glass-

away upon

In our

using those

Holders."

own

known

practice

wood-

we much

pre-

Eagle Automatic

These are to be had

any station-

er's,

the advantages in their use being that they

are

always the same length

pensive than the other forms.

and

One

are less ex-

holder

suf-

the leads being changed as Leads of various grades should

ficient for all purposes,

they are needed.

always be kept

readiness for use, as the char-

acter of negative or circumstances

may

require.

We shall describe the different methods employed and which have come under our notice, pointing out, at the

same

time, their respective merits or

MATERIALS AND THEIR SELECTION.

disadvantages.

must again remind the

er in passing, to adhere strictly to

whichever he proposes to it,

read-

one method,

learn, until perfect in

before attempting a second style, otherwise the

object aimed at in this

THE The

light

book

will

LIGHT.

by which negatives are to be work-

ed must necessarily be a good one

do not mean

strong

when

show

all

The

this

should be sufficiently

the defects

reflected through

reflector.

be understood a very powerful,

glaring light, although to

lost.

by means

the negative of a suitable

usual plan of retouching desk

ted only with a plain mirror, which has

fit-

used near a window, has the disadvantage of a false, glaring light

and, at the

same

which

time impairs the sight,

time, does not give as satisfactory

results as could be

wished

for.

This defect may

be obviated to a great extent by suspending a

ground glass

at half the angle

formed by the mir-

THE ART OF RETOUCHING.

ror and middle frame of the desk

thus

when opened,

piece of ordinary glass coated with matt var-

nish will answer the purpose as well

not bet-

ground glass besides, it is not as expenand if broken can be replaced at a very tri-

ter than, sive,

as, if

;

fling cost.

THE The

MAGNIFIER.

magnifying-glass used, should be of about

six inches focal length

and a

and preferably, from three

half to four inches in diameter, to enable

the operator to see through

always used at

and it

in the

with both eyes.

same position

liable to

some such way that it may be the same distance from the negative

should be fixed

;

for, if

held

in the

such constant vibration

hand,

causing

MATERIALS AND THEIR SELECTION.

the eye to incessantly change focus to accommodate

itself to

the

moving glass that in a short may become permanently impair-

time the sight

This

ed.

particularly the case with persons

whose eyes have a tendency to dilation of the cornea.

THE DESK. There are many forms of desks ative retouching. fitted

use for neg-

Those generally employed

photographic

The desk

plates.

itself

embedded

of silvered glass reflect the

The

light.

the lower frame to

carriers are rebated to

the middle frame, and the upper frame

solid, to

fit

made

prevent the light reaching the retoucher's

The upper and middle frames by means

in position

fit

into notches at the lower

lies in

con-

three frames hinged together, with a plate

sists of

eyes.

are

with carriers or frames to take the different

sizes of

a groove

The annexed

when

are support-

of light iron bars,

ends

the desk

;

the bar

which itself

closed.

sketch will give an idea of the

sort of apparatus of

which we speak.

THE ART OF RETOUCHING.

Another form

also used answering the

same

purpose, in which the carriers are replaced by a

plain sheet of glass, which permits of the different sizes of negatives

moval of

Some

being worked without the

re-

carriers or frames. of the desks of this description

have a

horizontal bar, at the ends of which are two pegs

with nuts and thumb-screws. in

These pegs

slide

grooves or slots in the side of the frame, being

held in position by tightening the thumb-screws.

The

negative

the lower edge

means

which

placed upon the sheet of glass, resting it is

kept

upon the in

cross-bar,

any desired position.

The desk should have an attachment

for holding

the magnifier in a fixed position at a suitable distance from the negative, and in such a position as not to interfere with the right arm.

The eye

thus spared the exertion of accommodating

itself

MATERIALS AND THEIR SELECTION. to

the

ever-changing focus resulting from the

magnifier being held

the hand, which injures

the sight very much, as indeed must be patent to

anyone who gives the subject

Of course

much

to the amateur, this

interest,

who

seated at

until night

morning

not a matter of

but, to the retouch-

;

the retouching desk

from

and duly impressed with the

no one possessed of the best eyesight

fact that

can hope to retain of constant

comes one This

nor even to professionals who only

retouch a few negatives daily er

slight consideration.

unimpaired after a few years

employment

at this occupation,

be-

of vital importance.

not advanced simply as a passing re-

mark, but as an absolute fact based upon long practice

;

and our opinion on

shared by

all

this

head

will

whose experience places them Professionals and indeed am-

in a

position to judge.

ateurs are

recommended

light as possible,

and

work with

to allow

little

the light to pass

only through that portion of the negative which

being retouched.

The desk should be

fitted

with

THE ART OF RETOUCHING.

4-O

an appliance which

enable the retoucher to

will

regulate the amount of light passing through the negative, as circumstances and the strength of the

may

negative

require.

sliding screen fitted at

the back of the desk containing squares of glass of different grades, plain, finely

ground and opal

or porcelain will be found excellent.

sliding

this screen to bring different glasses opposite the

negative,

examining

always

after

retouching

through the next deeper degree of opacity, the effect is

seen

a moment.

negative retouched over ground glass,

will

give through opal, just the appearance the finish-

ed print

will

have

other defect, one

how

the

work

;

thus, in stopping out a scar or

able to judge

will print,

than

if it

more correctly were examined

only through plain glass.

For working

at night, a violet glass

used together with the porcelain.

should

bo-

CHAPTER

III.

The Face, Hands, Drapery,

etc.

THE FACE GENERALLY. "

"HIS

being the principal part of the negative

which attention

to be given,

and upon

which the whole beauty of a picture depends, we shall treat

readers

upon

may

not

at length, trusting that

become weary

our

of the description

and pass over our observations hurriedly, as we shall not

mention any points which are not

really

important and which the beginner should not carefully study.

As we have

before remarked, and as the pupil

will readily understand,

treatment, from the

each face requires special

fact that in all nature,

no two

THE ART OF RETOUCHING.

faces are alike.

and every face

It is

not meant by this that each

but each

will require special study,

peculiar type or class.

In treating of the muscles

and

be retouched, we find the

lines of the face to

most convenient and comprehensive plan to be that of referrmg to a lettered plate, and to be, in fact,

the only

way

mean-

of clearly explaining our

ing without employing unnecessary tautology.

inspection of our plate will

show the

muscles and lines to be found

principal

every

face, al-

though some of them may not be quite so conspicuous

one person as another, from the

fact

that they are subdued in a great measure by the

predominance of surrounding

parts.

This

ticularly noticeable in elderly persons, and in

men than

women.

would seem a

par-

fallacy

to assert that in the face of an elderly person the

muscles are not so apparent as It

would be

grows the more prominently marked.

younger ones.

said, perhaps, that the older a person

This

may

his features, etc., are

be true as concerns the folds

and wrinkles, but the muscles themselves are not

FACE, HANDS, DRAPERY, ETC. so clearly defined

and

;

reason

for this

43 is

not

only the muscles which are to be studied, but their contractions

and movements, as these

latter

form most of the lines to be treated.

As an example

of this

will take the bucci-

nator of the intermaxillary group

;

that

to say,

the space between the jaws and the circumference of the

mouth, and that corresponding with the

lower jaw

person

(Zygomato-maxUlaris).

young

these muscles are very pronounced

in elderly

ones the subcutaneous

under the skin disappears

fat

;

but

immediately

proportion to the age

of the

person, and the integumentary covering,

having

lost its contractibility,

its

does not return to

usual form as in youth, but remains in folds,

and

falls to

such an extent as to entirely alter the

shape as well as the expression of this part of the face.

The same may be

region (No. 4 and 4A,

PI. 2)

said of the palpebral ;

ence of the eye, eyebrows, its

that

is,

etc.,

the circumfer-

which changes

form to a greater extent, perhaps, than the

others.

The

labial

furrow (No.5,

PI. 2)

becomes

THE ART OF RETOUCHING.

very decided when the flesh loses consistency the

manner above mentioned.

These

not be totally obliterated nor too Certainly a person

by such treatment,

made

as, of

course,

formation of the muscles character of the face.

;

still it

The

must

softened.

much younger

to look

loose flesh, thereby showing

lines

much

subdues the distinctly the

destroys the true

folds and wrinkles in

the skin, which are caused by contraction of the muscles, run always in a perpendicular direction to the muscles themselves and cross their direction,

such as those

The

the forehead.

pression in a child

scarcely marked

frontal de;

but as he

or she grows older, and the 'muscles, Orbisciilares

Palpebrarum (No.

4A, PI. 2), are constantly con-

tracted, a furrow forms across the forehead be-

tween these muscles above the nose, continuing

between the

With marked

respect at

and moral

frontals (fig.

men whose

PI. 2).

foreheads

are

an early age by much study, physical sufferings, etc., the wrinkle,

ciently retouched in the negative,

not

suffi-

would give a

FACE, HANDS, DRAPERY, ETC.

much

older appearance to the portrait than that

actual

from the cause we have already

life,

explained

;

that

of the wrinkle set

is,

the light crossing the direction

would make

appear more deeply

than was natural.

The row

frontal depression (fig.

in the

or the fur-

PI. 2),

forehead at die root of the nose,

may

be so treated as to give or disperse an expression of grief, pain, or frowning.

It is

a single and very slight furrow

;

sometimes only

but in

men much

employed in intellectual labors, there are generally two folds decidedly marked, and at the sides of these folds are two small protuberances, which

should is

no case be obliterated, while

at times

even advisable to increase their size somewhat

by introducing a modification

little

light

upon them.

This

may be resorted to with advantage

whose eyes are farther apart than the average, and whose foreheads are low and flat or receding. in

the case of negatives of persons

begin with the forehead and work

face, in

the same manner as

down

the

retouched, will

THE ART OF RETOUCHING.

be the simplest way to proceed with our description.

The

frontal eminences,

which we always make

the starting-point, are two prominences on the

upper part of the forehead above the orbits and superciliary arches.

They appear

usually as two,

but occasionally the depression separating them is

so slight as to

make

the two appear as one

In extreme youth they are

large protuberance.

always more pronounced; that jection

greater, but,

owing

to say, the pro-

to the fresh, pulpy

condition of the covering, the depression dividing

them

They must be smoothed

not so decided.

and softened by very careful

retouching, and

brightened so as to appear the

most pronounced

high lights of the face (with the exception of the

sharp line of light upon the nose), due care being

taken to light them

proper perspective, and to

give to the one nearer the source of light the greater prominence.

great fault often

lies in

placing the high light too near the centre of the

forehead and too high up and near the

hair.

FACE, HANDS, DRAPERY, ETC.

must always be borne

It is

mind

that rotundity

best obtained by placing the densest lights in

the centre of the high lights, and the deepest portions of

shadows

in the

of a light or

allowing the edge

sharp or defined.

between these

centre of shades, never

lights a delicate half tone

The lower one must

left.

intensity as

brows, where

From

shadow

Immediately under, over, and

must be

gradually increase in

approaches the orbitar arches or

it is

again worked into high light.

the outer edge of the frontals the forehead

recedes, forming the half

which must always be

flat

left

temporal surface,

a half tone slightly

deeper than that between the frontals and

orbits.

This throws the frontals and orbits up and gives life

and form to the

cular

eyes.

There

and thin persons a curved

exists in line

which must be to an extent subdued.

mus-

or crest,

The malar

or cheek bone (No. 6, PI. i) must be lightened and led into the cheek, the highest point of its light

being under the eye, immediately over the

highest point of the malar bone.

the bone

THE ART OF RETOUCHING.

approaches the ear

worked and made

should be only slightly

less

pronounced

funnel-shaped entrance to the ear

very slight light upon

the concha or

;

may

receive a

the upper edge of the car-

tilaginous protuberance,

been said about placing

remembering what has

lights too near the edge.

Having made this part sufficiently even, we now return to the frontal depression at the root of the nose,

evening

which must be kept subdued, simply

and removing too strong furrows run-

ning across the top of the nose

The upper

lids

of the eyes should be very cautiously touched,

taking care to destroy none of the lines formed

by the elevation of the lid. The Eye is the dominant feature, and

its

expres-

sion precedes even the language of the lips in

challenging the attention of the spectator.

organ

This

too often overlooked by retouchers

photographers, probably more because of the ficulty of treating

point, as

properly.

are aiming at

making

and dif-

desire at this first-class re-

touchers of our readers, to direct special attention

PLATE 3

FACE, HANDS, DRAPERY, ETC.

assumed by the eye

to the differences in shape

various

periods

to look for these it

life

;

changes must be acquired, for

better to leave the eye untouched than to

attempt

without such knowledge.

The progress from childhood

youth

indi-

cated in the inner angle of the eye, while as

advances these changes are to be found

The

outer corner.

difference

should not be overlooked

must be represented only for the all

that

epic

at the

woman

the eye of the latter

in all softness

expression is

;

life

character be-

tween the eye of a man and that of a

while

a knowledge of where

and

tender

and philosophical

brilliancy,

sentiment, is

becom-

ing in the eye of a man.

The eye

of a lady should generally

as in full light, to demonstrate

delicacy of construction

;

all its

be treated

characteristic

when photographed

such light as to show the detail of structure, the desire to intensify all the perceptible niceties of

form

will often lead the student

were he to succeed

astray, for even

in detailing all

the

little

feath-

THE ART OF RETOUCHING.

ery forms noticeable,

would be impossible

handle them with sufficient accuracy of relative density to preserve the expression, and would be useless in small portraits

;

on the other hand

it is

impossible to treat large light and shade portraits

by simple allusion nute detail

where the rendition

not necessary to resemblance,

be simply indicated

but light and shade

the most scrupulous truth

and

portion of the structure of the eye line

mi-

may demand it

justice in their

every minute

In negatives where

treatment.

visible,

every

must be rendered, but without any degree of

spottiness or severity signalizing certain points,

which cannot be subdued without injury to

Such treatment

semblance.

and

effect

when

results

successfully carried out.

breadth

light

so high as to throw the eye into strong shade,

not a favorable one persons, as

re-

which to photograph aged

signalizes too strongly the indica-

tions of age, not alone in the eye but wherever its

traces

light

most prominently

exist.

used, however, breadth

When

such a

must be preserved

FACE, HANDS, DRAPERY, ETC.

by guarding against dark spots upon broad lights

and subduing bright spots tints

and half

Every part justed to

many

the middle of dark

tones. of the eye

must be accurately ad-

convey impressions of

The

telligence.

and

vitality

light reflected in the

in-

eye must

tones higher than that of any other part,

preserving harmony with surrounding por-

still

The eyebrow

tions.

dark complexions must

not be retouched to form a hard and solid mass

retouching the flesh

brow

will

Our in

produce

in a

;

sharp line up to the

this defect.

cautionary remarks against seventy of line

drawing, applies equally to every other part of

the face in

many

portraits, exceptions to the rule

being subjects after the middle age, principally

men

;

where these peculiar characteristics

they must be brought forward with caution.

exist

The

brow may be bushy, or here and there tufted, or the hair fail these points must be represented by ;

spirited touches with a soft blunt pencil, as any

tempt to individualize the hairs will result in

at-

failure.

THE ART OF RETOUCHING.

The upper lash is a striking feature upon which much of the character of the eye depends, while the lower lash does not in any

way contribute

the marking of the eye.

Two common

errors with beginners

must be

particularly guarded against, that of marking the

eyelash too strongly and that of obliterating

completely, making the eye look as singed.

The upper edge

softened into the

lid,

if it

of the lash

had been must be

and the lower edge must

melt imperceptibly into the shadows which

upon the orb beneath

Under

it.

perceptible that

is,

casts

the outward

extremity of the lash, the thickness of the ;

them

lid is

must be represented as it is seen, from the lash and tender in tone.

this

distinct

The form assumed by

the pupil of the eye

course governed by the relative position of the

head profile,

round

full

face

portraits

and oval

intermediate forms with half profile, three-

quarter face, 'etc.

These positions

in turn, con-

trol the lighting of the eye.

The following remarks will

treat different points

FACE, HANDS, DRAPERY, ETC. of the eye

locally

and

will

guide the begin-

Com-

ner by progressive steps until complete.

mence

to retouch the

upon the top

organ by placing a light

light side of the

This

iris.

light will

be but a wedge-shaped speck, and directly opposite to

in the

direction of the source of light

there must be a longer light

much lower

tone >

about the third of a

circle in

same curved direction

as the

iris

form, taking the ;

this will

render

the luminous effect produced by the light passing

through the convex form of the eye.

Place a

light in the lower light side of the white fibrous

membrane

the

Sclerotic

cautiously

avoiding

blocking up the shadow formed by the eyelid.

treme corner on the shadow side tion of the lids

at the

intersec-

the Carnncular Lachrymalis

and a few judicious touches on the edges lids

upper

small white speck placed in the ex-

of the

where the lashes begin, leaving the dark

spaces formed by the lashes untouched, finish the

eye and greatly improve the of the negative.

life

and expression

THE ART OF RETOUCHING.

Let us here exhort the student to avoid

persisted in by ence, that

is,

many

retouchers of long experi-

of destroying the extremely delicate

transparency of the skin immediately

eye

;

every

and

will

two or three sharp it,

materially help to give

The lower

expression to the eye.

a furrow under

under the

prevailing tint should be care-

little

fully preserved,

ally

falling

made by beginners but

into an error not only

lines

which

lid

has gener-

under or upon

very much

it,

and

increased

by sorrow, age, pain, or excessive pleasure. This furrow must be very much subdued, not totally

removed, as an indication of

remain to help the eye will require

very

;

little

those above

must always it,

however,

modification, and

too

much diminished they give a dead appearance to the eye. We have now finished with confessedly the most difficult organ. are comprehensive, as

;

trust our

remarks

we have intended them

and with the assurance that we have

entiously described the

full

consci-

manipulation of the

eye, as the author himself has been accustomed to

FACE, HANDS, DRAPERY, ETC. treat

it,

pass to another organ, which

will

altogether neglected by retouchers generally and

not only by them but by most photographers in

our opinion

it is

much

deserving of just as

at-

tention as any other part of the head.

The Ear,

we have

just said,

frequently

treated with indifference not only by retouchers

and photographers but by many

artists.

in-

spection of the productions of eminent workers will,

however, convince one that the ear has been

made

the subject of most accurate study.

be said that,

in palliation of

blance.

may

the neglect of this organ

being without expression

tellectual feature,

and not an

in-

does not contribute to resem-

The former we

are quite willing to ad-

mit, but in the latter opinion

we can by no means

concur.

That

ears are not alike

all

sure them

some

attention

;

and

sufficient to

this fact

in-

also

proof that the ears do frequently contribute to

resemblance represented

When, in

therefore,

full light,

this

feature

as in three-quarter face

THE ART OF RETOUCHING.

and

profile portraits,

should be treated with the

utmost precision, and by judicious disposition the exaggerations of photography usually apparent in

the ear should be modified.

The

softness of

the lobe should be fully described and the upper cartilaginous surfaces tenderly treated. In three-quarter of the ear

may

and front views, the retouching

be made to contribute

much

the perspective, while in profile portraits

be so handled as to give breadth.

not an

may

unusual thing to see the ear of a grown person so distorted as to appear quite round, like that of a child. fect

the ear elongates with age, this de-

should be modified by increasing

all

perpen-

dicular cartilaginous lights to give less breadth

and better form

At the will

Ala

to the ear.

side of the nose

be found the of the nose

common

above the

and upper

must be taken not

furrow

This may be

lip.

to a certain extent lightened o

care

labial

elevator muscle of the

the middle, but

to carry the light too

close to the nose, as the nearer

it is

to that feature

FACE, HANDS, DRAPERY, ETC.

While

the flatter and broader the nose appears.

working upon

this

muscle the

labial

furrow must

be softened to the extent required, taking ly all

away

ning into

it.

Such subjects are

labial furrow.

properly.

The absence much

nose appear

agreeable

larger,

sitter

and

makes the

this defect

exag-

Malays, Indians, and

have assumed a pouting,

expression,

to curve

rection

difficult to treat

also possess this peculiarity in majority.

Should the

made

having no

of this furrow

gerated by photography.

Swedes

near-

joins the nose and gradually run-

Americans are peculiar

Many

may

dis-

by which the furrow

down towards

the mouth,

its

di-

be somewhat changed by removing

the lower curved

end

of the

line

and leaving

a portion of the face comparatively untouched,

where the end of the

line

should have been to

have given a pleasing expression. By placing a little light over this untouched part and rounding the muscle somewhat, the line will

curved up, which, to say the

least, will

improve the

THE ART OF RETOUCHING.

When

expression of the mouth. resorted

to,

corners of the eyes

may be allowed

main, as also the round the mouth,

this

change

the crow-foot lines or furrows at the

all

shadow

which aid

rendering the de-

The shadow

sired expression.

partly to re-

at the corner of

mouth can be increased by contrast by making a semi-circular light around it. the

The

retoucher must aim to be consistent

when an

working, and, expression

alteration to an agreeable

the upper

which terminates

lip,

the mouth, the eyes

attempted

and cheeks must coincide

in the

same

the centre,

feeling.

a groove

the septum of the nose

;

the

projecting edges of this groove must be brightened, the light increasing as

at the

edge

of the

lip.

side of this groove

The

approaches the end light

must be a

upon the

little

light

longer than

the one on the shadow side, as the nose throws a

shade over the latter which must not be disturbed at this point.

The Mouth.

must not be forgotten when

FACE, HANDS, DRAPERY, ETC. treating the

mouth

ceptible to the

periods of

that

changes

its

form

less sus-

of time, etc., at different

than other features.

life

In infancy

its

round and contracted form and beauty of construction must not be tampered with by too great

freedom

the employment of high lights.

The mouths of infants assist only degree

in expression.

Young

in a

very small

children smile and

laugh almost exclusively with their eyes. teeth

make their appearance,

offices

ment, and

mouth

finds other

besides the extraction of nourish-

fill

its

the

But as

form changes, becoming more and

more elongated with the growth of the teeth, and more in expression with the eyes. Age

coincides

produces another and equally remarkable change,

and as the teeth begin to disappear, the mouth

power of varying expression. These things must all be borne in mind when attempting loses

its

to beautify or flatter a negative.

familiarizes himself with these

the retoucher

changes he

will find

imparting a youthful appearance

difficulty in

to a negative,

when

required, without

making the

THE ART OF RETOUCHING.

alteration apparent

the sitter because

and yet

;

that

looks a

to say, little

will please

more youthful,

were attempted to point out the

if it

ference between the picture and sitter

dif-

would

be found impossible by taking each feature

indi-

vidually.

light should also be placed near the

edge

at the centre of the

to give form

lower

and expression

to the

must have two intense portions carry out the double

bow

intense portions merely

form.

upper

lip, just sufficient

mouth.

in its

length to

We speak

by contrast

two

to the rest of

the light, as actually the entire light must be faint

though graded.

light should also be placed

upon the upper edge, near the centre of the lower lip

;

this light

must be very

faint, just sufficient to

give form and expression to the mouth.

The to

lips

themselves

will

sometimes be found

have small downward depressions caused by

the skin having this

become dry or cracked.

Should

be noticed at the time of sitting a request

should be made to the

sitter to

moisten the

lips

FACE, HANDS, DRAPERY, ETC. in

the usual

manner

;

but

from any cause they

remain, and are visible in the negative, they must

be wholly removed.

The shadow under but

little

the lower

will require

lip

work, being simply softened and led into

much rotundity

the chin to avoid too

or projec-

tion.

The Chin may be said

to be a difficult feature

to handle with judgment.

Chins vary so much

form that each one requires separate study.

should generally be brought forward with

its

due

importance, but an incidental characteristic which points to an unfavorable allusion should be sub-

dued

;

very

flat

or a greatly elongated chin

should not be too predominant.

The same

gestion applies to wrinkles in the

dimples

the cheek of youth

;

it is

mistake to

assert that because they are strongly

nature they should be so represented for

however

skilled

the operator

marked

coming

in portraits,

may

however much he may have succeeded the anomalies

sug-

brow or even

be, in

photography, he

and overstill

THE ART OF RETOUCHING.

cannot make until

he can,

his portrait all

nounced than

The

blemishes

a living creature, and,

appear more pro-

will

in nature.

chin, although varying in form,

gener-

ally nearly round, with a slight indentation in the

The

centre.

light

upon

this feature,

form

will

Having

have

must never be very strong

and when the chin be suggested

finished so

much

square

its

the lighting.

of the face, give the

lower jaw a

little light, evening up all inequalities and harmonizing it with the work already done, and all that remains is to place the lights upon

the nose and to remove markings in the neck.

The Nose.

The

to be very carefully

upon the nose will have worked or else the rest of the light

work, however nicely done, orated.

We have

seen

will

many

be greatly deteri-

negatives otherwise

fairly retouched, hopelessly spoiled, as far as the

likeness

was concerned, by the introduction

of a

line of light entirely out of character with the fea-

ture

itself,

shape.

and, in fact, completely altering

its

FACE, HANDS, DRAPERY, ETC.

Some

retouchers seem to labor under the im-

pression that a patch of light on

and a straight

the forehead,

line terminating in a spot or bulb

end

of light at the

of the nose, are essentials in

every case. If

the end or lobe be of double form

however,

never very apparent

have to be sharper,

will appear.

more angular

or, rather,

longer the light along

its

which,

the light will ;

the

side the longer the nose

By making

this

high light more

in-

tense and broader at the middle, the nose will be a better shape. tilage

(No.

Upon

PI. 2)

the wings or sesamoid car-

a round, very soft, and diffused

light, just a shade removed from half tone, should

be placed, and when indicated inner surface of the nostril

may

the negative, the receive a light

touch to relieve the intense shadow.

When

the

nose has been distorted by improper lighting, as

mentioned

a previous chapter,

the face be worked with rather usual,

and increase

the back.

The

its

let

the rest of

more density than

opacity with plumbago at

nose will

now appear compara-

THE ART OF RETOUCHING.

tively dark,

and may be worked upon to any

ex-

The bulb must receive a sharp angular light,

tent.

and the bridge be lightened by a short, slightly' curved line, about the same density as the light

upon the

The edges

bulb.

softened, and led into the

must be

of this light

half tone

between

and

the cheek.

The Neck seldom requires much retouching,

portraits of ladies wearing low-necked

cept

dresses or bodices.

removed and a and is

all

ex-

clavicle

All deep furrows should be

soft light placed

upon the muscles

the clavicle in ladies of spare habit

apt to be too conspicuously defined

be very cautiously subdued.

;

this

The

must

genera!

tone of neck and shoulders should be of a lower

key than that of the

which

the forehead.

face,

the highest light

In men, the larynx gener-

ally throws too deep a shadow, which should be

softened, and the muscles are too obviously dem-.

onstrated ed, as

The

;

the light, however, must not be touch-

would throw the throat too much forward. hair

may be improved by working upon

PLATE

FACE, HANDS. DRAPERY, ETC.

the lights and blending

them with the shadows,

purpose a blunt and soft pencil.

using for the

the edges, the hair should be led into and given the value of the retouching done upon the face this in

;

to avoid too abrupt contour lines, bearing

mind

that roundness

always secured by soft

contours and brilliant centres, and not by violent contrasts.

The

hair

may be

lightened

all

over by

applying ivory black or plumbago at the back the negative upon matt varnish. too darkly, a better effect

powdering

at the

lights in the face, as

are also put

the hair take

may be produced by The broad sitting.

time of

we have mentioned

in, in this

before,

manner.

The hands and arms

in ladies'

portraits,

when

shown, will require to be worked up to subdue the

heavy veins, which usually appear more prominently than in nature.

The creases on

the knuckles

should be removed and the luna in nails strengthened.

Unless the hands are very small and very

well posed they should be always as

dued

as possible.

much

sub-

THE ART OF RETOUCHING.

In painting, the hand

one of the most

reason

why

little

stowed upon

Few

raphy.

than

care should not be be-

usually seen in photog-

retouchers study the hand at

and those who

do, generally dispose of

slovenly, sketchy style

by which

improved; but we have never the most elaborate accuracy repaid

Whether such

us.

diffi-

and we see no

cult exercises of the artist's skill,

commercially

all,

much

not

failed to find that

treatment always

careful

work would pay

not for us to say

;

we only

pose showing what should be done

pro-

produce

the best work. It is

phers,

a significant fact that the best photogra-

who have made

ways pay

much

world-wide reputations,

al-

attention to these points as to

the rest of a picture.

Hands and arms should only be seen when looked for

that

is,

they must be subdued

but

wiien looked for they should be found to have re-

ceived their share of care.

When

skillfully

disposed they form a powerful

FACE, HANDS, DRAPERY, ETC. auxiliary in expression of pose in retouching as to give

and

;

them an

6/ if

so lighted

easy, probable

fleshy appearance (not flattened

and lighten-

ed so as to make them look like either white

marble or cut out white paper), they constitute an essential part of the study of

ladies' portraiture,

with their beauty of proportion and graceful display of

line.

must not be forgotten that the

bends more gracefully

and the license of right

hand

for themselves in

hand

concession to the left.

The

the different fingers will speak

each negative.

drapery, except

thin silks

art permits a

of the superior grace of the

characteristics of

The

left

at ihe wrist than the right,

cases of very glossy

and

which usually appear too much broken

receive

should be

further manipulation

brightened up to harmonize with the rest of the picture.

Light materials

blue, drab

are by the slightest manipulation brilliant,

and

and white

made

to look so

and to contain so much delicate half-tone

detail, that it

amply repays the retoucher to

THE ART OF RETOUCHING.

bestow the

time required upon them, en-

little

hancing, as they do, the beauty of the negative.

These

lights are

though not

always indicated

the negative,

sufficiently strong to print.

remains, then, to intensify

them by means

only

of sharp,

decisive touches applied to the back of the nega-

stump and plumbago.

tive with a leather

need

hardly be said that the pupil's knowledge of drawing will greatly assist him to do

When

this.

negatives are prepared for retouching

put

number

film,

the

upon the

of these sharp high lights can be

upon the film side of the plate, using for

the purpose a fine cork or moulded gray paper

stump.

When the

back

shown, as

sometimes

done

plaits

running across the waist of the dress by

full-length pictures, avoid the folds or

heavy shadows.

moving the scription

made

Lace

to look very effective

any

re-

de-

by a few

sharp touches, preferably done upon the back of tne negative, using either a soft pencil or white

crayon upon matt varnish.

The above

observations apply to whichever

FACE, HANDS, DRAPERY, ETC.

method in

of retouching

employed,

each of them the ultimate result

and the same principles of

as, of is

rioirlv/

nohjsbfiamrnoosn vJissH

course,

striven for

art involved.

;;m cz ns^rrgefirf ill

-'ou:j

CHAPTER

IV.

Methods of Working.

FIRST METHOD. r

^HE

-*-

tice,

first

method described

will

be the one

employed by the author in his own pracand which has given so much satisfaction and

received such hearty recommendation from those for

whom

he has retouched.

This refers to an

experience of some years as a professional

re-

toucher, with several pupils and assistants always

engaged, and, perhaps, a larger number of negatives received daily than ever fell to the lot of

any

one retoucher.

By preference we take

a negative the film of

which has been treated, before drying, with a me-

METHODS OF WORKING. dium

some kind

to prevent the pencil

through, and to give

been for some time used,

and

will

going

the necessary tooth for

Our

working upon.

tannin medium, which has

the market,

extensively

be found to answer the purpose ad-

mirably without the disadvantages attendant upon the use of

gum and

other substitutes.

Should,

however, the negative have been varnished, the same course or

mode

working

much

adopted,

the surface being abraded as described in a pre-

vious chapter.

commence proceedings by

placing the neg-

ative in such a position as to be able to

make

with a downward stroke of the pencil a line across the forehead.

First

parent spots and in

lines

fill

in all

irregularand trans-

(which we have mentioned

speaking of the face), giving to these spots and

lines the

same value as the surrounding portions

of the forehead, beginning at the point of highest light.

The

regular lines

manent ones

must not be

that

to say, the per-

totally obliterated, as

have already shown when describing the

THE ART OF RETOUCHING.

The

muscles, etc.

spots and irregularities are not

to be completely filled in, as in other processes,

one or two short

The

them.

of stippling

not be done

lines

only being drawn through

object of this

upon the if

produce an

effect

finished picture, which could

the spots were completely blocked,

unless the negative was afterwards stippled

all

This would, of course, entail much time,

over.

and the result has only a labored look, without any of the pleasing,

flesh-like stipple

always pro-

duced when the touches are made as above

The lines and marks made, must

rected.

same

di-

take the

direction as the lines of the skin and direc-

tion of the muscles, unless these lines are caused

by the contraction of the muscles, when their course is perpendicular to and across the muscles.

These

lines are,

however, but few, occurring prin-

cipally upon the muscles of the forehead, and oc-

casionally

upon the upper

The

lip.

crow-foot

lines upon the temples are produced in this way,

but are exceptions to the

removed

every

face.

rule,

and must not be

Fill in in

a like manner,

METHODS OF WORKING.

with rather longer and more feathery strokes, the

deep

lines in the

(No.

forehead between the frontals

and the orbitar arches and muscles

PI. 2),

No. 4^,

( Orbiscularis Palpebrarum

must not be done so as head of one

tint

first

left in

the

;

make

This

PI. 2).

the entire fore-

an indication of these lines

may

working, and when the breadths

of light are put in, the presence of these indica-

tions of form will give a pleasing, transparent, like character to the

any other way.

work

Now

difficult

life-

to obtain in

turn the negative gradual-

ly round, and, still following the direction

taken

by the muscle

upon

of the orbit, soften the lines

the temporal plane. farther round until

The it is

negative

now

turned

nearly upright, in which

position the frontal depression (No.

PI. 2) is

worked, and also the nose, and the negative again turned back to such a position that the furrows

under the eyes and the common elevator of the ala,

the nose and the upper

and modelled. tion of stroke

The same

may

be softened

rules as to

the direc-

must always be

lip,

strictly

adhered

to.

THE ART OF RETOUCHING.

Reference should here be given to remarks on the face in Chapter

The

strokes

be made

II.

the labial furrow, No.

sufficiently dense at the

first

should

application,

and should run the whole length of the furrow in one sweep of the pencil. Where the lines running

meet each

different directions cross or

other, the space

is filled in

with small dots

with the point of the pencil.

In this

made

manner we

proceed, turning the negative constantly as the lines take a different direction, until the negative

appears even and delicate

all

of the pencil must always be

The

over.

strokes

made an equal

dis-

tance apart, or the work will not be uniform, and a stroke must never be

made

across a

ways turn the negative until, with a stroke, the

now ing

mark may be

transparent spots in the

cause produced, by

tive,

The

receives the necessary spotting,

all

tint

filled in.

filling

film,

line.

Al-

downward negative

i. e.,

remov-

from whatever

the spot with neutral

(dry cake) color, ground to match the nega-

and applied with a very

finely pointed sable

METHODS OF WORKING. brush

;

though

in the

case of small pinholes, pro-

ceeding either from chemical causes or from dust the silver bath, or deposited

any way upon

the surface of the film previous to developing

upon a thin negative, and providing they face we recommend them to be

least,

are not on the left

untouched, as the small, black spot produced the

naked

resulting

eye, whereas

is is

barely visible

touch of color, however minute, without ing more or

less

;

it is

to the

impossible to put its

on a

show-

then coated upon the back

with matt varnish, and the lights put in as they

occur with a fine leather or paper stump charged

with plumbago, or more effectually with the soft

crayons sold

round boxes for crayon drawing,

using the lighter green, flesh and gray shades, softening the is

produced.

convenient to

work with

a stump some negatives work the chin and In

after the effect it

will

be more

frontal depres-

sions solely by dotting with the point of the pencil.

This, however,

have a rather coarse

only in cases where ladies

skin.

THE ART OF RETOUCHING.

ANOTHER METHOD.

method much employed by English retouch-

ers consists in first filling in all the imperfections

completely

;

that

over the spots, ble.

The

etc.,

to say, the pencil

until

worked

no sign of them

inequalities of light

then done by short, straight lines running

downward

The only gous

visi-

and modelling are

direction across the muscles

and

lines.

parts of this process which are analo-

to the last

mentioned are the touching upon

the nose and the frontal depression.

Although

the lines or strokes of the pencil take a down-

ward

direction, they are

seldom

By some

equidistant from each other. the lines are

made

ance of dotting.

parallel,

and not

retouchers

so fine as to give the appear-

The

effect,

means so good as the lines. A method was described

however,

Tlie

nal of PhotograpJiy of December

British Jour1873,

13,

Mr. G. Croughton, which we take the

quoting for the benefit of those

by no

who do

liberty of

not hap-

METHODS OF WORKING. pen

have seen the

article referred to, as

a very effective picture

above "

by it and the methproduced,

much quicker one than

that

described

In elderly people the lines

face are far too

these can be

marked

much

and texture of the

the enlarged negative

;

softened and reduced by printStrain the

ing through tracing paper.

tracing

paper over the face of the negative, so interposing a thickness of tracing paper between the sensi-

and the negative. I always strain tracing paper on the reverse side of the negative, as it serves to soften the printing, and is a capital tized paper

medium

for

working upon with the pencil

strengthen the high

wanted, deepen

make

a varnish

run over the shades ;

can

also,

when

the shadows of drapery, and

-I

Canada balsam, one dram

benzole, one ounce.

tracing paper

lights.

Dipping a brush into I

want

this,

;

deepen upon the

the Canada balsam making the

paper more transparent in those parts, the light acts more quickly and a greater depth of shadow

THE ART OF RETOUCHING.

upon the is

per plan

the result, the distance the pa-

from the

have adopted appears to

to be of great

value for improving pictures which are

flat

over-exposure or bad lighting, particularly

wish your print to appear as upon.

The

way, and the

One

film softening" the edges.

large head of a lady result,

you were worked

was done

although there

from

in this

not a touch

upon the print, is such that more than one person has been tempted to bet that it was worked upon, and have only been convinced by a

liberal use of

sponge and water. "

The

transparency was enlarged from a carte-

sized negative to 10 x

varnished with Hughes's

matt varnish, to which

had added a

little

gum

elemi (this must be allowed at least twelve hours to dry)

;

then with a mixture of putty powder

and powdered blacklead I rubbed all over the face till I had what appeared to be an even, 'delicate tint throughout. lights with a piece of

the fingers."

then cleared out the high

bread moulded to a point by

METHODS OF WORKING.

The Americans seem various methods. rather

have adopted

rule,

all

the

however, they work

a scumbling style,

giving the

strokes no particular direction, but making a touch wherever taste suggests or an inequality requires it; and this is the most convenient manner, no particular notice being taken of the direction of

the lines of the skin. is

At the same time

the

work

done rather more systematically than the meth-

od we describe as scumbling.

The touch might

be called a saw-tooth one, such being the shape or character of the markings

a powerful glass. fine,

when

They

are

when examined by made excessively

and produce a very charming effect of stipple This may be seen by examining printed.

many

of the

American

The met hods are, perhaps,

portraits.

in use iipon the Continent

of Europe

nearer the perfection of retouching

than most of those generally employed

;

and, al-

though different styles may be used in the same town or studio by various operators, they seem to get the desired artistic effect to greater perfection

THE ART OF RETOUCHING.

80 than

done elsewhere.

stances

;

Continental negatives

much over-worked

are manifestly

many

in-

and

but, as a rule, they please the public

the majority of photographers.

Herr Mohr,

of Frankfort-on-the-Main, was,

believe, the first to introduce negative retouching

into England.

True, there were a few

who work-

secretly before his advent, but they

guarded

their operations so carefully as to leave the rest

of the profession in ignorance as to the

they employed

and

until

method

producing such good results

for

Herr Mohr taught

it,

;

was not gener-

ally practiced to a very great extent.

We in

shall describe as nearly as possible the

way

which the negatives the author saw retouched

in different places

Germany

upon the Continent were done.

the finished result resembles

the hatching upon a crayon drawing or water color.

The

retoucher

first

proceeds to

fill

all

transparent spots or lines, as in the aforemention-

ed methods, but the,

little

different manner, using

point of the pencil more, lightly dotting until

METHODS OF WORKING. all

such as freckles, blotches, and

the markings

optical exaggerations

are removed, and the face

presents a tolerably even and smooth appearance,

showing no signs of the blemishes. gins by

means of

cross hatching to

He now

model the

be-

face,

placing a line or touch here and there as his eye

happens to catch some unfinished portion wanting

The

in gradation.

tive places,

lights are put in their respec-

and gradually softened

into the half-

tones and shadows until the negative appears of

and modulation which a good retoucher so loves to see building up under his penthat rotundity

As he

more experience he ventures upon bold touches, which give the negative much cil.

attains

greater value and disperse the mechanical

stiff-

ness which beginners are too apt to give their

touching. ing

When

done (the

the requisite amount of hatch-

lines of

which are not

an angle

of 45 deg. but about 30 deg.) our retoucher be-

gins to

fill

between the

The method

practiced

lines or cross hatches.

by the French generally

has the advantage over the

German

of being less

THE ART OF RETOUCHING.

liable to lose the likeness,

a very trifling difference in

although there

in the

handling

;

really

in truth,

most of the methods the commencement

made

nearly the same, the negative being

first

even throughout and then worked up

until suffi-

ciently soft.

Most

of the French retouchers, after

having levelled the face and removed the inequalities,

fine,

do the modelling required by making very long, downward strokes, rather curved. This

does not produce exactly the stipple most suitable,

but makes the face very smooth and negatives are usually treated with ture of ter

;

or a mix-

gum

gum and dextrine dissolved

The

soft.

warm wa-

this takes the pencil as readily as paper,

but

has the disadvantage of the film splitting, owing to the absorption of moisture

dextrine.

The Germans

the varnish, using as a

by the

gum and

retouch, as a rule,

upon

medium some gum

solu-

tion which will give a bite to the pencil.

While treating this subject, we shall say a few words respecting our own retouching medium. Disclaiming totally the idea of using the book for

METHODS OF WORKING. advertising purposes,

still

feel justified in in-

troducing the subject, being convinced that by the use of a proper article results

may be obtained

quite unapproachable where varnish

The use of ordinary gum advantages, as

we have

films treated with

crack

attended with

used.

many disThe

before mentioned.

are very liable to split and

not varnished immediately, or

the var-

nish be applied cold, from the fact that they ab-

sorb moisture, which, destroys the film.

not thoroughly expelled,

The medium mentioned

not this objection, being

made with

overcoming the difficulty spoken it

of.

has

a view of

Besides

this,

renders the film very tough and gives a fine

tooth,

upon which a pencil

used with as

much

of any grade

ease as upon paper.

may be

This can-

not be done upon varnished films.

When

working upon mediums of any kind, breathing upon the plate must be avoided, as by so doing the film becomes softened and the pencil

cuts through.

upon

films

The

spotting

much

easier

than upon the glazed varnish, and be-

THE ART OF RETOUCHING.

sides which the touching

protected by subse-

quent varnishing. This medium, though hundreds of bottles were readily disposed of in England, has not been put into the

American market,

opportunities of

methods described

tion

and who

Persons of use,

who

find the various

and the book generally

feel inclined to try this prepara-

upon the writer's assurance that

specially prepared

Anthony

it is

the best

may have any quantity

article for the purpose,

Messrs.

few

advertising competitively with

other preparations.

of value,

for the author has

them by application

for

Co.

;

also the matt varnish

mentioned, both of which preparations the author

always uses, keeping a small stock on hand.

The

following solutions are employed by some

of the best retouchers,

ommended

and have been highly

cated by the artist in whose hands isfactorily

The

rec-

at different times, each being advoit

worked

sat-

first

and, perhaps, the best kind of

medium

intended to be used upon the varnished negative

METHODS OF WORKING. is

dissolve eighty grains of

pine turpentine)

gum Thus

dissolved and filtered the solution the part to be

When

wool.

worked upon with a it

When

applied to

tuft of cotton-

which should be

nearly dry

almost immediately after being applied

be rubbed gently

the ball of the finger.

v/ith

touching which at

may

(white

one ounce of benzole.

Re-

not satisfactorily done

first is

be removed with a

may

benzole and the

little

negative re-worked.

ner as above

same man-

to be used in the

Another solution

Dissolve in one ounce of benzole,

ten grains of clear resin

allow to stand for a day

;

or two before using.

Another

Turpentine,

Gum

dammar,

Canada balsam, Another

Spirits of turpentine, Cuttle-fish powder,

This

ounce.

10 grains.

strongly

ounces.

ounce.

recommended by Mr.

Beattie.

THE ART OF RETOUCHING.

The

directions for

its

use are the same as the

above, the part being rubbed with the ball of the finger

streaks appear.

Another

(to

be applied cold to a negative

which has been coated with Ether,

gum

water)

15 ounces.

Sandarac, Shellac,

....

Mastic,

dram.

6 drams. "

Dissolve, and add two and a half ounces of benzole.

One idea,

other method described

being a French

and both novel and efficacious

make

a solution of

Gum

arable,

Water,

And

part.

7 parts.

another, of

Bichromate of potash, Water,

The bichromate

3 parts. " 7

solution

added to the

gum

so-

METHODS OF WORKING.

assumes the color of dark sherry In this state it must be kept in the dark.

lution until

wine.

The

plates are then coated and kept in the dark

when they

until dry,

to strong light.

are exposed for half an hour

They

are then varnished with a

hard matt varnish.

can scarcely see the advantage of varnish-

ing with the matt varnish before retouching, as the

gum and

bichromate would form hard,

uble varnish themselves Still,

reader

when exposed

give the quotation as

may

insol-

to light.

we have

it;

the

try both systems and choose the one

suitable.

Besides the above, there are negative retouch-

ing varnishes

made by some of the photographic

dealers upon which the retouching

done with-

medium or abrading substance being

out any necessary.

In using a

varnish

kind

this

should always be well tested to see that not crack or become tacky in

when heated

does

or placed

the sun.

There

no better method beside retouching

THE ART OF RETOUCHING.

upon mediumized films, than using a hard shellac varnish, and rubbing over the solution of resin in turpentine, mentioned in the chapter on Materials.

When med

negatives are retouched upon the gum-

film,

and prints taken from them before

var-

nishing, there often appears, after varnishing, a

number

of minute yellow or

brown spots

;

this

either caused by the paper being laid on while

still

damp or because the film has absorbed moisture and taken silver from the paper, which prints or darkens in the to

light.

Care should, therefore, be taken

have both surfaces quite dry

;

and as a greater may be dusted

precaution, kaolin finely powdered

lightly over the film previous to the

placed

paper being

in contact.

Retouching with a brush and color has been

recommended, and ers here

takes stiff

and abroad.

practiced by

When

much longer than with

brush and neutral

this

some retouchis

done (which

pencil) a very fine,

tint color

used.

gum must be mixed with the color, as it would adhere to the paper and spoil the negative.

METHODS OF WORKING.

Retouching with a needle point has also been mentioned, but we have never seen any very isfactory results produced

it.

sat-

be done,

the parts intended to be lightened must be carefully scratched with the needle,

ative

warm while working ragged lines

over to

in the scratches so

the

all

and black lead brushed

to prevent fill

keeping the neg-

the object of this

produced.

When

shadows have been so worked, the too

strong lights are lightened by scratching, no lead being, of course, used. nished,

The

then ready for the printer.

process a special collodion fine resin or will

negative,

gum

added

necessary.

strength,

var-

For

this

little

to an ordinary collodion

answer the same purpose

after washing, has a

when

weak

;

the

negative,

solution of albumen

one ounce to twenty ounces of water

Mowed over

thin collodion

and allowed to

By using a plate warm the

dry.

and keeping the

scratching can be done with

much greater facility.

The only advantage we can

see in such a process

where very hard, over-dense negatives are

THE ART OF RETOUCHING.

be worked,

are

which case the over-dense portions

made much

lighter

by the scratching process.

Before concluding this chapter, a few words

about the retouching machines that have been advertised within the past few

out of place.

months may not be man it must be

every sensible

patent that no artistic pursuits can be carried on

by any mechanical arrangement, however ingeniously planned.

And

without wishing to say any-

thing derogatory to either of the machines advertised,

the author feels

a duty, in writing a book

of this kind, to avoid misleading the reader, to point out

any

As mechanical

beginner.

and

practice likely to embarrass a

contrivances these ma-

chines have each their respective merits, but with all

.to

them the same amount

of talent

guide them as to guide a pencil

;

and

required

this

when

coupled with the practice nece^ary to become

customed

them

ac-

to the use of these machines, to prevent

either from spoiling a negative or doing too

much upon

it,

leave

as a retouching aid.

little in

favor of machinery

METHODS OF WORKING.

Besides, the best of these machines are not applicable to any of the

book, and

methods described

in this

using them no guidance could be

had from the foregoing chapters further than the modelling

concerned.

studies of heads in

all

ever material executed.

These remarks apply

kinas of work, in whatso-

CHAPTER

Remhrandts, Landscapes,

etc.

RE M BRANDTS. ~^HIS kind

of portraiture will be found

difficult to

phers

make

manage.

who attempt the light

some

a rule, photogra-

this style of lighting either

upon the

One

shadow too deep.

profile too strong or the

fault

quite as trouble-

to the retoucher as the other.

It is to

regretted that photographers do not content themselves with soft effects produced

velopment, and not

thereby destroying

by the

first

de-

resort to after-intensification, all

the detail in the light side

of the face.

However dense

a light

may be

in nature,

it al-

REMBRANDTS, LANDSCAPES,

ways contains should be

edge of the

detail

light

assuming the

Rembrandts

soften the light into the surrounding

usually are

parts until the temporal arch or crest this

tive

reached

;

case the arch should receive (compar-

atively with parts

with the

Commencing

upon the forehead

negative to be profile, or nearly so, as

and modulation, and so

a negative.

ETC.

plainly,

around

although

it)

light

shade, than

and show the nega-

were an ordinarily lighted one, taking care to

preserve relative importance of detail and careful

handling cf reflexes.

The malar bone and

palpabral muscles should

prominence than

contain a

plainly

little

lighted

the

negatives.

do not mean that they must be whiter; but

the modelling, in order to as deeply as

it is

must be made

The out,

all

light

show well when printed

necessary to print Rembrandts,

to contain

contrast.

on the nose must be carefully worked

and also the corner of the eyes

shadow formed by the posed negatives

;

the deep

orbitar arch in under-ex-

will require a great deal of

work-

THE ART OF RETOUCHING.

94 ing to

make

Much

print properly.

of this

may

be stopped out at the back of the negative, as also

much

shadow

of the

must be done

this

carried as far as tives

pencil to take

that

the

is,

first

make

it is

possible.

where

difficult it

Upon

be not obtained by

application of the pencil,

it is

eyes

working

they are at

not easy to

In such cases,

at the back,

sufficient density

it,

in a

and work-

may be

Rembrandt negative

secured.

will require

the head be profile, or nearly first

been

thin nega-

has already gone over;

sufficient density

by using the matt varnish

The

course,

matter to get the

the second application take.

ing upon

too thin.

after the retouching has

sometimes a

it is

side,

so,

no as

generally too strongly lighted,

unless the negative be particularly well lighted; are, therefore, left to

they

be retouched

the

print.

pleasing effect in

may be produced

the background

when not

by lightening it close to the figure or face upon one side and some distance from it on the other. supplied

REM BRANDTS, LANDSCAPES,

ETC.

LANDSCAPES.

For landscapes a great degree required. to

The sky

be worked upon

;

the subject with ivory black

Any deep

not

usually the principal part for this

necessary to work in a cloud

negative.

of skill

purpose

only

suitable

effect

upon the back of the

shadows, that

may

suggest

themselves as being too dense to the retoucher,

may

be treated with plumbago, and the landscape

itself

should be masked while the clouds are be-

ing printed.

This mask may be placed upon the

glass of the printing-frame,

large

enough

an inch.

When

show the clouds

clearly

though not as dark, of

removed and the

When

it is

just dark

the sky

course, as they are to be is

and should be cut

to overlap the outline a quarter of

when

finished

enough to the

mask

rest of the picture printed in.

required to print a natural sky in by

combination printing, the simplest method we have

found to answer

in practice is to

make two masks

a shade larger than the parts they are to protect

THE ART OF RETOUCHING.

one

to cover the

sky and the other the land-

These are placed

scape portion of the negative.

upon the back of the negatives, and a combination print of the two made by first exposing the sensitive

paper under the cloud negative and then adit

justing

which

to the landscape negative, the sky of

The masks having both

also masked.

been on the backs of the negatives, the

tween sky and landscape the prints were is

paper

made

When

of clouds are made, the festly

Frequently the lines ly balanced

shown

;

same

counterbalance

The

light,

otherwise

in tone.

landscapes are not nice-

for instance, a

in the distance

light.

combination prints

two printings must mani-

in the

they would be different

line be-

not be visible unless

too strong a

then removed.

be carried on

will

on one

mountain may be side,

and nothing to

on the other side of the picture.

When this occurs, by judiciously distributing some clouds on the side opposite the offending mountain,

the effect

may

often be subdued

;

lightening

the sky above the mountain will also assist in

this.

REMBKANDTS, LANDSCAPES, ETC.

PRINTING CLEAN GROUND IN LARGE PORTRAITS. often happens that a large negative, which

perfect in

dirty background.

other respects, has a very streaky and

from such negatives

they are, only reflects discredit

upon the pho-

Vignettes are not wished

tographer.

combination printing

for,

and

very troublesome.

following the under-mentioned with perfectly clean grounds this class of negatives with

directions, prints

may be made from

but

little

trouble

First trace the outline of the figure upon paper and lay the paper upon a thick piece of felt, such as

used for printing-frame pads

;

cut through

with a sharp knife both paper and pad.

have a

felt

pad

now

exactly the size of the figure.

Place bits of cork at the upper corners and edges of the negative

Now

-upon the background

lay the silvered paper

upon the

half only.

negative,

fastening the corners to strain the paper pretty tightly. ji'st

lay the felt

mask upon the paper The ob-

over the figure and close the frame.

THE ART OF RETOUCHING.

90 ject of this

to cause the felt

pad to press

paper into close contact with the

th-

figure, while the

corks keep the paper some distance from the negative on the background, thus printing the figure

sharply but throwing the background so of focus that the light

of copies

use

felt for

ting-paper

invaluable.

one copy

may

and produces a

diffuses

This "dodge"

perfectly even ground.

in the

will scarcely

case

pay

several thicknesses of blot-

be substituted for single prints

but for a number of copies the

CRACKS If

much out

IN FILMS.

not too wide, cracks

removed by rubbing

felt is better.

in films

may be

easily

with the ball of the finger

either lampblack, indigo, or plumbago, selecting

whichever of the three

will

more nearly match the

printing density of that part of the negative, so as to avoid printing a white line. tels are

Soft French pas-

very useful for this purpose.

The grays

can be had in tones to correspond precisely with

any kind of negative.

It is

only necessary to rub

REMBRANDTS, LANDSCAPES, ETC.

ehe finger charged with pastel across the lines or cracks.

The crayon this purpose.

sauces supersede

all

others for

course, large cracks will have

be touched out with

color,

and as color

not take kindly upon bare glass

will

be found

necessary to varnish the negative oeiorehand.

CHAPTER Enamelling

VI.

Prints, Intensification of

Negatives,

etc.

ENAMELLING PRINTS. fashion,

which for a time bade

THIS gain favor with the profession, losing

its

superfluous finish to add to the other hand,

gradually

A good picture requires

charm.

its

fair to

no such

beauty; while, on

the picture be finished

in-

different manner, the enamelling suggests the idea

that such

means had been resorted

pose of hiding

some

to for the pur-

of the imperfections in a glar-

ing polish, which would have the effect of sub-

duing by

its

attractive

appearance the minor

ENAMELLING PRINTS, There

defects.

are, however,'

are admirers of the

tomers prefer

For the

IOI

many persons who

and many whose cus-

finish,

albumen paper finish. such we describe the methods

to ordinary

benefit of

of enamelling

ETC.

we have employed, and which

will

be found to produce very good and, at the same time, very brilliant results.

The

following will be useful in affording the

toughest

film,

although a

little

more troublesome

than those methods usually practiced after the

process,

water,

to lay

them

quired for use.

finished in

Have

main

made

a solution of gelatine, in half

a pint

the cold water until well swollen

warm

When

;

pour

warm

water, blot

off

gently and add one dram dissolved pour the gela-

tine into a clean dish, and, taking the prints

the

effect this, allow the gelatine to re-

the cold and then of white sugar.

first

left

warm water until they are re-

by dissolving one ounce of gelatine of water.

The

prints have

them and

from

lay them upon the

same manner

as float-

ing albumenized paper upon a silver bath.

Allow

solution of gelatine in the

THE ART OF RETOUCHING.

IO2

remain a few seconds, and lay them upon their

backs on clean paper to dry.

The

plates are

with a solution

now prepared by polishing of white wax in benzole in

first

the

proportion of five grains to the ounce of benzole.

little

of the solution

poured upon the glass

and spread over with a piece of

rag,

and

polished with a clean tuft of cotton-wool. all

finally

When

are waxed, collodionize with plain collodion,

and place when set, in cold water until all greasy The prints have now to lines have disappeared. be laid upon the first

be placed

glass.

To do

this

they must

a solution of chrome alum two

per cent, strength, about 90 deg. Fah., and then placed upon the glass with a piece of waxed

paper over them.

Before they are quite dry, paste

a piece of stout cartridge paper at their backs.

Stroke out the water and allow them to dry,

when, glass. sizes,

press.

properly done, they will spring from the

They may now be and,

cut to the required

medallions, embossed in the

using this

cameo

method, the collodion, from

ENAMELLING PRINTS, being placed

ETC.

water immediately,

to catch particles of dust that

Another method

103 less

may be

liable

flying.

to prepare the glasses as

When dry,

above, collodionize, and allow to dry.

run a line of solution of india-rubber around the

The

edges to prevent the film from leaving them.

prints are then floated upon the gelatine solution

and placed immediately upon the water and superfluous gelatine

The

glass.

stroked out, care

being taken that there are no minute

air-bells be-

tween the print and the collodion, and the prints backed with paper and allowed

to dry.

This

the simplest method, but not quite so neat nor

so sure as the

mentioned.

The

gelatine

may

be swilled over the plate and the wet print

laid

down upon

first

with a

little

greater immunity from

By laying albumen they are plates

better result, ensuring

air-bells.

prints immediately

after

taken from the washing water upon

collodionized and soaked in water as de-

scribed, a very

secured.

good enamelled surface may be

THE ART OF RETOUCHING.

IO4

Attempts have been made

produce the

fine

enamelled surface with a varnish; but the results are far from being satisfactory, and the process

quite

as, if

One drawback

to enamelling

when the

or runs

the great

Water

culty of spotting the prints.

away

gelatine

using a quantity of

gum

diffi-

color washes

put on, and

colors do not meet the requirements

not more, troublesome.

oil

of the case.

with the color and

waxing the prints, after spotting, they can be made to match tolerably well. Colors are also supplied to retouch the prints before they are glazed

we cannot

having used them ourselves. ors used with as the

the

but

gelatine

gum dammar in print,

the col-

albumen they do not run so much,

;

contact with

even then, the color

but,

unevenly and granularly.

whole

By mixing

albumen coagulates when

warm

;

give an opinion as to their efficacy, not

ether will

fix

the touching

;

much worked upon, may be

ed over with matt varnish. obliterated with a soft pencil.

lies

drop of solution of

Small spots

or the brush-

may be

ENAMELLING PRINTS,

ETC.

CHEMICAL INTENSIFICATION OF PARTS OF NEGATIVES. It

happens that a negative could be made were possible to give intensity to cer-

often

if it

perfect

tain parts only.

have a too

landscape, for instance,

may

finely clouded sky, but the view portion be

weak

for printing

sky would be

;

were

intensified the

Proceed by making ready

lost.

a solution of iodide of potassium and iodine about the color of dark sherry. tion

add iodine is

cipitate

formed

until the liquid

;

lution,

clears,

dry,

wash well and

and

the.

muddy

pre-

Having developed the flood with the iodine so-

line of varnish

film

this solu-

and dilute with water to

rinse with clean water.

and run a

prevent

prepare

then add iodide of potassium

the required strength. negative,

water until a dark,

Allow

around the edge to

leaving the glass during the

second development.

When

thoroughly dry go round the edges of

the part to be intensified with a large brush (fine-

THE ART OF RETOUCHING.

IO6 ly pointed) of course, it

This

charged with water

be made inside the contour

well flooded until the contour

with a larger brush

When

or the

the part

on the

in the

This

ened with water. skillfully

fill

have

be done very

brush will show.

which

will

at the

flow over the wet

edges where they

contact with the dry part of the film.

When

the

again,

fix

intensifier

and

dry,

has done

when

the

backgrounds;

or,

work wash

its

negative will be

intensified in all parts.

may be employed

This process

to intensify a face, drapery, or

by substituting cyanide of po-

tassium for the intensifier, the parts

duced

keep

well covered with water pour

intensifier,

properly

;

drawn, and

is all

space to be strength-

lines of the

portion only, stopping

come

will

line must, line

too strong.

first

sight

may be

re-

would ap-

pear that the contour line would be sharp, or cut out, as

skillfully

were

;

this,

however, does not happen

managed, as the extreme edge

dries

slowly during the painting, thus softening that

which would otherwise appear too strong.

ENAMELLING PRINTS,

varnish composed of

IOJ

gum anime

may be

colored with iodine,

ETC.

in benzole,

applied to backs of

negatives, and when dry removed from

all

light

portions with benzole or alcohol with very good results.

Hard landscapes may

this

way be

very evenly printed.

SPOTTING PRINTS.

When

the negatives are properly retouched

and have no specks

them the proofs

of dirt or chemical stains

will,

upon

provided they were carefully

printed, require no spotting

;

but

the negatives

were carelessly taken, badly spotted or retouched, a white spot a

upon the print

will

occur wherever

dark one exists in the negative.

For spotting these mix upon a to

palette a color

match as nearly possible the tone of the

Black, brown, rose madder,

proper proportion

will

and neutral

print.

tint

match any photographic

tone nearly enough for general work.

little

gum must be ground with the color to make it run more freely, and to give it the same glaze as

THE ART OF RETOUCHING.

1O8

the albumenized paper.

Use a

small, finely-point-

ed red sable brush charged with color, taking only

Too much color

sufficient to

cover the defect.

the brush

not advisable, being more

difficult to

work with and often making the spots too It is

dark.

always better to have the touching a

little

lighter ins

of a

The photographs, when

graph.

much improved paste

shade darker than the photo-

Encaustic Paste Formula. tle

touched, will be

polished with the following

Dissolve with gen-

heat

White wax

(pure),

3 ounces. "

Essence of turpentine (white), 3^

Copal varnish (pure), Oil of lavender,

Rub

little

i^ dram. "

of the paste over the picture with

a soft rag, and polish with a piece of old, soft flannel.

The

lighter specks

in the face

may be worked

out delicately with a hard pencil.

Prints to be

burnished should be spotted rather

lightly, as the

touching

will usually

show darker when

finished.

UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles

This book

DUE on the last date stamped below.

...

ii^Uy'JAa

AA 001036996 '