INTRODUCING BACKGROUNDS INTO PORTRAITS.
A use to which combination printing might be put more frequently than it is at present, is that of introducing natural landscape backgrounds or characteristic scenes into portrait pictures. To do this, proceed as follows : Paint out the whole of the background in the portrait negative with Bate's black varnish ; this must be clone with extreme care around the figure, and it is well to commence with about in. margin all round the outline of the latter, using a No. 2 brush for the purpose. In going round the hair, the line may be purposely broken, but in the face the outline must be travelled with extreme care and accuracy. If there is a deviation from the precise line, it should be to show too much rather than too little ; in fact, if about ZT, in. more is shown the effect will be softer ; the remaining portion can then be blocked in. It frequently happens that the outline of the figure itself is fairly diffused, and if such is the case the varnish may be put upon the glass side of the negative, which will give a much softer effect. If this cannot be done, the outline may be purposely broken by ser rating the edge with the point of a scalpel.
Where, however, it is known beforehand that a new background is to be intro duced, the portrait should be taken against a pure white background. By this means the blocking out is avoided. This method will give a very pleasing effect to the added landscape. A print should now be taken, and the figure very carefully cut out and laid face down wards on the landscape negative, in the position it is to occupy in the finished print. A little gum carefully applied to its edges will serve to fix it in place. Suppose, now, a print is taken from the figure negative ; it is removed from the frame and placed over the landscape negative, so that the printed figure covers the masked portion. It frequently happens that the first print taken shows a line of demarcation, and the mask or the blocking must be carefully pared away until both combine accurately and softly. It will be found that three-quarter length pictures are the most successful, as the junction with the foreground is apt to be unnatural in full length pictures. This is easily overcome if a continuous back ground is available, of similar tone and nondescript design.