RETOUCHING.
The elaborate modelling which is frequently performed by photographers not only spoils a picture as a photo graph but generally produces a result far from artistic. Still, to say that no retouching whatever should be per mitted is erring in the other direction. Who, for example, can honestly say that he considers it an objectionable practice to remove those blemishes which are peculiar to the photographic process itself ? Who even would say that it is wrong to touch out from the negative such spots on a face as no painter would think of putting on his canvas I Even farther than this we would go, and would ask why those lines and indications which mark age, and which are generally rendered somewhat more strongly in an untouched photograph than they appear to the eye, should not be softened by the re toucher's pencil, so long as he does not go too far ? Indeed, we think that a certain amount of retouching is a necessity for the production of tolerable portraits, and we shall therefore give instructions for performing such of it as the amateur is likely to gain skill enough for.
The term " retouching " is generally applied only to such work as is done with a pencil on the film side of a negative ; but we use it in a wider sense, and intend to include under it all cases where hand work is applied, either to the negative or to the print.
We take first of all, as the simplest, on the Back of the Kegatire.
The back of a negative may be worked upon when it is desired to modify the shade of large portions of the print, and especially where it is wished to lighten them. Thus, if a negative is just barely dense enough, but is not so much wanting as to make us incline to intensify it, if a little be added to the high lights by colouring on the back of the negative brilliancy enough may be got.
Some prefer to apply the colour direct to the glass, but we think it best to work on a piece of tissue paper, which is fixed by the edges to the back of the negative and covers the whole of it. On this tissue paper we may work lightly with pencil, or more strongly with charcoal or crayon. Effects may thus very often be much im proved. By a gradual shading off towards the part of the negative which represents the distance an appear ance of atmosphere may often be given, and so forth.
In the case of a certain class of negative a sky may be artificially produced. When the sky in a negative is quite clear,—that is to say, without accidental spots, etc., —and when it is of such a density that it gives a light tint in the print, it is only necessary to work with the pencil or crayon over that portion of the tissue paper which covers the sky, when clouds are produced. Of course, some taste and a little practice are necessary before good results can be got; and as, the working being on the side of the glass which is at some distance from the film, perfect sharpness cannot result, no clouds with bold forms may be attempted, but merely such fleecy things as show no very clear outline at any time.
Retouching with Pencil on the Film Side of the Negative.
For this retouching proper far more skill is required than for that which we have described. The necessary articles are, a retouching desk, a few pencils, and a small quantity of some " retouching medium." The retouching desk is the only requisite which is at all elaborate. We illustrate it here. It will be seen that it consists essentially of a framework or desk at which the retoucher sits, the negative being so placed that he can see through a portion of it whilst his head is shaded from the light. The negative rests with its lower edge against a slip of wood, so that it can be raised or lowered, or canted to one side or to the other. There is a clear space about four inches square behind the negative, and behind this space, so that the retoucher looks on to it, there is a little shelf holding a piece of white paper. The angle of the shelf may be varied so as to catch the light as well as possible. A mirror may be put in the place of the piece of white paper when very dense negatives are to be retouched. A piece of bluish glass is placed between the negative and the illu minating piece of paper when it is desired to work by lamp-light. There are also adjustments for varying the angle of the frame itself to suit the operator, and to en able him to change his position when he gets tired.