PREPARING THE PORTRAIT NEGATIVE.
So much has been written on the subject of what is called "retouching"
the negative, that it would be a waste of space to enter very fully
into details here. It is now generally admitted that working on the
negative is not only legitimate, but that it is absolutely necessary,
if a presentable portrait is to be printed. The only question is, where
to stop. Professional retouchers, in too many cases, do too much, and
by doing so they "overstep the modesty of nature," and turn the lovely
delicacy, softness, and texture of living nature into the appearance
of hard and cold marble statuary. Everything that is necessary to do
to a portrait negative is very simple; it should be corrected, not
remodelled. Freckles and accidental spots should be stopped out, high
lights may be strengthened, and shadows softened. We may here briefly
indicate the technical methods of performing these operations.
Some operators pour a solution of gum over the negative after fixing,
and when it is dry work upon the surface of the gum; but it is better
and safer to retouch the negative after it has been varnished. The
varnish must be allowed to become thoroughly hard before any working
upon it is attempted. A negative varnished at night should be ready to
be retouched the next morning. If very little has to be done to the
negative, it may be done at once without preparation; but it is often
advisable to prepare the surface of the varnish to take the lead pencil,
with which the greater part of the work is done. This is done with
"retouching medium."
Several preparations under this or similar names are sold by stock
dealers, all of them giving, as far as we have tried them, equally good
results. If the photographer prefers to make his own medium, he may
do so by diluting mastic, or any similar varnish, such as copal, with
turpentine. Apply the medium to the parts that it is intended to work on
with the finger, and allow to dry, which it does in a few minutes. Place
the negative on a retouching desk, and commence to fill up with the
point of the pencil all spots that are not required, such as freckles or
uneven marks. Some operators begin at the top of a face and work evenly
downwards. This is a bad plan, and usually results in a mechanical
flattening of the face; it is better to fill in here and there as
necessity appears to arise. The high lights may now be strengthened,
taking care not to make them violent or spotty. The shadows of the face
will be found to require softening, but the general shape of the shadows
must not be altered, and in modifying lines--such as the lines in the
forehead and under the eye--take care not to remove them altogether. An
old man without wrinkles is an unnatural and ghastly object--the "marble
brow" of the poet should be left to literature. The best pencils to
use are Faber's Siberian lead, the hard ones in preference. HH and HHH
are the sorts usually employed. The pencils must be kept very finely
pointed. To ensure this, a piece of wood covered with glass cloth should
be kept always at hand on which to grind the leads to a point.
Sometimes there are portions of a negative that require more filling
up than can be done with a pencil; in this case water-colour must be
employed. Indigo or Prussian blue is, perhaps, best for the purpose,
because these pigments allow a more appreciable or visible quantity
to be laid on without becoming opaque than any of the warm colours.
Sometimes parts--such as the arm of a child--will print too dark when in
contrast with a white dress; in this case it will be necessary to paint
over the part on the back of the negative, or to cut out a piece of
_papier minerale_ to the shape, and paste it over the dark part, also on
the glass side of the negative.