Faber's Siberian leads, full set,
Eagle lead pencils,
Metallic leads,
Camel's hair pencil brushes,
Camel's hair blender,
Guenther Wagner's retouch colors,
India ink,
Water colors, blue, white and red,
A coarse sharpening stone,
Fine emery paper. [p068]
The principal work of retouching, the stippling of the face, neck
and shoulders when bare, and the hands, is done with Graphite or
metallic leads, and directly upon the varnished or film surface.
[Illustration: FIG. 6. PEERLESS VARNISH POT AND FILTERER.]
The gelatine emulsion film is strong enough to take the pencil
without varnish, and many prefer to retouch and even to print them
before varnishing; but it is pretty generally conceded that
gelatine negatives will receive the pencil better when varnished.
[p069]
Before varnishing a gelatine plate, heat it as much as it will
bear, so as to drive off all moisture from the film, then let it
cool to the proper temperature before applying the varnish.
If the varnish used is too smooth or hard to take the pencil, a
better tooth may be given it by the application delicately, to the
parts to be retouched only, of a solution of rosin in turpentine,
which should be allowed to stand and dry an hour or so before the
retouching is done.
The work of retouching is very trying to the eyes; great pains
should therefore be taken to ascertain the most favorable
conditions of light and distance under which to work.
A negative should be kept at one angle and stationary while being
retouched.
There should be as little lead used on a negative as is consistent
with good work; make every touch tell to some purpose.
Note carefully the way the subject is lighted, and let the effect
of the stippling be in that direction; you will thus be less
likely to change the character or likeness of the face.
The lights and shadows should be caused to blend imperceptibly;
this will give a harmonious effect.
Let the grain or stipple be seen in all parts suitable in fineness
to the size of the head.
The refinements of negative retouching cannot be taught in books,
although much has been written concerning the same.
Try to light your subject and develop your negative so as to get
the utmost roundness or relief; then be careful not to destroy
this modeling, but improve [p070] it by retouching, only doing
so much work as to give a soft, clean-looking complexion.
Patient perseverance, close observation and trying again, will
bring a certain degree of success, and while only the few can
become first-class retouchers all may learn to improve their work
by this great help to photography.