. The book of photography; practical, theoretical and applied. flaton the sandpaper block, and, holding thepencil between thumb and forefinger, asin Fig. 229, rub backwards and forwards,pressing very lightly all the time, givingthe pencil a slow circular motion in thedirection of the arrow. By this means agradually tapering poin* should be se-cured, which will be found easier to workwith, the fine long point enabling one tosee exactly the precise spot worked on. The Different Operations ofRetouching. Portrait retouching may with advantagebe divided as follows:—(a) Preliminarystudy of the photo
. The book of photography; practical, theoretical and applied. flaton the sandpaper block, and, holding thepencil between thumb and forefinger, asin Fig. 229, rub backwards and forwards,pressing very lightly all the time, givingthe pencil a slow circular motion in thedirection of the arrow. By this means agradually tapering poin* should be se-cured, which will be found easier to workwith, the fine long point enabling one tosee exactly the precise spot worked on. The Different Operations ofRetouching. Portrait retouching may with advantagebe divided as follows:—(a) Preliminarystudy of the photograph, consisting ofmaking up ones mind as far as possibleas to the amount of work to be done andleading treatment of the face. (6) Broadalterations of contrast or are usually only necessary with abad negative, but may be required throughsome peculiarity of subject, and should bemade at the outset. They include thebrightening process of intensification andthe softening ones of reduction, which maytake place generally or only locally. These. Fig. 229.—Sharpemng Ketouching Pencil. chemical operations, fully explained inanother section, may be thought by someto be outside the retouchers work, but asthey form part of the work of improvementthey should be included. Other methodsare matt varnishing the back and scrapingaway certain parts, following this, if ne-cessary, by work with chalk and stump orthe point on the rough surface thus ob-tained ; working on the back of the nega-tive with a No. 1 pencil and medium only ;covering the back of the negative withpapier mineral, and cutting away theparts over the lights ; dabbing crimsonlake on the back with the ball of the fingertill it assumes an even grain ; the trans-parenc}^ and dusting-on methods, etc. (c)Smoothing away the freckles, pimples, dis-colorations of l^e skin, etc., by use of oneof the various touches. (d) Modellingthe face, consisting of an attention to theshape of the various bones, muscles, etc.,givin
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectphotography, bookyear
