Fig. 20.
Excellent clouds may also be produced by the stump and crayon on tissue paper, many of the effects of delicate clouds being capable of being produced in this manner. A certain amount of skill is required in producing them, but nothing beyond that which a little practice can give.
We may add that, instead of using this cardboard shade, some printers prefer first to entirely mask the sky and print in the landscape, than to mask the landscape, and to use a movable screen over the negative, drawing it backwards and forwards during exposure, taking the precaution that the top of the sky receives the most exposure. The method of using the cloud negative, we have already said, will be found in the chapter on "[Combination Printing]." Above all things, the printer must bear in mind that if there be any distance in the picture, the sky, when it meets the margin, must be only very delicately tinted. Let it be remembered that a picture is often spoilt by printing in clouds too heavily. The clouds for an effect should be most delicate, with no heavy massive shadows which overwhelm those of the landscape itself. We are only talking of the ordinary landscape when the effect of storms is not desired. It is not within the scope of this work to show how a landscape and a sky negative may be printed into one plate to form a transparency from which a new negative may be made; suffice it to say that, by using collodio-chloride, or by the use of a slow dry plate and exposing to candle light, the former may be produced in almost the same way that the print is produced, and a negative may then be produced in the camera or by a dry plate.
[CHAPTER XI.]
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.