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THE 
 
 ART OF RETOUCHING: 
 
 CHAPTERS ON PORTRAITURE AND 
 FLASH-LIGHT PHOTOGRAPHY. 
 
 BY 
 
 J. HUBERT. 
 
 [Amateur Photographer's Library, No. 6.] 
 
 SEVENTH EDITION. 
 
 LONDON : 
 
 HAZELL, WATSON, & VINEY, Limited, 
 I, CREED LANE, LUDGATE HILL, 
 1895. 
 
PRINTED BY 
 HAZELL, WATSON, AND VINEY, LD., 
 LONDON AND AYLESBURY. 
 
TO 
 
 PEEFACE 
 
 SECOND EDITION. 
 
 Within a few months another edition of " The Art 
 of Retouching" has been called for^ and I have 
 the gratification of recording a success which 
 surpassed even my anticipations. Congratulatory 
 letters and testimonials are continually flowing in, 
 which encourage me in the hope that the little 
 work has filled a want of photographic literature. 
 It has not been found necessary to revise this 
 edition, although I have made several trifling 
 alterations and additions. 
 
 J. HUBERT. 
 
 London, Dec, 1891. 
 
TO 
 
 PEEFACE 
 
 FIRST EDITION. 
 
 The necessity for a handbook upon retoncMng, 
 which should teach the worker who wishes to 
 learn the art, has long been needed. What is 
 set forth in the following pages is the result 
 of many years' work as a photographer and pro- 
 fessional retoucher. It has always been the aim 
 of the author, in his practice, to subordinate re- 
 touching ; but, as it is admitted on all sides to 
 be a necessity, particularly in portraiture, he has 
 given in these pages instructions as to how best 
 first to learn the art, and then to practise it. 
 The Woodburytype reproduction is from a negative 
 before and after retouching. The process by which 
 the reproduction is made does not show the high 
 lights in such strong contrast as they appear 
 upon the negative. But it will, at least, serve to 
 show that a portrait after retouching may present a 
 far more pleasing picture than when printed from 
 an untouched negative. 
 
 J. HUBERT. 
 
 London, 1890, 
 
INDEX. 
 
 
 
 PAGR 
 
 Anatomy ....... 37, 39, 40, 43, 44 
 
 Application of Medium ....... 16 
 
 Art Objection^ 5 
 
 Artistic Qualification ....... 8 
 
 Background , ... 56, 57 
 
 Comparing Proofs 29 
 
 Description of Negative 12 
 
 Desk (Construction of) 9, 10 
 
 Explanation of Keversed Appearance of Nega- 
 tives 16, 17, 19 
 
 Flash-Light Lamp (Description of) . . . 75, 76 
 
 Flash-Light Photography 68 
 
 Hatching 28,37,42,43 
 
 High Lights . 38, 39 
 
 Improvement of the Figure 47 
 
 Introduction 5 
 
 Kind of Negative most Suitable . , . . .13 
 
 Lenses 63 
 
 Lighting the Sitter 32, 41, 53, 54, 61 
 
 Materials Necessary 13 
 
 Medium (Troubles occasioned thereby) . 22, 23, 36 
 Methods of Eetouching ... ..o, 34 
 
 over-exposure 19 
 
 Pencils (Choice of) 30 
 Perseverance . . . . . . . 20, 21, 46 
 
 Portraiture 53—56 
 
 Positive Eetouching or Spotting . . . . 48, 49 
 Qualities to be Found in a Good Negative . . 14 
 
 Reflecting Screen 33, 64 
 
 Eetouching with the Needle 48 
 
 Stump and Blacklead Powder ... 31, 42, 45 
 
 Studio, Improvised 58 
 
 Technique . . . . . . 22, 24, 25, 26, 27, 28, 35 
 
 Trapping of Smoke , ^ 77 
 Under-Exposure . , ^ • o „ « . . 18 
 Weak Negatives a,. 45 
 
J. Hubert, 
 
 PHOTOGRAPHER 
 
 (SILVER MEDALLIST), 
 
 238, MARE STREET, 
 
 HACKNEY. 
 
 LESSONS In J^egatlve an3. Positive: Relouegmg. 
 Terms from £5 5s. per Course. 
 
 Unsoliciied Letter from a professional photographer (sunilar ones 
 received frequently). 
 
 "28, Rushmore Road, Clapton, Nov. 19th, 1891. 
 
 "To J. Hubert, Esq., Mare Street, Hackney. 
 
 ' ' Dear Sir, — I feel it would be ungrateful of me to leave for South 
 Africa without expressing to you my complete satisfaction at the 
 manner in which you have carried out your part of the arrangement 
 to teach my wife the Art of Retouching Portraits. I am pleased 
 beyond expression with your painstaking and intense interest you 
 have taken with her in her studies. Both she and myself are de- 
 lighted at the results of such teaching. You have more than fulfilled 
 your promises, and I desire to thank you for your patience and 
 interest in her. When we settle in our new home in South Africa 
 we shall dwell with pleasant recollections on your extreme courtesy 
 to her, and I am sure she will be only too dehghted to have the 
 honour of sending you occasionally specimens of her progress. 
 With kind regards from us both, beheve me to be, yours respectfully, 
 Alfred Bond." 
 
 r^EGATIVES RETOUCHED FOR THE PROFESSION 
 AND AMATEURS. 
 
 HIGH-CLASS PAINTINGS 
 
 EXECUTED FOR THE PROFESSION OR AMATEURS. 
 
 At moderate ijrlces. 
 
EETOUCHITO. 
 
 FEOMtlie time retouching came into use until now^ 
 artists have generally resisted its claim to legiti- 
 macy. Those who are in the habit of jumping 
 to conclusions^ deduced from this the conclusion, 
 that on no account would it be permissible for the 
 artistic aspirant to employ a device which tended to 
 do away with all character, and was an outcome of 
 a desire to make old women young again. Un- 
 fortunately, a whole army of dabblers gave tone 
 to the remarks of the pessimist critic, and thus 
 it came to pass that retouching was cornered 
 in the chaos of antics which the pencil created 
 in the hands of the wholesale consumer of black 
 lead. Why did the artist object and avowedly 
 declare that he would rather see the exaggeration 
 of the photographer, than the whitewash of the 
 so-called retoucher ? Simply because the individual 
 who held the destiny of that negative in hand, 
 either did not know when and where to stop, 
 or more likely knew still less about the process. 
 Wholesale apprenticeships were concluded between 
 apprentices who had just finished their time, and 
 others who were just beginning. The clever pupil 
 
8 
 
 RETOUCHING. 
 
 of the celebrated Professor Scratchpaw took in 
 other pupils until the Scratchpaw aborigines flooded 
 the market with re- or ?7^^5r^-presentations of some- 
 body or other ; and the result was that the real 
 retoucher has always been at a premium, whilst the 
 sham article triumphantly swept away everything 
 before it. 
 
 It is well known that photography pure and 
 simple exaggerates ; that the artist does not deny, 
 and if the retoucher confined himself within the 
 limits of only taking away such faults, he need not 
 fear adverse criticism by the painter ; but, alas, 
 there lies the difficulty. Suppose a deep deep dent, 
 and a big big frown in the forehead, and the young 
 enthusiast engrossed in his occupation yielding 
 to the temptation of converting it into full full 
 bloom ; what does it matter ! — the old man was once 
 a youth ; so the representation was correct for a 
 time ever so long ago. So think the many ; where 
 is the remedy ? the few may ask. Had the original 
 been referred to and an unretouched print been 
 consulted, the deep dent might have been filled in 
 partially, just sufiiciently to err on the right side of 
 exaggeration ; and, furthermore, the still transparent 
 spot representing the dent could have been used 
 as a splendid basis to a work in that grain* which 
 represents flesh, thus delighting the artist's eye 
 
 * This grain is obtained simply by cross hatching, bat it should 
 rather be felt than seen, if I may so express it. 
 
RETOUCHING. 
 
 9 
 
 instead of giving offence. The same done to the 
 furrow could not have been criticised by the most 
 exacting painter. 
 
 It is " agreeable truth " that is wanted ; and if the 
 artist dares gainsay the right of the retoucher to 
 use that, I have to ask him what have his repre- 
 sentations been when the field was entirely his 
 own ? I make bold to say that in many cases they 
 conveyed the idea of the person for whom the 
 portrait was intended^ only^ if that information 
 were distinctly and intelligibly written underneath. 
 Can the same be said of the properly retouched 
 photograph ? No ; the artistic retoucher who has 
 a truthful basis in a good negative leaves the high 
 lights in their proper places, only strengthening them 
 in reason, and he who mistakes not the unevenness 
 of the skin for the marks of anatomical construction, 
 has greater power, and his work results in absolute 
 truth with some beauty at least. 
 
 Should we hear of the ridiculous reduction in 
 prices amongst professionals, if each had to employ 
 an artistically trained retoucher ? I think not. As 
 it is, the name retoucher is shared by all who 
 manage to take out spots and do away with all 
 marks of every description, in consequence of which 
 it is indeed a matter of impossibility to separate the 
 wheat from the chaff. 
 
 It is not at all uncommon for ladies to present 
 themselves at the Studio Office, with specimens of 
 
10 
 
 KETOUCHING. 
 
 their most insipid work. Poor things ! they mean 
 well, and cannot see that their Scratchpaw pro- 
 ductions are a disgrace to the noble art, for mistaken 
 politeness prevents the majority of employers from 
 giving their real opinion. I have often succeeded 
 in persuading such people to turn their backs on 
 the occupation for ever, with the happy result of 
 securing their future peace of mind. 
 
 The pupil who wishes to practise retouching as 
 an art, should certainly be possessed of a good 
 knowledge of anatomical drawdng, ere he can venture 
 to artistically improve a negative ; though it is quite 
 within the range of possibilities that a retoucher, 
 not so qualified, should work up a negative so as to 
 present an artistic photograph ; but then he must 
 know when to stop, and not try to steal a march 
 upon art. 
 
 Much as may depend upon the proper construction 
 of the desk, it need not either be an exjjensive or 
 elaborate structure, but whether it is made of deal 
 or mahogany, it must be practicable. As easels of 
 all sorts are ready made, and can be obtained at 
 most photographic dealers, I will confine myself to a 
 home made one, and proceed to construct it to suit 
 the humblest pockets. And I would prefer this 
 because it may serve a double purpose, for if the 
 student should not have patience enough (for a 
 certain amount of patience will be required of the 
 beginner) he can easily alter it into firewood ; and, 
 
RETOUCHING. 
 
 11 
 
 secondly, the unsnccessfal pnpil (for they are 
 mostly apt to blame either the tool or the teacher) 
 cannot accuse me of driving him into unnecessary 
 expense. 
 
 Place a piece of wood in a slanting position on 
 
 any ordinary table, stationed close to a window, 
 preferably with a northern aspect ; support it on 
 either side by a lath which may be furnished 
 with hinges, and proceed to cut an aperture 
 about the size of the negative to be retouched. 
 Determine the exact size of the hole by placing 
 your arm in an almost vertical position on the desk, 
 and let the centre of the aperture be in the place 
 
12 
 
 KETOUCHING. 
 
 where a pencil held in your hand can be comfortably 
 used. Now place a piece of white cardboard in a 
 horizontal position on the lower end of the aperture, 
 immediately behind the desk (fig. 1a). If there is 
 more than one window in the room, darken the rest, 
 and should the window on which you are working 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 be rather large, darken this also in such a manner 
 that the whole light may be permitted to fall fully 
 on to the piece of white cardboard, but not penetrate 
 into the room. To prevent direct light entering 
 the aperture hang a piece of cloth over the desk, 
 just allowing the light to illuminate the cardboard 
 or mirror. 
 
 It will, ot course, be obvious that extraneous light 
 
RETOUCHING. 
 
 13 
 
 would seriously interfere with the recognition of the 
 delicate portions to be retouched. 
 
 For the same reason the quality of a negative 
 cannot be seen unless it is held against a greater 
 light, which is best filtered through ground glass, 
 whilst the beholder stands in darkness or ap- 
 proaching it. The front of the retouching easel 
 should have facilities for quickly changing the 
 position of the negative, to turn it all ways ; 
 quarter, half, and whole-plate holders should also 
 be made to fit in ad libitum. However, the 
 author simply uses the aperture with a plate of 
 cork let in underneath into which two pins are 
 fastened. As the cork is extremely soft and yet 
 firm enough to hold the negative, and wears 
 well, it is, therefore, very suitable. The pins 
 may be removed and re-adjusted in a very short 
 time. 
 
 A little drawer upon which the retouching desk 
 may rest, will be found a great advantage for storing 
 the materials, and the reflector behind had better 
 be hinged on so that any angle may be obtained or 
 the desk be folded up. 
 
 On a very dull day you may (or you may be 
 obliged to) substitute a mirror for the cardboard. 
 Now procure a chair, and alter its height (if not 
 already suitable), so as to enable you to work 
 without stooping, or having to stretch your neck 
 upwards. 
 
14 
 
 RETOUCHING 
 
 But this, however, is only of importance to 
 those who wish to preserve an erect and stately 
 figure. 
 
 Before I acquaint the pupil with the kind of 
 negative most suitable to the beginner, I will 
 dwell upon the importance of viewing the negative 
 only from afar, that is, not too closely and not 
 at too great a distance, and I should advise the 
 most forgetful of my pupils to place a pointed piece 
 of wood in front of them, so that every time they 
 are inclined to approach too near, the wood and 
 their noses would learn to regard each other as 
 enemies. 
 
 Of course, the exact place depends upon the sight 
 of the individual. 
 
 It will generally be found that the ordinary 
 reading point is the correct one for retouching. 
 Approaching too near conduces to wiry effects, while 
 withdrawing the head too much makes the work 
 appear smudgy. I believe it to be a valuable hint 
 for the pupil not to permit himself to become 
 so engrossed in the work as to become dazzled 
 and lose the distinctness of the delicate half- 
 tones. 
 
 If I may so express myselt, the work should 
 partake somewhat of a superficial character, to be 
 broad in effect, for it is always easy to work the 
 detail in after, and carefully fill in places that 
 previously have been overlooked. 
 
RETOUCHING. 
 
 15 
 
 Having constructed or bought the desk, get the 
 following articles : — 
 
 1. Faber's or Hardtmuth's patent pencil case. 
 
 2. Faber's or Hardtmuth's leads for same, from 
 
 BBB to HHHH. 
 
 3. Ketouching medium* or retouching varnish. 
 
 4. A camel's hair brush with a fine point. 
 
 5. A cake of red or black water colour. 
 
 6. A little turpentine to remove retouching if 
 
 necessary. 
 
 7. Two or three different sized paper stumps. 
 
 8. A needle mounted on a wooden handle. 
 
 9. A piece of fine emery paper or cloth. 
 
 10. Hand magnifying glass (optional). 
 
 Having thus obtained all that is wanted to begin 
 work, I will describe the kind ot negative most 
 suitable for the beginner. 
 
 Taking for granted that it is a dry plate on which 
 we begin our operations (for the beautiful collodion 
 process is now seldom used), choose one mostly re- 
 sembling a wet plate negative, or (for the infor- 
 mation of the non-photographer) a clear one without 
 yellow colour— say a one-inch bust with a prominent 
 face and marked features, but one that is not over- 
 exposed or fiat looking. 
 
 * Sold by the Author at I5. per bottle, or varnish at per 
 
 piKt. 
 
16 
 
 RETOUCHING. 
 
 It may serve a good purpose just to examine a 
 negative and see what it is that constitutes good 
 quality. 
 
 As a negative is only a means to an end, it is 
 evident that the print from it must be the key to 
 its correct estimation. We all like to see a positive 
 picture in which the high lights are white and pure^ 
 the secondary lights are slightly tinted, and the 
 intermediate tones more so; and, finally, on which the 
 shadows are not represented as intense blacks, for 
 there is no such thing in nature. It follows then 
 that a first-class negative is not one in which the 
 shadows are clear glass, unless the intensity of the 
 highest lights is not great enough to allow the 
 shadows to become over printed, whilst the lights 
 assume the necessary depth (which tends to weak 
 prints). Nor can the adjective very good be applied 
 if the negative has plenty of detail in the shadows^ 
 but the high lights and secondary lights are of the 
 same density. Unfortunately, it is a truism that 
 you must generally expose for the shadows and let 
 the lights take care of themselves. That is a 
 necessity caused by the peculiar conditions under 
 which we work, but certainly not productive of a 
 faultless negative from the retoucher's point of 
 view. The light in England being of such a 
 changeable nature, we must, however, be thankful 
 that sufficient latitude in development is left us 
 to manage thus, for it lies in the retouchers 
 
BETOUCHING. 
 
 power to supply or strengthen the high lights 
 materially. 
 
 Nevertheless^ it is quite possible to take a ne- 
 gative by the aid of proper lighting, suitable 
 development, and plates possessing a maximum 
 range of half-tones, which needs no more retouching 
 than is occasioned by the inability of dry plates to 
 render colours in their correct value, viz., a removal 
 of freckles, etc. 
 
 In order to avoid spoiling your sight it will be 
 
 well to cover all but the particular part you are 
 retouching, with a mask, which may easily be cut 
 out of brown paper. 
 
 Now proceed to sharpen your HHH pencil on a 
 piece of fine emery cloth until you get a rather long 
 and very fine point (the HB or softer pencil is used 
 for larger heads and harsher lines under the eyes, 
 etc.), the finer the better, because should the 
 beginner break this point it reminds him that he 
 is not working in accordance with the instructions. 
 Then take a piece of soft linen and touch the 
 
 2 
 
18 
 
 RETOUCHINO. 
 
 moistened cork of your bottle of medium and rub 
 with gentle pressure in a rotary direction the part 
 to be retouched — a few minutes must elapse before 
 working upon it. This interval you may most 
 usefully employ in meditating whether you will 
 have patience enough to do that which I point out 
 in the following as the most important and necessary 
 to eventual success. 
 
 Before proceeding further, it will be well to know 
 what can and what cannot be accomplished in the 
 field of negative retouching. Our first limitation is 
 that as we are working upon a black surface, with 
 a black pencil, we can only blacken the character of 
 the negative, — an undesirable thing if it were not 
 for the fortunate circumstance that what we blacken 
 becomes sometimes whiter than the freshly fallen 
 snow\ Although this is as it should be in the 
 nature of things, it requires a little explanation as 
 far as the negative is concerned. 
 
 Apologising to the experienced photographer, I 
 must, for the benefit of amateurs who wish to learn, 
 acquaint them with the fact that the word negative 
 is a term used to signify the reverse of a positive 
 picture or paper photograph ; this consequently 
 presents some difficulties, namely, the portions 
 appearing white in the photograph are black in the 
 negative, and all shadows as well as dark attire are 
 represented white or transparent; the half-tints 
 of the photograph being more transparent in the 
 
RETOUCHING. 
 
 19 
 
 negative in proportion to the depth that appears on 
 the positive or photograph. 
 
 Judging this reversal being a most difficult 
 feature for one who has only just taken up the study 
 of photography, and one not to be under-rated even 
 by the experienced photographer, it will be wel] 
 
 Fig. 3. 
 
 for the would-be " retoucher to overcome this 
 obstacle at the outset. In fact, I hold this to be so 
 material as to make no excuse in dwelling upon it 
 at some length. 
 
 When I speak of over- and under-exposure, I 
 employ the word in such a sense as to indicate a 
 negative that has not been spoiled by that fault, but 
 exhibits, it only as a slight tendency. A negative 
 
20 
 
 RETOUCHING. 
 
 said to be under-exposed is one in which the high 
 lights, or, to designate the reversal in question, the 
 deep blacks (photographic terms confuse the be- 
 ginner usually, and speak of the negative as if it 
 were a finished print) are very pronounced, with a 
 want of detail in the shadows or clearest portions of 
 the negative. Instead of a gradual blending from 
 the deep blacks to the lesser ones, and then into the 
 transparent parts of the image, an abrupt transition 
 from black to white, or transparency, is visible in 
 the negative, whilst the print shows a chalky 
 appearance. 
 
 Imperfections, such as transparent spots, freckles, 
 etc., are more difficult to obliterate than when the 
 negative is correctly or over-exposed ; they require 
 softer pencils and great care, and when the want 
 of detail is very obvious, the stump must be 
 used at the back of the plate as described later 
 on. 
 
 In that case, especially, knowledge of drawing 
 proves of the greatest advantage, as it stands to 
 reason that as one-half of the image (the transparent 
 one or shadow side) is so weak as to practically 
 require building up all over, or drawing in ; smooth- 
 ing the lot would naturally destroy all likeness. 
 
 For the same reason, the non-artistic and often 
 the artistic retoucher would do well to arrest unequal 
 printing, solely by retouching imperfections from 
 these parts without materially strengthening them, 
 
BETOUCHING. 
 
 21 
 
 and finishing by applying blacldead powder over 
 the transparent parts from tlie back. 
 
 Over-exposure may be known by tbe kigh ligkts 
 or deep blacks being weak, and encroaching upon 
 the shadows or tra^isparent parts too much, pre- 
 senting one even and flat appearance all over. If 
 through further development the high lights are of 
 the requisite printing density, the parts that ought 
 to be transparent have a deposit upon them that 
 makes them print very slowly indeed. That class 
 of negatives can be worked only in the high lights 
 by the artist, and besides taking out blemishes 
 leaves little work to do. 
 
 The principal difficulty in learning to accustom 
 oneself to the novel feature of having to work upon 
 a negative is the one of requiring a second sight as 
 it were. Instead of shading parts with the black- 
 lead pencil, as is done in drawing, the very same 
 procedure has the totally different effect of lighten- 
 ing instead of shading the parts. To acquire a 
 good judgment of the kind of density it is necessary 
 to compare prints /?^om the negative luitk it. It 
 will then be seen whether the negative gives a 
 chalky and hard or soft print. The yellow colour of 
 some negatives must also be taken into considera- 
 tion ; for such require greater force in working to 
 compensate for the difference between the black 
 colour of the pencil and the yellow one of the 
 image. The semi-opaque surface will cause some 
 
22 
 
 RETOUCHING. 
 
 annoyance to the eye, and the trymg part of the 
 process may be said to lie in the necessity for 
 constantly concentrating the eye upon a small 
 space. The delicate half-tones, which are apparent 
 at first glance, often fade away from the eye on 
 account of its getting tired from continual looking 
 at them ; — that must be overcome by practice. 
 
 Altogether the greatest point to remember is 
 rather to do too little than too much ; it is astonish- 
 ing what fine results the smallest amount of work 
 intelligently applied will sometimes achieve. 
 
 As the reversed appearance is the basis of all the 
 work, it will require the greatest study ; and it is 
 really not the slightest use to commence retouching 
 until the sight becomes familiarised with this point 
 of learning to look upon black as white, and vice 
 versa. In proportion to the thoroughness of this 
 study, its enjoyment will be derived. 
 
 You will find that after you have worked a little 
 time your unaccustomed eye will tire, and perhaps 
 even become a little inflamed. When this is the 
 case rest from your labour, or let your eye wander 
 to another part of the negative. Whilst engaged 
 in your first efforts, do not let any little obstacle 
 tire your energy, for you must remember that all 
 new undertakings must owe their eventual success 
 to the energy and perseverance which were bestowed 
 upon the most difficult time of their introductory 
 stages ; and it is perhaps not too much to say that 
 
PvETOUCHING. 
 
 23 
 
 the temptation to throw overboard many schemes, 
 which are now marvels on account of their signal 
 success^ assailed their originators at the trying time 
 of their early efforts. 
 
 Should the point of the pencil break ever so 
 provokingly, sharpen it again. Should you have 
 worked three-fourths of the negative in a most 
 satisfactory manner, and then through a slip of 
 your inexperienced hand you make a dashing stroke 
 across the eye, promise inwardly to repeat it in a 
 thorough manner on the individual represented by 
 the negative if he were present; but do not lose 
 your temper with the negative. Remove the whole 
 work with some turpentine, carefully, put on new 
 medium, and begin again. It is all practice. 
 
 If your medium will not take the blacklead 
 readily, the former may be thickened, or you may 
 put it on with a rotary movement of your finger (pre- 
 viously moistened by a small drop of the medium), 
 instead of applying it with a piece of linen. 
 
 Should the negative take the lead too readily, the 
 remedy is to dilute the medium with turpentine. 
 
 Should you find that your sight is weak, and still 
 being determined to go on, you try the first pair 
 of spectacles on small negatives, and you fancy then 
 that another more powerful glass would suit you 
 better ; the best thing you can do is to give up 
 retouching, and have your negatives retouched by 
 a more hawk-eyed individual. 
 
24 
 
 BETOUCHING. 
 
 But, supposing yon have a sufficiency of that 
 royal bird's qualification^ we will take our initiatory 
 steps. 
 
 First of all you must strive to acquire a light hand, 
 tliat is, taking hold of your pencil in the same way 
 as if you were beginning to write, pursue your work 
 in such a manner as will enable anybody, at any 
 time, to take your pencil out of your hands, from 
 over your shoulder, without your knowledge. 
 
 If you should retain it, ever so slightly, it would 
 denote that you have not yet acquired a light hand. 
 Be it also remembered here, that the medium being 
 applied in order to allow the pencil to mark, on 
 an otherwise untenable surface, any hard or heavy 
 stroke would probably remove the medium, and 
 create a barrier to further work. This is important, 
 as otherwise it will be found impossible to fill in 
 very transparent freckles. 
 
 Drawing from this the conclusion that nothing 
 would hinder our progress more than a non-com- 
 pliance with this injunction, we will begin work. 
 
 In certain cases the retouching medium will 
 cause some amount of trouble, so much so that the 
 beginner often feels inclined to give up on that 
 account. It should, therefore, be our desire to 
 settle that question once for all. In order to do so 
 we must practise somewhat to master its application. 
 Perhaps the student had better alternately put it 
 on with a rag, or with the finger, and choose the 
 
KETOUCHING. 
 
 25 
 
 method lie likes best. If the medium is at all 
 tacky, that is, little bits of pencil adhere to it, it 
 may be thinned with tm^pentine, but, perhaps, 
 applying it with a soft piece of linen would prove 
 a remedy. The medium the author supplies at Is. 
 per bottle, which lasts a very long time, will not 
 present such difficulties. 
 
 If the pencil refuses to leave an impression, the 
 medium is either not of the right substance, or it 
 must be applied with the finger. 
 
 In my opinion it is a bad plan to create a tooth 
 by abrading the surface of the varnish, because it 
 endangers the negative, and also permits only a 
 limited quantity of work to be done ; but not only 
 that, such a negative is almost spoiled if an en- 
 largement has to be made from it. 
 
 A warning as to retouching varnishes may not 
 be out of place here, as many of them become 
 exceedingly tacky during printing in the heat of 
 summer. Looking upon the matter, therefore, in 
 a practical light, we find that it is perhaps 
 as well to use a medium, as it is a little 
 difficult to find a varnish that is hard enough 
 to withstand the damp, and at the same time 
 prepared to receive a tooth, as that is accom- 
 plished by adding some softening agent, such as 
 castor oil. 
 
 We now look through the negative, with the view 
 to espying some of the most startling irregularities, 
 
26 
 
 RETOUCHING. 
 
 and transparent freckles, the presence of which we 
 will take eager advantage of, in order to make our- 
 selves efficient in erasing them. Working with a 
 light and steady hand, we then direct our pencil to 
 the transparent spot selected. Before proceeding, 
 it will be well to remark, that the pupil must bear 
 in mind, that this preliminary instruction is only 
 the key to retouching. In it we learn to smooth 
 any given transparent spot, irrespective of the 
 
 proper routine, which will be introduced at a later 
 stage. 
 
 We confine ourselves therefore to the selected 
 spot, direct our pencil as before mentioned to 
 it with a light and steady hand, and work 
 upon it with semi-circular or semi-oval strokes, 
 which may vary in size to the proportions of 
 the spot to be eradicated, taking care that each 
 stroke is to the purpose, that is, next to, not 
 over the other. Cross these strokes with similar 
 ones, but avoid the formation of right angles. 
 
KETOUCHING. 
 
 27 
 
 Try to create, in this way, an even veil over the 
 spot. 
 
 Now, not forgetting to work with a light and 
 steady hand, add (for practice) another veil over the 
 first one in the same manner, until your spot has 
 attained the density of its immediate surroundings. 
 It must be impossible to find any trace of your work 
 beyond impartinga flesh or fine grain-like appearance. 
 Do not cease to practise this until you have mastered 
 it. You will find out in time that in this way 
 piling thin veils over each other in semi-circular 
 or even straight strokes, to be crossed with others, 
 you will acquire a skill, which will allow you to 
 reduce the number of veils by regulating the touch 
 of your hand. To be more explicit, by using an 
 increased pressure you may (according to the trans- 
 parency of the spot) be able to fill it up in twice or 
 even the first time. Be very careful to work inside 
 the spot, never once outside it. 
 
 Some clever retouchers hold that by practising 
 retouching according to any of the adopted methods 
 it would not be necessary to pay attention to the 
 grain at all in this early stage, reasoning that it 
 will come natural after some practice ; but I thiniv 
 emphatically this is a great mistake. Of course, 
 when I say grain, I mean neither a fine sand 
 appearance nor wire-netting effect, but that some- 
 thing which has always stood for expressing the 
 absence of the marble-like insipid smoothness. 
 
28 
 
 RETOUCniNa. 
 
 The illustration before and after retoucliing re- 
 presents an old friend of mine, J. Hay Taylor, the 
 Editor of the Magic Lantern Journal. I have pur- 
 posely avoided choosing a startlingly freckled face, 
 for the simple reason that it is (strange as it may 
 seem at first glance) comparatively easy to retouch. 
 In the head before us the slight line in the fore- 
 head is characteristic and often found in the literary 
 profession, and consequently is not removed alto- 
 gether ; although, had it belonged to the masher 
 species, I should probably have been justified in 
 softening it more to make it match the brain of such 
 an individual. The whole process of retouching the 
 example engaged me about fifteen minutes, after 
 some turpentine had removed one hour and a half's 
 labour of a so-called retoucher, who managed to 
 retouch it in that time so effectually that I did not 
 know my friend again, though I had partaken of his 
 hospitality not many weeks previously. 
 
 The first attempt to work with the pencil on the 
 hard negative often results in a most disappointing 
 failure. It may be a help to suggest bringiag the 
 pencil very carefully near to the spot, as if trying 
 to see how closely you could manage to approach 
 without actually touching it. This is one great 
 help to obtain lightness of touch ; it also has 
 the eff'ect of directing the pencil into the smallest 
 pinhole without touching the surroundings. It 
 stands to reason, that if the surrounding parts are 
 
BETOUCHING. 
 
 29 
 
 marked by the pencil at all it will make them 
 denser, necessitating, of course, working the spot 
 to be eradicated more and more, so that in the 
 end all likeness is gone, whereas one well-guided 
 stroke would have filled in the cavity in an instant. 
 Here it is that the danger besets the pupil of con- 
 tracting that horrible disease, ^^consumption," not of 
 body, but of blacklead, though if it be not promptly 
 checked, it may prove just as fatal. It is the 
 reason why one retoucher, desirous of imitating the 
 flourishing strokes of a practised hand, toils over 
 a negative for an hour, whilst another slowly, 
 apparently^ but surely, nevertheless, completes the 
 same in a quarter of that time. The former glides 
 over the surface irrespective of wandering occa- 
 sionally into neighbouring fields, not heeding that, 
 continually blackening the margin, he has again 
 and again to fetch up the depth of the spot to make 
 it equal to the same ; the other carefully directs 
 his pencil into the place, and com.pletes his work 
 there and then. 
 
 This may be practised for days, or even for weeKs, 
 until you are satisfied that you can fill a spot or 
 freckle without the slightest temptation to go 
 beyond it. 
 
 When that is mastered it must be your endeavour 
 to try to get into working a grain-like appearance 
 into the more transparent parts, as nothing looks 
 worse than a smooth marble-like or statuesque 
 
30 
 
 KETOUCHING. 
 
 look. This is, however, more easily said than 
 taught, for the grain must not be too apparent and 
 large, as that is objectionable unless in larger heads. 
 The right way is to cross hatch transparent parts 
 evenly, laying the point of sight rather far away ; 
 but in reality this cannot well be described, as it 
 is an accomplishment that varies with the capa- 
 bilities of the student. It is, so to speak, more felt 
 than seen, and too much anxiety to obtain this 
 grain need not be displayed, as it will be a natural 
 acquirement when mastering the way to cross hatch. 
 
 It may happen that the slow pupil practises for 
 some time without making any apparent progress. 
 In that case let him practise hatching upon paper 
 first. It will be found a great help to mark several 
 even tints at short intervals upon writing paper, and 
 then to try to imitate them by hatching. Thus 
 when he can do this, let him replace these even 
 tints with graduated ones and copy these in the 
 same manner until efficient. It will then be found, 
 that at some period or the other, he suddenly 
 acquires the knack. 
 
 It is a useful plan, in order to examine the work, 
 to get some ready sensitised paper, which may be 
 bought at about lOd, per sheet from any photo- 
 graphic dealer, buying a quarter or half-plate 
 printing frame at about 4:d. or 8d, respectively. 
 
 You place your negative before it is retouched, 
 with the film side upwards, into the frame, put a 
 
RETOUCHING. 
 
 piece of paper with the sensitised side downwards, 
 on itj press the cover evenly upon it, adjust the 
 springs and expose it to the light. Examine from 
 time to time in subdued light, by opening one half 
 of the frame, and if it has obtained the depths of a 
 darkly printed ordinary photograph, take it out and 
 place it in absolute darkness for future reference. 
 Now practise upon the negative, and then repeat the 
 printing process, and in subdued daylight or artificial 
 light note the difference ; or, better still, make a 
 solution of one ounce of hyposulphite of soda to 
 four ounces of water, into which the print (when it 
 comes out of the printing frame) may be plunged, 
 then slightly washed (laid upon a glass) under 
 the tap, whereupon it may safely be examined in 
 daylight. 
 
 In this manner, the non-professional pupil can 
 examine his or her progress, without learning 
 printing thoroughly. Returning now to the lesson, 
 let your mind's eye help you, and ask yourself, 
 before each stroke, " To what purpose is this ? " Be 
 sure each movement of your hand has an effect. Do 
 not expect to get at it too quickly. Remember, 
 that, before you are able to run you must learn to 
 walk, and ask your mother how long you were about 
 that accomplishment. 
 
 Bear in mind, that when you are able to remove 
 imperfections in a negative, without showing where 
 you have worked, the rest will not be exactly easy, 
 
32 
 
 KETOUCHING. 
 
 but SO fascinating that it will give you pleasure 
 instead of trouble; besides, you are on the road to 
 success. 
 
 If tbe part to be erased is very small, direct your 
 pencil into the centre of it with a dotting motion. 
 Should you have worked your spot in part unevenly 
 (taking for granted that you have not made it 
 blacker than its surroundings) you must take care 
 not to touch this denser part again, but fill in the 
 rest until it is even again. 
 
 Should you have nearly finished it, but still 
 some small transparent lines trouble you, place 
 pencil strokes between to connect the whole. Here, 
 I repeat, avoid approaching too near, as the result 
 would be wiry and many defects would remain. 
 
 A few words how to make the best use of the 
 different pencils. 
 
 For the imperfections in the high lights a softer 
 pencil, such as BB or HB, may be used, whilst 
 for strengthening the same a harder one, such as 
 HH or HHH, will be best. The shadow portions 
 can be treated with a hard kind, as HHH. 
 It works cleaner, and so little work is required 
 there. 
 
 The heavier shades under the eye, chin, etc., when 
 very pronounced, are best subdued by the help of 
 a softer pencil, such as BB or HB. 
 
 In negatives with clear glass in the shadows, 
 elderly people with a ruddy complexion, and similar 
 
EETOUCHING. 
 
 33 
 
 pictures, blacklead powder can be used in conjunc- 
 tion with the stump; a little scraped off a soft pencil 
 answers well. It must, however, be cautiously 
 applied, as the propensities of that powder are of an 
 energetic nature. A little of it goes a very long 
 way — even out of its way. It would not be waste 
 labour to take a spoiled negative, and, after putting 
 on medium in the ordinary way, make experiments 
 with a view to making nearer acquaintance with our 
 black friend, whom the quotation, that he " makes a 
 capital servant but a bad master," suits exceedingly 
 well. 
 
 The stump and the blacklead powder are also 
 very valuable adjuncts to improve thin negatives. 
 Very fine tissue paper is pasted over the back and 
 worked upon the lights (or black portions), which 
 increases their density considerably, whilst in the 
 shadow portions complete transparency is retained 
 by the application of vaseline or some other trans- 
 parent medium. The same purpose may be served 
 by using matt varnish, made with resin and benzole, 
 applied cold. That method permits of any amount 
 of work in the high lights, and allows the shadow 
 parts to be made more forcible by scraping away 
 the varnish. 
 
 Stumps may be improvised by rolling several 
 pieces of newspaper one over the other. The pieces 
 of paper must be considerably wider on one end 
 than on the other, and pasted and rolled over. 
 
 3 
 
34 
 
 KETOUOHING. 
 
 They require sharpening, which is accomplished by 
 rubbing over with emery paper. 
 
 A knowledge of how to properly light the sitter 
 is perhaps of as great importance in retouching as 
 in operating ; therefore " the art of retouching " 
 would scarcely be complete without a short discus- 
 sion of the subject. To light a face effectually, 
 consists in illuminating it so as to give prominence 
 to important features and subdue other obtrusive 
 ones. If photography gave everything as we saw 
 it, that would not be a difficult matter ; as, however, 
 a correct rendering of the high lights is not always 
 quite compatible with great detail and richness in the 
 shadows, it becomes a study which is best pursued 
 by actually photographing a bust, and observing 
 when it appears round and soft an d posessed of 
 a wide range of half-tone. Deeply set eyes, high 
 cheek-bones, wrinkled faces require a certain amount 
 of front light, diffused side light, of course, preponde- 
 rating in all cases ; children's round faces must have 
 a sufficiency of side top light to create shadows. 
 
 Strong side light from behind the sitter must be 
 avoided, as it makes most faces appear too square ; 
 a touch of it, however, helps to brighten the features. 
 On the whole it must be remembered that top light 
 is always the most effective for artistic purposes. 
 
 In using a reflector to lighten the deep shadows 
 great care must be taken not to have it too near ; 
 nor should it be white, as that creates false lights, 
 
KETOUCHING. 
 
 35 
 
 which are always objectionable. The reflecting 
 screen, placed at right angles about three or more 
 feet away from the sitter, will in most cases prove 
 the most desirable. This reflector may advan- 
 tageously be subdivided into two parts, each 
 capable of being inclined or raised — swinging upon 
 
 pivots. One half is used to illuminate the head, 
 and the other lower one the drapery. 
 
 In some extreme cases a sheet of paper placed 
 flat upon the floor in front of the sitter is a valuable 
 adjunct to the system of lighting. With a judicious 
 admixture of the foregoing remarks, and some 
 common sense, the necessary retouching should be 
 reduced to a minimum 
 
36 
 
 HETOUCHING. 
 
 If amateurs paid more attention to this part of 
 the work they would not feel disappointed on 
 receiving negatives back from the retoucher, who 
 is generally looked upon as a performer of miracles, 
 in that respect, and expected to make good all faults 
 of operating, lighting, and so forth. 
 
 In the foregoing I have advised the practice of 
 working with semi-circular strokes or hatching. I 
 am, however, aware that many different methods 
 are employed amongst various retouchers, who each 
 turn out equally good work. One reason for this 
 is, the art of retouching has not been taught at 
 specially appointed schools, but in most instances 
 retouchers were left to themselves, so acquiring a 
 style of their own. Another reason appears to be 
 the demand for variety of execution. One specimen 
 shows a fine stipple imparted by dotting the negative 
 (which mode in my opinion takes a long time 
 unless done by a very experienced worker). Another 
 resembles a marble-like smooth appearance, obtained 
 by a continuous circular movement of the pencil. 
 Still another method, giving a kind of grain, consists 
 of working with zig-zag movements interwoven; but 
 of all modes none seem so satisfactory as hatching 
 the negative as described ; by its means the most 
 beautiful effects are obtained. 
 
 When the pupil is able to eradicate any freckled 
 spot, without leaving traces of his work, and has 
 acquired the skill of evenly veiling large transparent 
 
RETOUCHING. 
 
 37 
 
 places, he may go a step further and try his hand 
 at blending or connecting black or opaque parts 
 with lighter ones by the interposition of a middle 
 tint ; this is accomplished by placing, with the HB 
 or HHHH pencil, small semi-circular, semi-oval, or 
 even straight lines immediately next to the blackest 
 portion. Each stroke, although of nearly the same 
 
 Fig. 6. 
 
 depth, to be slightly less intense than the last, 
 until, when the more transparent tint is reached, 
 they blend imperceptibly into it. 
 
 This again must be practised well until the 
 transparent parts of the negative show no more 
 patches, but present a clean and even surface. 
 
 However, it cannot be repeated too often that a 
 marble-like smoothness must be avoided, to prevent 
 which the greatest efforts should be made. It may 
 
38 
 
 EETOUCHING. 
 
 be said that the principal parts, where pauses should 
 be made for prolonged practice and study, are 
 these : First of all, the point already touched upon, 
 the medium difficulty, or the absolute necessity of 
 making yourself thoroughly familiar with the ground 
 work. Practise well, and do not treat as of minor 
 importance the intimate friendship of pencil and 
 medium ; and let me advise you that, unless you 
 thoroughly succeed in placing these two co-workers 
 upon the best of terms with each other, their 
 frequent quarrels will be a continual source of 
 annoyance to you. 
 
 The second point of close study is to treat your 
 pencil to a light hand (already held up to your 
 notice). You can best coax that article (after you 
 have sharpened its wits with your most pointed 
 directions) by leading it gently over and making it 
 acquainted with the field of labour, but do not try 
 the experiment before you have got it over the 
 first fright of working in darkness instead of light ; 
 I mean the reversed appearance of the photograph 
 in negative form, of which I have also spoken pre- 
 viously, but which, nevertheless, must be one of the 
 stages of study which requires some time devoted to it. 
 
 That supplemented by a little study of the 
 diff*erent qualities a negative is subject to (under 
 the varying treatment of the beginner), should give 
 our friend the pencil confidence to venture into the 
 batching and then the patching business, by which 
 
EETOUCHING. 
 
 39 
 
 term I mean the veiling of large transparent patches ; 
 bnt hatching must be taken seriatim and at con- 
 siderable length. At that particular point do not 
 aggravate Master Pencil into a temper by dancing 
 him about senselessly. Direct him carefully, and 
 guiding him from right to left in circular form, do 
 not take him twice over the same ground ; he does 
 not like it. Let him have proper exercise, and vary 
 his task by jumping him over to the right of the 
 place from whence he started, and this time lead 
 him from right to left across the first track some- 
 what after the fashion of a pair of scissors quarter 
 open. Then when you have subordinated him thus, 
 put the veil over by hatchy-patching one layer over 
 the other as before mentioned. 
 
 After you have given the pencil enough chance 
 of practising each and all these things it will be time 
 to introduce the delicate parts of the anatomy of 
 the human face, bone for bone, to him. At this 
 juncture teach him to avoid treating any of the 
 smaller or gristly parts with the least disrespect, 
 for they are proud little things, and each capable 
 of throwing many obstacles in his way. If you 
 make him tread upon their paths when they do not 
 want you to do so, they are apt to resent intrusion 
 by staring at you in disgust when you have com- 
 pleted the work. 
 
 Lastly, reaching the highest lights, you must 
 give the pencil a rest to get over the quivering fit 
 
40 
 
 RETOUCHING. 
 
 which is likely to seize him. Open his eyes little 
 by little not to blind him at the outset. 
 
 In most negatives the high lights are too weak. 
 In improving them, however, great difficulties 
 present themselves. 
 
 If the pupil cannot draw, he must not soar too 
 high ; if so, it will be advisable to go in for a 
 course of instructions, but failing that, he should 
 confine himself by only working upon good nega- 
 tives, with the aid of such instructions as I am 
 able to off*er without going into art teaching, which 
 obviously cannot be attempted here. 
 
 Of late, photography has made such advances 
 that negatives which want elaborate work are ex- 
 ceptional, therefore it is quite possible to become 
 a retoucher, for good (average) negatives, with the 
 aid of this essay, and energetic practice ; moreover, 
 I hold the opinion, that negatives, which really 
 want exceptional work, are scarcely worth doing 
 unless in special cases. By this, I do not mean to 
 say, that art training is superfluous ; on the contrary, 
 I think it of the utmost importance, especially for 
 professional retouchers. 
 
 Taking for granted that the pupil cannot draw, 
 and wishes to continue his lesson, he must again 
 survey his negative with a view of finding out the 
 high lights. If they are marked ever so faintly 
 he has a comparatively easy task to perform ; but 
 when through imperfect lighting, over-exposure or 
 
flETOUCHING. 
 
 41 
 
 general flatness of the negative he cannot find their 
 whereabouts, he will be in a fix. The only way 
 ont of it will be to study good engravings and 
 first-class photographs, and carefully note where 
 the high lights are placed. Let him boldly try to 
 impart them with the help of the latter instruction. 
 If he takes a print off a negative before it is 
 touched, and again after he has worked upon it, 
 and then if not satisfied removes the retouching, 
 and repeats the work and printing process for the 
 sake of comparison, he will soon find out every 
 mistake he has made, if he observes well and be 
 not discouraged. 
 
 The pupil must make himself acquainted with 
 facial peculiarities. — The principal high lights are 
 to be found on the forehead (just where the prin- 
 cipal bump is situated), upon the point of the 
 cheek-bone, the bridge of the nose, and the chin ; 
 and the minor high lights, just over the eyelids, 
 minor bumps, lips, etc., and the high light in the 
 pupil of the eye with its refiected light on the other 
 side of the iris. 
 
 The pupil may now try to increase these high 
 lights should they be faintly discernible (looking 
 at them with half-closed eyes is a capital way in ex- 
 cluding detail to define the same). Let him be care- 
 ful not to extend their position, but keep them local. 
 Heightening these lights too much tends to destroy 
 harmony. He must be sure that he does not place 
 
42 
 
 RETOUCHING. 
 
 them upon the forehead, too near the centre, nor 
 bordering on the hair. Should the negative under 
 treatment be a flat one, all over alike, he may then 
 increase the high lights and blend them only slightly 
 into the shades ; but if a clear and brilliant negative 
 with faulty lighting, it is probable that he must in 
 addition carefully work up the rest a little to avoid 
 abrupt graduations. As it is most difficult to advise 
 in this matter, there being such a variety of causes, 
 much will have to depend upon the judgment of 
 the pupil, who may derive the utmost profit from 
 comparing prints before and after treatment. 
 Art training is really necessary where there are 
 no indications of high lights, though, by obser- 
 vation and practice, the persevering pupil may 
 be enabled to place them correctly where they are 
 wanted. It is a question of anatomy. Although 
 the skull formation happily differs in various person- 
 ages, it yet has its limit, and for that reason I am 
 able to give some instruction thereon. As the 
 majority of my pupils are perhaps aware, that 
 marvel of creation, the human head, has a number 
 of bone projections (those that are not, may perhaps 
 recognise the parts I mean by mentioning that they 
 are the portions of their face which frequently come 
 into contact with harder objects). These, some- 
 times vulgarly called bumps, cast shadows if the 
 light falls upon them obliquely. If these pro- 
 jections are illuminated with a front light, shadows 
 
RETOUCHING. 
 
 43 
 
 are destroyed, and consequently the characteristic 
 or likeness is more or less obliterated. On the 
 other hand those shadows may be greatly exag- 
 gerated through the agency of the light, etc. It 
 will therefore be useful to know of what proper 
 lighting consists. 
 
 To solve this problem by saying that the natural 
 projections of the face (bumps, nose, etc.) should 
 cast soft, clear shadows, making the negative 
 appear as if possessed of great depth when 
 looking through by transmitted light, would be 
 an easy way of getting out of the difficulty, but 
 I fear it will be of little help to the beginner. 
 
 I have already touched upon lighting the sitter, 
 but should the instruction thereon prove insufficient 
 it will be best for the pupil to step into the nearest 
 photographer's, have his photograph taken by way 
 of inducement, and beg to have the matter pointed 
 out to him. 
 
 Should the negative be a hard one, viz. one side 
 black or opaque, and the other side white or trans- 
 parent, pencil marks upon the opaque side are 
 useless with the exception of filling in freckles, 
 etc., but the other transparent side maybe carefully 
 and cautiously retouched, taking care not to en- 
 danger the likeness by piling on blacklead. Then 
 the back of the negative should be matt varnished, 
 and medium applied, whereupon blacklead from a 
 soft pencil has to be pulverised, and the small 
 
44 
 
 RETOUCHING. 
 
 stnmp dipped into the powder. With this the 
 transparent part of the negative (from the back) 
 should be evenly and carefully coated^ the loose 
 powder being blown off. Here again trials with 
 the aid of prints will guide the pupil to what depth 
 the blacklead powder has to be laid on. 
 
 To those who have not had the benefit of drawing 
 lessons, it will be useful to know that the hatching 
 of the face cannot be done anyhow, but in order 
 to produce a satisfactory result, the lines must be 
 placed strictly in accordance with nature's pre- 
 scription. For instance, the lines of the forehead 
 run horizontally, the lower ones curving near the 
 centre round into the nose and at the sides towards 
 the cheek ; for this reason the hatching has to be 
 worked also in that direction. When retouching 
 the forehead (which should be commenced and 
 finished first) labour will be greatly facilitated 
 if the negative is turned on its side so that the 
 retoucher may follow the inclination of his hand 
 and work with a downward stroke instead of the 
 more difficult sidelong motion. If the forehead has 
 a deep dent the pupil may place straight lines next 
 to each other and over each other, until it is nearly 
 covered. It may then be completed by hatching 
 here and there (which also imparts the grain), and 
 smooth it when required. As it sometimes con- 
 stitutes, however, a characteristic, it must not be 
 taken out altogether. This straight lining may 
 
KETOUCHING. 
 
 45 
 
 always be employed first wherever large transparent 
 places have to be much subdued. It will save time 
 and gives a fine appearance to the negative, imitat- 
 ing the lines of the flesh. Now curving into the 
 cheekj the direction of the facial lines have again to 
 be observed, and worked in accordingly. The lines 
 of the sides of face (cheek), run in an egg-shaped 
 direction, joining the strokes of the downward 
 curving lines of the forehead and working from the 
 left to the right, crossed with strokes from the right 
 to the left, gradually opening up with longer ones ; 
 blending from the lights into the shades, move 
 towards the bottom of the face. The visible side 
 of the nose, treated separately, is worked similarly to 
 the cheeks. The lines of the bridge of the nose, 
 however, run across, parallel with the lines of the 
 forehead. To stimulate comfort in working, the 
 negative may again be turned on its side when 
 doing that part. The chin is worked in about the 
 same direction as the cheeks. Good engravings 
 will again prove a great help here. 
 
 Wrinkles in the forehead in young people may 
 be taken out altogether; in old ones, they must 
 only be subdued. It is often the case that the 
 eyebrows encroach upon the nose in an irregular 
 manner. It will then be possible to legitimately 
 beautify a face by rounding them off where the 
 forehead-lines join the nasal ones. The more 
 advanced pupil may also try his hand at placing 
 
46 
 
 BETOUCHINQ. 
 
 the high lights of the nose more towards the centre, 
 if the nose appears too broad. In this case, the 
 first high light must be blended into the newly 
 created one. If, however, no discretion is used, 
 the greatest absurdities may thus be perpetrated, 
 as very little latitude is allowed, beside calling 
 forth all the artistic instincts of the retoucher. 
 This may also be said of the mouth, especially at 
 the corners. Here (as in the case of altering the 
 shape of the nose) the likeness is soon destroyed, 
 so the greatest care is required. If the pupil can 
 be sure and trust himself to retain the original 
 shape of the curvatures of the mouth corners, he 
 may safely shorten aged people's downward slant- 
 ing furrows, or round off and curtail extensive 
 shadows in those qnarters : the dark shadows 
 under the eyes may be much subdued, but not 
 eradicated. Sometimes transparent lines appear 
 between the lower eye-lid and the deeper shadow 
 immediately under the eye. If these are erased, the 
 expression will be deadened. The shadow pointing 
 downwards from the sides of the nose may be soft- 
 ened and shortened according to the age of the person. 
 The clever worker has it in his power to impart a 
 more pleasing expression to a face by leading this 
 shadow so that it may tend to curve outwardly. 
 An inward curvature of this furrow denotes stern- 
 ness (sometimes causing quite a disagreeable look). 
 Dimples being considered handsome, must not be 
 
EETOUOHING. 
 
 47 
 
 tonclied out. The eye itself had better be left alone 
 by the non-artist. The most that may be done to it 
 is slightly increasing the spot of high light in the 
 pupil, and the reflected light caused immediately 
 opposite within the iris. It should not be forgotten 
 that the high light running down the nose, with its 
 terminating spot, if extended too much, causes that 
 part to appear too long. Nothing looks worse 
 than an exaggerated and badly placed nasal high 
 light line. 
 
 The stump may be employed to strengthen the 
 high lights of the drapery, distributing the black- 
 lead powder with a clean stump afterwards. 
 
 Small spots that prove obstinate to the pencil , 
 may be dotted out with the fine point of a camel's 
 hair brush, dipped into semi-dry water colour. 
 Large heads are often retouched by the same means ; 
 but in genera] when heads of several inches in 
 diameter are to be worked upon the fine stippling 
 would look too wiry, besides taking too much time, 
 to save which it is best to coat the back with matt 
 varnish, employing the stump and blacklead 
 powder, after previously retouching away the im- 
 perfections and transparent details from the front, 
 etc. 
 
 Let the pupil remember that yellow colour in a 
 negative means a great (invisible) increase in its 
 density and printing power, of which fact he can 
 take advantage by varnishing his weak negatives 
 
4S 
 
 KETOUCHING. 
 
 with iodine coloured varnish. The observing and 
 persevering pupil will be able to put two and two 
 together, and will not expect this book to do the 
 work for him. Few people are possessed of an 
 exceptional amount of patience and perseverance, 
 but without the practice of these virtues nothing 
 can be done. 
 
 The brain should form a greater motive power 
 than the hand. Economy should be studied in the 
 use of blacklead, and though it will occasionally 
 happen that photographers, ignorant of the art in 
 retouching, will give a sidelong glance towards the 
 negative with a view to ascertain the exact amount 
 of blacklead consumed, to regulate their payments 
 accordingly ; this occurs but seldom now, and the 
 present more artistically educated photographic 
 public will consider the quality of the material the 
 artist is made of, rather than the quantity of 
 material the negative is retouched with. 
 
 Therefore, dear reader, take my advice. Expend 
 your energy, save your blacklead. Touch your 
 negative. Do not attempt what cannot be ac- 
 complished. 
 
 But let me give you an important piece of advice. 
 Do not on any account forget to touch ladies' waists 
 in a specially hearty manner, if you want to keep 
 on good terms with them. You are always safe in 
 cutting off an inch on each side, and in some cases, 
 where corpulence is rather conspicuous, two or more 
 
RETOUCHINa. 
 
 49 
 
 inclies will never be missed. Creases in folds in 
 the wrong places in ladies' dresses must never be 
 allowed to remain^ or else the portrait will surely 
 fail to give entire satisfaction. Unfortunately, out 
 of a hundred ladies of the middle class not ten can 
 boast of a well-fitting dress. This arises mainly 
 from the general want of art training in the usual 
 run of the female clothiers, who, in most cases, are 
 not able to cope with the necessary artificial supply 
 of ladies' shortcomings in the matter of natural 
 rotundity in the region which should stand out 
 prominently between their noble brow and the 
 waistband. However, the Ladies' Dress Cutting 
 Association has done much to improve matters of 
 late. As a rule, it will not be found difiicult to fill 
 up these creases. If they are very pronounced the 
 stump and blacklead powder will work wonders. 
 Here it is that good practice can be had in the use 
 of the stump, as the work is not so particular as 
 when touching the face. With regard to diminish- 
 ing ladies' waists, the outline must be kept, making 
 a mark, following this line within and filling in the 
 space thus traced to the depth of the background 
 immediately adjoining. If the dress is a dark one, 
 represented in the negative as transparent, the 
 pencil or stump will permit of retouching it so that 
 no indication of the artifice will be left. Should 
 the article of clothing be of a light colour, however, 
 a good darning needle with a very fine pointy firmly 
 
 4 
 
50 
 
 KETOUCHING. 
 
 mounted in a wooden handle, may be used in the 
 following manner : — Trace the outline as before 
 mentioned, and instead of filling in with blacklead, 
 make puncture upon puncture next to each other, 
 lightly pricking away but not penetrating through 
 to the bare glass. Patience is especially requisite 
 here and much practice. At the best it is a very 
 difficult proceeding, and can be obviated by spotting 
 it out in the print afterwards. 
 
 From experience, since writing my first work on 
 the subject, I am convinced that most amateur 
 beginners are perfectly at sea with reference to 
 positive retouching, called spotting in its lower 
 grade; it may, therefore, not be unacceptable to off'er 
 a few remarks on the subject. The first thing to be 
 considered is the colour of the print, which must be 
 well matched by preparing colours of different tints 
 to employ according to the tone of the positive. 
 Thus a brown tone may be obtained by mixing red 
 water-colour with Indian ink, or neutral tint, and a 
 purple one by the same mixture with the addition 
 of a suitable blue. Experiments will soon indicate 
 the right colour. To prevent this application from 
 pealing off or being removed by the subsequent 
 processes of rubbing or burnishing, the colour must 
 be prepared by adding some albumen (white of egg 
 with a preservative of ammonia added) ; this also 
 serves to retain the gloss of the prints. When the 
 print has not been handled with greasy fingers, or 
 
EETOUCHING. 
 
 51 
 
 has not been soaped in preparing for bnrnisliing, no 
 special efforts are needed to cause tlie colour to 
 adhere. In the opposite case, however, moistening 
 the surface with the tongue will facilitate the 
 spotting with water-colours. Prepared oxgall, 
 which can be bought at all artist-colourmen, is the 
 alternative for those whose sense of propriety or 
 delicacy of palate will not permit them to resort to 
 such vulgar means as putting their tongue to that 
 use. When spotting carbon prints it is best to 
 rub the faintest trace of glycerine with a soft rag 
 over the whole surface. Platinotype and bromide 
 prints, having no glossy surface, of course, do not 
 require the addition of a medium, unless in the case 
 of the latter a sizing solution to stop the great 
 suction. When the print is not intended to be 
 burnished, gum arable dissolved in water, with a pre- 
 servative added, is usually employed. It increases 
 the transparency of the shadows, and is often used 
 to heighten the effect by painting this solution over 
 the dark parts without the addition of colour. 
 
 For ordinary spotting a finely pointed sable-brush 
 is best. The quality of the brush is ascertained when 
 purchasing such an article by ostentatiously calling 
 for a cup of water, and immersing the brush therein, 
 or (under the pretence of looking at it closely) by 
 secretly putting the same into the mouth, which 
 forms a capital makeshift when nobody is looking. 
 
 The brush is now pointed by twisting it gently 
 
RETOUCHING. 
 
 over a piece of paper or other handy and convenient 
 material, and repeatedly and spiritedly touching it 
 against the finger nail (bending it back and for- 
 wards). If it proves to be very elastic, springs 
 well into its original position, and has a good sharp 
 point, without stray hairs disputing the " point," 
 it may well be assumed that the salesman has no 
 clandestine desires lurking in his commercial head, 
 and the demanded coin may be delivered up after 
 deducting the usual special discount for artists, 
 your indentity with whom is generally deter- 
 mined by your being looked over for the artist 
 physiognomy or trade mark : viz., long curly and 
 uncombed hair and a bewildering look, 1 sup- 
 pose. However, artist or not, if you keep your 
 countenance at the critical moment, you will 
 always make sure of this percentage on ordinary 
 retail prices. 
 
 An important thing to remember whilst engaged 
 in spotting is not to have the colour too moist ; 
 semi-dry is the best, or else the colour may flow 
 beyond the spot to be erased, or successive applica- 
 tions have the effect of removing the first layer of 
 colour again. Only when the space to be filled in 
 is large and very white is it advisable to make a 
 thinner solution, and wash the spot over therewith, 
 for the purpose of having less after-stippling or 
 hatching to do. 
 
 To proceed with the actual spotting work, the 
 
RETOUCHING. 53 
 
 colour should be divided into several degrees of depth 
 on your palette by smearing a little (well spread) 
 over a clear portion of the same, of course, slightly 
 diluted with water ; and for the spots which occur 
 in the lighter parts of the prints use the last 
 mentioned colour, whilst for the deepest portions 
 the colour may be taken from the original thick 
 mixture. Now, immersing your brush very slightly 
 in water, and twisting off the surplus over a piece 
 of paper, take a little colour, and trying the density 
 by drawing the point gently over the paper, bring 
 your brush, pointed like a pencil (without bending 
 it at all), just into contact with the spot, repeating the 
 process, puncture upon puncture, until it disappears 
 and imperceptibly merges into the surroundings, 
 A large spot is touched over as before mentioned, 
 puncture upon puncture, and placing these punctures 
 next to each other. Before some practice has been 
 had, it may happen that the pupil marks the spot 
 unevenly. If he has not overworked it, that, how- 
 ever, does not matter so much ; and now he must 
 only touch the uneven parts, and thus he will 
 gradually even up, as advised when retouching 
 negatives. 
 
 Although, as a rule, candour meets with but 
 slight reward in this contrary world of ours, I cannot 
 help going a little out of my way to discuss the 
 question, whether the army of so-called professional 
 lady and gentlemen retouchers, who are eve^ ready 
 
54 
 
 KETOUCHING. 
 
 to respond in overwhelming numbers to the advertise- 
 ment, " Wanted, a retoucher," are really legitimate 
 or not. 
 
 Any professional photographer can bear me out 
 with regard to the difficulty which exists in obtaining 
 people with real ability, who, even if they have that, 
 are able to cope with an ordinary quantity of work 
 in a photographic establishment. 
 
 Out of a number of twenty or more, calling with 
 the view of obtaining the situation, it will be an 
 exceedingly fortunate circumstance, if the advertiser 
 finds one who will partially meet his requirements. 
 Why is this ? Simply because either they are not 
 artistically trained, or they do not understand a 
 negative thoroughly. 
 
 It so often occurs that amateurs forward negatives 
 for retouching which puzzle the professional re- 
 toucher (owing to bad lighting, etc.) to make them 
 appear worthy of the price charged, considering the 
 skill (which cannot be made manifest) employed in 
 retouching them at all, that I consider it not out of 
 place to append articles on Portraiture and Flash- 
 light Photography. 
 
PORTRAITURE. 
 
 As at the time of writing I am invited to read a 
 paper before the Hackney Photographic Society on 
 the same subject, I venture, considering the very 
 limited time at my disposal, to make this answer the 
 two purposes. As this book is mostly read by 
 amateurs, and the Society consists of that class 
 principally, the complications of studio procedure 
 are perhaps not so suitable for our purpose, as a 
 dissertation upon the principles which govern light- 
 ing, therefore I propose to confine my remarks to 
 those ; showing, at the same time, how a tolerably 
 good portrait may be taken by one not possessed 
 of a glass house, whilst the closely allied subject 
 of flash-light photography shall receive due con- 
 sideration. 
 
 In taking landscapes or architecture, it will often 
 be found that extreme want of relief is produced if 
 the object is lighted and tal^en from the front. In 
 that case, the picture (which consists of nothing but 
 light and shade) presents the light to the eye of the 
 
56 
 
 rORTBAITURE. 
 
 camera, but not the requisite shades^ and thus absolute 
 flatness is the result. This, though, pretty well 
 understood by the amateur, as it applies to architec- 
 ture, is often lost sight of vd portraiture, where the 
 same reasoning holds good. 
 
 Yet, although the direction of the lighting for the 
 purposes of relief should be identical in both, the 
 source of the same must be totally different. Whilst 
 sunlight may be a great advantage in most cases 
 with landscape and architecture, diffused light is 
 a sine qua non with portraiture, providing it is of 
 such character (that is, strong enough) as to permit 
 of a proper division by means of screens, in order 
 to give the necessary brilliancy of effect ; for, 
 although sunlight is too powerful, a bright illu- 
 mination is necessary to provide the high lights 
 with that sparkle which forms the main charm of 
 a good portrait. 
 
 It follows then that the hesi work cannot possibly 
 be done on a dull day ; though when good retouching 
 supplies that missing brilliancy, it is possible to take 
 satisfactory photographs when the light is weaker. 
 
 The main points to consider are purity of lights, 
 gradation of tints, and details in the shadows, our 
 aim being the quality of relief and softness without 
 want of contrast 
 
 Now, this is more easily said than done, as some 
 amateur and even professional productions bear 
 witness. 
 
PORTKAITUKE. 
 
 57 
 
 Perhaps many will be eagerly expecting me to 
 give full directions how to utilise the drawing-room, 
 kitchen, or bedroom window for the admission of 
 light upon the devoted heads of the reader's sitters. 
 If so, they are doomed to disappointment, though I 
 shall not omit to tell them how to proceed when 
 that is the only alternative. 
 
 " At Home " photography, as it is called, is not 
 quite capable of extensive treatment of gradation of 
 light and shade with ordinary sized windows, though 
 beautiful effects can be obtained, if the necessary 
 prolonged exposure can be given. 
 
 What amateur is there who has not at one time 
 or another desired to try his hand at portraiture ? 
 I think it is perfectly safe to assume that few meet 
 with much success. From a personal point of view 
 this is no unfortunate circumstance ; but there is 
 not the slightest blame attached to the amateur for, 
 perhaps, thinking otherwise. Now I sincerely believe 
 that the last thing the bona fide amateur would 
 contemplate is to knowingly injure the professional. 
 The non-success, or, more correctly, rare success, 
 met with by the amateur is not caused by lack of 
 energy or skill, but through the want of a know- 
 ledge of art. It is well known that every one is 
 not a born artist ; but this one quality must be 
 possessed by successful professionals to insure an 
 artistic photograph. To those who so scornfully 
 point to the average professional of the lower grade. 
 
58 
 
 PORTKAITURE. 
 
 and question them about the particular art in which 
 they excel, I must answer that in many cases it 
 consists of making money at the expense of the art 
 photographer. It is a lamentable fact that even 
 the amateur can quickly learn to take better photo- 
 graphs than those produced by this class. However 
 this is not the case with portrait photography in 
 its higher aspect. That, indeed, needs years of 
 practice added to artistic talent ; indeed, I may 
 say, without much fear of contradiction, that it is 
 never really learned, being a continual* study. Yet 
 so fascinating is this branch that the amateur will 
 insist upon knowing something of it. In many 
 cases a likeness pure and simple is required; perhaps 
 by some mother of a large family who can scarcely 
 afford to pay the local photographer ; or some 
 special position or positions of a particular pet are 
 wanted which cannot always be dispensed with. 
 All this the amateur will do or is called upon to 
 do by his friends. That being so, I will endeavour 
 to be of some assistance to him. 
 
 The background claims our first attention as far 
 as the judicious choice in the selection of that 
 article is in question, but on no account as far as 
 the beholder of the photograph is concerned ; or, in 
 other words, the background should by its very un- 
 obtrusiveness, assist to bring out the figure of the 
 main objects of the picture prominently. Amongst 
 plain backgrounds, the graduated one is decidedly 
 
POKTKAITUEE. 
 
 59 
 
 the best. Merging from dark into light, it must 
 be so arranged when used, that the dark ground is 
 placed behind the light side of the sitter, and the 
 light ground against the dark or shadow side of 
 the sitter. By this method of arrangement the 
 relief will be materially increased. If a scenic 
 background is chosen this also may advantageously 
 be graduated, but such backgrounds are expensive. 
 In a pictorial ground vertical lines exert a disturb- 
 ing influence if they happen to fall immediately 
 behind the sitter, and appear as if resting upon 
 the sitter's head. It can easily be imagined 
 what an uncomfortable feeling must be created 
 by the representation of an individual who forms 
 the base of some huge granite pillar. Of course, 
 in their proper places, vertical and horizontal lines 
 are most useful in imparting a look of stability ; 
 but it is not my present object to write an essay 
 on art; although I can recommend any one wishing 
 to go into these details, to peruse Mr. Robinson's 
 book on Pictorial Art." The scenic background, 
 however, should never be sharply defined, or it 
 will look hard ; nor should it have central lines 
 dividing the head. The horizon line, generally 
 found in out-door backgrounds, is on a straight 
 line with the eye of the observer ; but, painted 
 in that position, it would come across the sitter's 
 face — a most objectionable thing. In consequence 
 it is placed just below the shoulders, where it 
 
60 
 
 rOETRAITUEE. 
 
 does not interfere so mncli. It is important to 
 select a background which will favourably con- 
 trast with the sitter's attire ; thus, a light ground 
 against a dark dress, and vice versa (on the 
 principle of the graduated grounds), will be found 
 aids to artistic effects. If a graduated ground 
 cannot be obtained, then the background and sitter 
 must be lighted separately, and the side nearest 
 the light should be shaded off as well as the top. 
 If this can properly be managed, a finer result 
 cannot possibly be obtained. The foregoing remarks 
 apply equally well to both the studio proper and 
 improvised. After all the studio is nothing more 
 than a shelter from the inclemency of the weather. 
 Some studios, I am sorry to say, do not even fulfil 
 that condition ; and the rain vies with the draught 
 for the supremacy. 
 
 Assuming now that the beginner has some room 
 to spare, either on the house-top or in the garden, 
 he may follow me in the imaginary construction 
 of a temporary studio. If he can afford one of 
 Houghton's tents, so much the better ; but wishing 
 to improvise it himself, he proceeds as follows : — 
 Let him ascertain, by the compass or otherwise, 
 the situation of north-east, and by the most handy 
 means — using wood, canvas, or blankets — screen off 
 the opposite side as well as the ends, and the 
 greater portion of the south-west overhead, keeping 
 off the direct light from the sitter by the aid of an 
 
POKTRAITURE. 
 
 61 
 
 opaque blind to the extent of say three feet at the 
 ends, immediately to the side and overhead north- 
 east. Now you have an improvised skeleton studio, 
 which requires only a few adjustable blinds to put it 
 into working order. The ingenuity of the operator 
 will enable him to adapt these according to his 
 wishes. One may prefer spring rollers, another 
 wires and brass rings sewn to the canvas, in order 
 to slide them along. These blinds should be of 
 light material and easily movable. Another plan 
 to obtain studio effects is the method of employing 
 screens only. To successfully carry this out, it 
 is well to have a place where the south side is 
 already screened from the rays of light, by a house 
 or some other obstacle. If such a place is not 
 available, it is obvious that a rather large screen 
 must take its place. The two ends may be screened 
 off with solid backgrounds to exclude the frontaf 
 rays of light. The north side claims our attention 
 next ; a screen being employed, which, if special 
 light effects are required, must be rather large 
 and divided into parts with different coloured 
 material, sliding on long rods ; whilst as a pro- 
 tection against immediate top light (overhead) a 
 circular (or two-feet square) screen should be 
 attached to an old head-rest, or some such article 
 which will answer the purpose as well. With 
 these screens and some brains, very good portraits 
 can be produced. Of course the brains must be 
 
62 POKTEAITURE. 
 
 supplied by the operator, as I assure the reader 
 that I have none to spare. It is astonishing 
 what varying light effects can be got by this 
 means. The reader should make experiments as 
 to shifting the top screen about, remembering that 
 
 if the screen is placed 
 nearer the head, the dif- 
 ference of an inch even, 
 converts a brilliant picture 
 into a flat, monotonous 
 production. In the adjust- 
 ment of the side screen 
 similar tactics must be 
 employed, taking care 
 that the screens do not 
 obstruct enough light to 
 produce flatness. With 
 the screen arrangement 
 and skilful management, 
 a light reflector for the 
 shadow side should not be 
 fic.YE necessary. If needed it 
 
 must not be placed too 
 near the sitter ; nor should it be white, else the minia- 
 ture representation of the whole screen, in the eyes 
 of the individual operated upon, would be detri- 
 mentally apparent: A reflector of a light yellow 
 hue is not to be despised, as the reflection which 
 
FORTH AITUEE. 
 
 63 
 
 falls on the fleshy parts is heightened, and con- 
 sequently photographs lighter ; whereas the reflec- 
 tion v/hich falls on the white and watery portion 
 of the eye, being yellow, can only reflect yellow, 
 and has no photographic value. In consequence 
 of this, the objectionable false light produced by 
 using a white or even grey reflector is avoided. I 
 have found this to answer admirably by practical 
 experiment in my studio. Sometimes the colour 
 of the reflecting screen may be of a yellowish, 
 and at other times of a greenish shade. Now 
 to use all the implementa at each point requires, 
 besides a special desideratum of brain power, a 
 knowledge of what constitutes a successfully 
 lighted portrait. The determination of this point 
 is not such an easy matter as it seems, as 
 is evident by the majority of photographic pro- 
 ductions, its literature, etc. Some authorities 
 contend that the head should be bold, full of 
 shadow, and relief ; others that the relief is 
 of secondary importance, and the striving after 
 it inartistic. But there can be no mistake that 
 the general public appreciates great relief in a 
 portrait, with an absence of heavy shades. — At the 
 imminent risk of being attacked on all sides, I here 
 incidentally state my firm belief that the public will 
 never be educated into a preference for the colder 
 tones, such as bromides, and even platinotvDes. 
 
64 
 
 POETRAITURE. 
 
 Speaking thus of platinotypes, I know I lay myself 
 open to some amount of ridicule for frankly 
 joining the army of those who have a lingering 
 fondness for warmer tones, at any rate for small 
 work. Nay, I go further and assert that ere 
 long a reaction will set in, and* the warmer tones 
 will be used in preference. Of course I do not 
 intend to predict that it is possible to stem the 
 tide of the working of the quick and easy bro- 
 mide process, which in some hands atones for 
 the coldness in tone by the other advantages, 
 due to the skilful handling of the expert. As 
 far as permanency goes, the well-manipulated 
 coUodio-chloride print does not fall short of the 
 bromide ; in fact, at my demonstrations at the 
 Photographic Societies (London and Provincial, 
 Finsbury Technical Institute, etc.), I actually 
 placed an albumen and collodio-chloride print side 
 by side in a solution of cyanide of potassium, when 
 it was found that the albumen picture had all 
 but disappeared, whilst the collodio-chloride print 
 had only been slightly reduced in density. As 
 before mentioned, the public like the tones of the 
 albumen process ; but the collodio-chloride process 
 surpasses the finest albumen prints, if suitable 
 negatives (thin and full of gradation) are employed. 
 It is a matter of surprise that it is not used more 
 largely ; being much easier than the simple carbon 
 process, whilst it is capable of greater beauty. I 
 
POBTRAITUKE. 
 
 65 
 
 have in my possession collodio-ctiloride prints 
 which were exhibited in my showcase, summer 
 and winter, during a period in which albumen 
 prints were changed many times ; and the prints 
 are now as good as when first produced. The 
 expense is the only disadvantage to the pro- 
 fessional, who cannot afford to increase his prices. 
 Personally, I am always pleased to furnish aristo- 
 type or collodio-chloride prints if they are paid 
 for. 
 
 With regard to the lenses used in portraiture 
 there is no particular reason why an amateur photo- 
 grapher should use a quick portrait lens. If he 
 has a good landscape lens it will answer his 
 purpose well, unless he wishes to try portraiture 
 in the drawing-room. A short focus lens is neces- 
 sary for this, if the room is not a large one. To 
 produce a home portrait is not a difficult matter, 
 if the conditions are suitable, which in this country 
 at least is seldom the case, and thus the matter 
 becomes a little more complex. To place the sitter 
 quite close to the window would produce harsh and 
 perhaps so-called Eembrandt effects, which, accord- 
 ing to the amount of exposure given, may be more 
 or less pleasing; but on the whole it will be 
 preferable to place the sitter more towards the 
 room and always from the window, at right angles 
 to the same, placing the camera close to the^ window, 
 as in fig. 8 
 
 5 
 
66 
 
 PORTRAITUBE. 
 
 The reflector — and the larger the better — must 
 be used in this case, and much of the success 
 depends on the judgment with which it is placed. 
 My previous instructions with regard to the 
 reflector must not be lost sight of here, as reflected 
 light plays an important part ; and the only 
 
 O Sitter. 
 
 Window. 
 
 Camera. 
 
 Fig. 8. 
 
 directions which can well be given on that subject 
 are, to use as much reflected light as possible, 
 without creating disconnected patches of light on 
 the shadow side, or giving the eye a blind appear- 
 ance. Actual experiments will form the only true 
 guide, and so it is with the whole of the matters 
 treated upon. Success in portraiture is not achieved 
 by reading books alone. Although I have been 
 
rORTRAITUBE. 
 
 67 
 
 called to account by some professional brethren for 
 tearing out of the book of my experience those 
 leaves which, scattered amongst the readers, may 
 be of use, I am fully aware that it will do no 
 harm to the professional whose belief is " There's 
 plenty of room at the top ! " It is no use 
 nowadays to be content with a lower level, 
 because the ranks of the professional photographer 
 of that class are, to my certain knowledge, so full, 
 that those amateurs who continually join them, find 
 out, when too late, that professional photography 
 is after all no longer the paying concern it once 
 was. I am not imagining this, as amateurs who 
 have joined the professional ranks have told me 
 so. I have no need to emphasise it either, for in 
 my own immediate neighbourhood the number of 
 professionals has increased from three to twelve at 
 least. As an illustration of the impossibility of 
 working without the best tools, I may mention 
 that, owing to my strenuous efforts, I achieved 
 great success in a studio, which at best was 
 nothing more than a little cabin, and of such 
 construction, that our greatest authority, Mr. H. 
 P. Robinson, has said of it, that anyone produc- 
 ing good work therein would do it in spite of 
 all possible difficulties. Ay ! I can assure my 
 readers that none but those who experience it, 
 as I did, know these complications to their full 
 extent with the attendant mortification ; but I had 
 
68 
 
 POKTRAITUilE. 
 
 at least the satisfaction of knowing that nobody 
 else could produce better work in the vicinity, until 
 one less experienced than myself, but, in justice be 
 it said, a clever photographer, with the advantage of 
 an infinitely better studio, set up in my neighbour- 
 hood and compelled me, in my determined resolve 
 not to lose my place at the top, to build another 
 studio, which, I am pleased to say, is now 
 one of the largest and best lighted in London, 
 and enables me to compete with the finest West 
 End firms. In this new studio I discontinued the 
 use of the head-rest, and I should advise the 
 beginner, if possible, rather to admit more light 
 than employ that instrument. He should also 
 refrain from tiring the sitter by his preparations. 
 Everything should be ready whenever practicable ; 
 for which purpose he should focus upon somebody 
 else, if he can trust himself to replace the intended 
 sitter properly. 
 
FLASH-LIGHT PHOTOGRAPHY. 
 
 Portrait photography by the aid of magnesium 
 flashlight is an interesting pastime, if not an impor- 
 tant branch of modern photography. A few remarks 
 upon it will not be out of place then. At any rate, 
 if the same are not requisite to those who go in for 
 retouching, they will at least be useful to some, 
 whilst most assuredly they help to swell these 
 pages. It is a desideratum which seems to be 
 the result of a desire to possess, combined with 
 intrinsic value, a book of respectable proportions. 
 That at least was the general expression of 
 photographic dealers with regard to a former 
 work of mine, which, while it was pronounced 
 by press and public a valuable contribution to 
 photographic literature, lacked the necessary bulk 
 to enable the non-persevering possessor to offer 
 it for sale at the butter-shop or cheesemonger's. 
 That book having proved a flash-light to that class, 
 this present one may perhaps serve as another 
 light, which, flashing across them, will be a 
 reminder that all productions of this world are 
 
70 
 
 FLASH-LIGHT PHOTOGRAPHY. 
 
 Similarly transcendent, be they the flashings of 
 geniuSj or the fitful lights of a photographer who 
 strives to gain the approval of those readers who 
 are as interested in the beautiful art as he is 
 himself. 
 
 I remember well when the news reached this 
 country that Professor Pifiard, of New York, had 
 experimented with magnesium compounds, how 
 immediately an outcry was raised that the pro- 
 cess had been known and practised in the good 
 old collodion days ; conveying the impression that 
 the clever thinker ought to be somewhat ashamed 
 of himself for venturing to publish anything he 
 had thought out which, although the majority of 
 mankind knew nothing of, was at least known 
 to some few to have been partially invented, and 
 rejected as more or less worthless. However, many 
 secretly digested the Professor's idea, to bring it up 
 again in another form. Whereas Professor Piffard 
 spread the flash-light mixture upon gun-cotton, the 
 next experimenter, Mr. H. M. Hastings, — clever, 
 forsooth ! — put forth an original suggestion, viz., 
 the method of blowing the powder through a flame, 
 instead of firing it as an explosive mixture. This 
 latter method was readily adopted by the majority 
 of experimenters, who blew the powder from out 
 of a clay pipe into a penny whistle ; others, and 
 myself among the number, from a little boy's pop- 
 gun into a " spirited cotton-wool appendage," etc. 
 
FLASH-LIGHT PHOTOGEAPHY. 
 
 71 
 
 However, I held the idea and persevered in it, 
 that if the magnesium flash-light had any value 
 over the magnesium ribbon, it lay in the shortest 
 possible duration of the flash; for which reason I 
 confined my own experiments for some time to 
 explosive mixtures, happily escaping the disaster 
 which befell those few whose over-inquiring minds 
 prompted them to seek an acquaintance with the 
 explosive spirit without a proper introduction cus- 
 tomary in circles of English gentility, where you 
 certainly get snubbed, if not altogether blown 
 up," if you venture to cultivate an admiration for 
 an interesting stranger. I did not, however, quite 
 escape an explosion of another kind — that of the 
 ruling spirit of domestic economy, outraged on the 
 occasion of an unintentional display of flash-light 
 fireworks on the drawing-room carpet, and on 
 another occasion, worse still, on the uncarpeted 
 top floor of the proprietor's cranium, which even 
 now, for all I know, bears traces of that unfor- 
 tunate occurrence, and is primarily responsible for 
 changing my mode of procedure, and in the 
 course of my experiments, culminated in making 
 improvements, which enabled me to take portraits 
 of as flne quality as have ever been produced by 
 any method. 
 
 Special whole-plate groups of persons, numbering 
 in one instance about thirty, exhibited by me at 
 the City Photographic Exhibition last June, elicited 
 
72 
 
 FLASH-LIGHT PHOTOGRAPHY. 
 
 ahstinted remarks of approval from the press, 
 amongst whicli were the Globe and City Press, 
 which stated that these particular pictures should 
 not be missed^ and were alone worth a visit to the 
 Exhibition. These testimonials were all the more 
 gratifying as they took me completely by surprise. 
 
 With regard to earlier experiments I cannot do 
 better than quote from one of my papers read 
 before the London and Provincial Photographic 
 Society : — 
 
 " ' Will magnesium powder^ like gelatine^ mark an 
 epoch in the history of photography, or will it only 
 prove an interesting pastime for the amateur and 
 a makeshift for the professional ? ' is a question 
 which at the present time occupies the minds of 
 many who would not deign to give it a thought 
 were it not for the fact that it has a promising 
 future. 
 
 " The idea once placed before the public in a tan- 
 gible form by clever men is so simple, that every 
 lover of photography eagerly seizes it, and many 
 are the articles written about it. From this it may 
 be concluded that it is not an easy task to say 
 anything on the matter without running a risk 
 of wounding the susceptibilities of somebody. The 
 scientist who introduced the chlorate of potash 
 mixture is attacked by the one who sees danger in 
 it, the champion of gun-cotton finds a rival in the 
 blowpiper, and he in his turn is criticised by those 
 
FLASH-LIGHT PHOTOGRAPHY. 
 
 73 
 
 who find that his efforts result in waste by in- 
 complete combustion of the powder. 
 
 " I should be the last to offer any interference for 
 the sake of mere talk, but I cannot fail to recognise 
 the importance of the subject, and for that rea^^on 
 I do not think it needs much apology to pass a 
 few remarks thereon. It seems to me improbable 
 that it will eventually supersede daylight portraiture, 
 and it is somewhat doubtful whether it will ever 
 inflict serious injury to it ; but it behoves photo- 
 graphers to be on the look-out and be prepared for 
 whatever may turn up. I have myself lately 
 produced photographs, and seen them done by 
 others, which could not be distinguished from day- 
 light work even by an expert. ' What man hath 
 done, man can do,' and this truism is significant 
 enough to stimulate our efforts. 
 
 " Societies like ours, composed of the dlite of 
 workers in the field of photographic science, are 
 just the bodies which have it in their power to 
 extract the utmost out of any process, and I hope 
 that many will set to the work of investigation, 
 for the little I can do in the matter cannot be of 
 greater relative value than the poker has to the fire ; 
 and though this may prove small ambition on my 
 part, I will be content if it becomes the means 
 of stirring greater enthusiasm. To come to the 
 point, it appears to me that an easy analysis 
 may be made by dividing the matter into four 
 
74 
 
 FLASH-LIGHT PHOTOGKAPHY. 
 
 different heads : — 1. What is the most suitable 
 form of combustion ? 2. The prevention of smoke. 
 3. Simultaneous firing of several lamps. 4. How 
 many lamps should be employed ? 
 
 Much has been said about it being immaterial 
 whether a long or short exposure be given, but 1 
 think it needs no great penetration to find that 
 the very value of the whole process lies in the mar- 
 vellous instantaneous actinic power of the light, 
 for, apart from the fact that the contrasts of the 
 illumination between focussing and the actual 
 exposure render it impossible to prevent contrac- 
 tion of the eyelids, it is for many more reasons 
 highly desirable that the negative should be taken 
 before the sitter becomes aware of it. One of these 
 is the abandonment of that instrument of torture, 
 the head-rest ; another the facility of taking invalids 
 at their homes, etc. 
 
 " Taking for granted that we must have a sub- 
 stance that will yield instantaneous pictures, the 
 first question arises, What is this substance? 
 The method of blowing the powder through a 
 flame creates great waste, and even if that were 
 avoidable, the necessary pressure can scarcely be 
 of an instantaneous nature. 
 
 " Gun-cotton spread and covered with the powder 
 must not be despised, and can be made to answer 
 our purpose well ; but the application is troublesome, 
 for, apart from having to carefully prepare a suit- 
 
FLASH-LIGHT PHOTOGBAPHY. 
 
 75 
 
 able gun-cotton bed for the powder, it is not very 
 easy to obtain it of the proper temperature, which 
 has yet to be ascertained by experiment. Waste 
 will also ensue if sufficient gun-cotton is not used, 
 or if the powder is heaped up, or the gun-cotton not 
 suflSciently spread. The chlorate of potash and 
 antimony, or prussiate of potash mixture, fulfils to 
 my mind the requirements better than any other 
 known substance, for the ready yield of oxygen 
 enhances the brilliancy of the light considerably ; 
 and, secondly, it is capable of instant combustion if 
 care is taken to procure it at a proper place. 
 
 "The only thing that can and has been urged 
 against it is the danger of premature explosion and 
 the noxious fumes of the chloride of antimony. The 
 former may, however, be avoided by mixing the re- 
 quired proportion immediately before use. The 
 latter will entirely be obviated by the simple 
 device of trapping the smoke, which I have the 
 pleasure to bring practically before your notice, 
 and which will, I trust, deal successfully with the 
 second question, the smoke nuisance, which is 
 intolerable, even if the fumes were not poisonous, 
 which also prevents the immediate repetition of an 
 operation, and has the general effect of driving 
 every one who cares for his constitution from the 
 vicinity. In my opinion the process will never rise 
 in public favour until that has been altered, and 
 I think it should form the first consideration in 
 
76 FLASH-LIGHT PHOTOGEAPHY. 
 
 constructing an artificial-light apparatus where 
 smoke is an accompaniment. The apparatus * can be 
 modified as regards the necessary angle of reflection 
 (see p. 80). 
 
 " The third question is very important^ namely , the 
 simultaneous firing of any number of lamps em- 
 ployed. I firmly believe that I have succeeded in 
 solving that problem by another simple arrangement. 
 As you will presently see, it consists of india-rubber 
 gas pipes with intersecting brass tubes (one for 
 each lamp), out of which another tube of very fine 
 calibre protrudes, and leads into the lamp. One end 
 of the tubing is attached to the gas, and a small 
 flame sustained in each lamp, in front of which the 
 explosive is placed. Upon turning the gas tap fully 
 on, the flame rushes forward towards the magne- 
 sium powder, igniting any number of lamps simul- 
 taneously without necessitating electricity, which 
 proves troublesome and cumbersome, especially 
 when travelling, besides being somewhat expensive. 
 The other end of the gas pipe can be attached 
 to a burner to focus by. Of course, where no 
 gas is installed, the hydrogen cylinders for the 
 optical lantern may be used. If a chimney is 
 introduced, it is also a very simple matter to sub- 
 stitute a gas burner for the finely calibred brass 
 tube affixed for firing the illuminant and focus 
 thereby. But then a cap must be put over the 
 * This apparatus can be purchased for 12s. 6(7. 
 
FLASH-LIGHT PHOTOGKAPHY. 
 
 77 
 
 chimney after. It is highly desirable — in fact 
 necessary — that a very bright light be kept burning 
 during the whole time of the operation. When 
 long-focus lenses are used, focussing presents some 
 difficulties, and it will be a useful plan to place a 
 candle with a cardboard reflector, which serves 
 also to shield the light from the lens, into the 
 sitter's hands, directing him to move it up or down 
 according to the part to be focussed. 
 
 " The last question can only be answered by each 
 operator in accordance with individual skill. No 
 rule can very well be laid down. Much may be 
 accomplished with one lamp and the judicious use 
 of reflectors, but I think not less than two lamps 
 should be employed, not far enough apart as to 
 create a second high-light in the pupil of the eye ; 
 but, when groups are aimed at, more lamps are 
 wanted. The construction of my lamp prevents 
 direct rays of light entering the lens. 
 
 As the occasional tendency exhibited by explosive 
 mixtures, to prepare little surprises in the shape of 
 blowing themselves up prematurely, and often in 
 company with the operator, who starts them on 
 their fatal journey, counts somewhat against their 
 employment, I am now inclined to favour the blow- 
 through plan, but in a slightly different way to that 
 used heretofore. 
 
 " To one of the high pressure oxygen cylinders 
 I attach with a fine wire, a strong piece of india 
 
78 FLASH-LIGHT PHOTOGEAPHY. 
 
 rubber pipe, which leads to a reservoir (serving to 
 distribute the oxygen equally) ; mine is a 2|rf. tin 
 lamp with four or five holes drilled into it, to each 
 of which a piece of lead pipe is soldered. After 
 
 securely tying the rubber pipe with wire to the 
 reservoir inflow pipe, I proceed to attach in same 
 manner the branch rubber tubes to the lead pipes 
 soldered in the reservoir, leading them then 
 towards and fastening the same to the lamps. 
 These may be merely pieces of lead piping with 
 
FLASH-LIGHT PHOTOGBAPHY, 
 
 79 
 
 strong wires soldered thereto, but projecting under- 
 neath, with hooks to hang them conveniently. 
 Gauze wire is a good material to lead over and over 
 with some cotton wool inside, for the purpose of 
 holding the methylated spirit in this manner. 
 
 " But these trays holding the spirit, must be wide 
 and long enough, as well as fixed several inches 
 below the pipe to prevent waste, by the spread of 
 the powder in all directions. The spirit lamp thus 
 ignited, the powder has to run a gauntlet of fire in 
 which it (unlike when it passed through discon- 
 nected lamps) increases in heat, until it is perfectly 
 consumed before emerging. With a sudden short 
 turn of the key, a quantity of oxygen from the iron 
 bottle is passed through (strong rubber pipes, well 
 fastened with wire everywhere, are a sine qua non), 
 giving, by dint of the great pressure, a practically 
 instantaneous blow to any number of lights, at the 
 same time supporting perfect combustion as well 
 as enhancing the quality of the illumination con- 
 siderably. 
 
 One of the branch pipes may of course be fixed 
 to the pneumatic shutter belonging to the camera, 
 so ensuring simultaneous exposure with the flash, to 
 the still further security of which advantage, a drop 
 shutter can be made use of, if the flash is suffi- 
 ciently brilliant. 
 
 " It is a matter of the greatest importance to keep 
 a very bright light burning, to prevent the painful 
 
80 
 
 FLASH-LIGHT PHOTOGRAPHY. 
 
 disturbance of the pupil of tlie eye, which imme- 
 diately contracts upon the bright light reaching it. 
 Moreover it will also be found a great help in 
 focussing. 
 
 " The trapping of the smoke presents by far the 
 greatest difficulty, but can be overcone by a sort of 
 forge arrangement, fitted over the flame in precisely 
 that locality where by experiment it is found that 
 the volume of smoke ascends. Sliding doors made 
 to act in unison (somewhat after the manner of the 
 reins of a four-in-hand coach), drawn over the 
 openings directly after the flash, answer well. I 
 provfed the efiiciency of this arrangement at one 
 of our photographic societies a few years ago by 
 asking one of the members to ignite a charge, 
 when I allowed the cloud of smoke (before it had 
 expanded too much), to ascend into a tall silk 
 hat held by me in readiness, covering it quickly 
 afterwards with a photographic periodical. Not 
 one particle of the smoke escaped, but it did burn 
 the lining of my hat. Moral. — Line hats, used for 
 experimental purposes, with tin ; in which case you 
 may even use them for preparing an emulsion." 
 
 Having now satisfactorily settled what variety of 
 flash-light we prefer, the mode of application as 
 regards portrait photography and interiors will 
 demand further attention. There is some con- 
 tention as to whether a medium (transparent 
 screen) should be employed between the source of 
 
FLASH-LIGHT PHOTOGKAPHY. 
 
 81 
 
 light and the sitter ; and I have often heard the 
 exchimation of a scientific friend when looking at 
 a picture with an absence of that ghastly look 
 common to such productions, that, as a matter of 
 
 course, " a tissue paper or ground glass screen had 
 been used," whereas really I had employed the 
 unprotected light. In fact my best pictures were 
 produced with the naked light, although 1 have 
 obtained first-class results with the actual light 
 hidden, and the illumination derived from a large 
 
 6 
 
82 
 
 FLASH-LIGHT THOTOGRAPHY. 
 
 reflector (fig. 10), or series of such, the first and 
 principal of wHch should be fixed about two feet 
 from the flash-light, inclined towards the sitter ; 
 the second, stationed about the centre, in front of the 
 individual, furnishes the half-tones ; whilst the third, 
 placed opposite the first, but higher up, is meant to 
 lighten up the shadow portions. To be as explicit 
 as jjossible, I will give detailed instructions. 
 
 As the number of lamps necessary to illuminate 
 the different styles and sizes vary, I will take them 
 seriatim^ dealing with the simple lighting of the 
 bust head, first. It is, of course, of the greatest 
 importance to »study the relation of background to 
 the sitter, so that dark is not placed against dark, 
 and vice versa. The light must also be high enough 
 to avoid shadows falling on to the background. 
 Now^ place the flash-lamp at right angles to the 
 side of the sitter, about a yard and a half in front 
 of the same, and about three or four feet overhead. 
 Screen the direct rays from the sitter's view by a 
 powerful reflector which sheds all the light on to 
 the large white reflector, with its hollow side 
 oi)posite, and turned towards the sitter, in that 
 position which experiments with the aid of the lime- 
 light, or the more expensive magnesium wire shall 
 dictate. Thus delicate and, according to the position 
 of the reflector, good high lights are obtained. By 
 clever usage of one reflector, sufficient light will 
 be obtained for single bust portraits. But in 
 
FLASH-LIGHT PHOTOGRAPHY. 
 
 83 
 
 many cases it will be advisable to use a second 
 reflector, in front of the sitter, which may also 
 be constructed similar to the first, but with a 
 magnesium lamp of less power. The reflector for 
 the shadow side may be furnished with a lamp 
 of low power. For the full-length figure greater 
 elaboration is required to obtain good results. Either 
 the lights must be more powerful and further re- 
 moved from the sitter, or more lamps are needed ; 
 in which latter case an additional one fixed at 
 the lower level between the principal lights is 
 advisable. A corresponding shadow reflector must 
 also be used. Too much emphasis cannot be laid 
 on the necessity of preventing the access of any 
 direct or reflected light to the lens. This, however, 
 is a comparatively easy task, as the relative posi- 
 tion of the reflecting lamps favour that condition. 
 When taking groups, naked lamps placed in a 
 row in front, a few feet overhead the sitters, are 
 best. They must begin with a strong light fixed 
 at the front, but about four to six feet at side 
 of the group. The lamps may then continue, but 
 gradually falling off in light power until the 
 shadow side of the group is reached. These 
 lamps should not be far enough from the group 
 to cause shadows of the figures to fall on each 
 other, for which purpose the lights must be placed 
 high enough to illuminate the background and 
 accessories as wellT 
 
84 
 
 FI.ASH-LIGHT PHOTOGRAPHY. 
 
 My task is now at an end. It would perhaps 
 have been possible to elaborate and prolong each 
 chapter, but the object I aimed at principally was 
 to refrain from confusing the beginner, and to write 
 a book from which such information might be 
 derived as to enable a persevering person to become 
 an efficient retoucher rather than to be impressed 
 with the literary ability of the writer. 1 now 
 conclude, with an earnest appeal to my readers to 
 be content with an appreciation of the little good 
 found in the work, covering its shortcomings with 
 that charity which alone furnishes the definition 
 between an author's justifiable ambition and vain- 
 glory. I have received a number of unsolicited 
 letters of tlianks from readers of the former and 
 less complete work on the subject, and have the 
 gratifying knowledge that several at least have 
 supplemented the information contained therein 
 by afterwards taking lessons from me, and are now 
 successfully engaged as professional retouchers. I 
 venture to express the hope that I have not written 
 in vain. 
 
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