634. Formula For Brush Development

Formula For Brush Development. Take any pyro-soda formula and make up regularly for first development Then make up another solution, same quantities, pyro-sulphite and water, leaving out the carbonate. For the brushing bath take carbonate one-half, water one-half, to make about four ounces of solution. Place this solution in an ordinary glass tumbler, and keep the brushes in this tumbler. This alkaline solution will develop about ten 8 x 10 plates.

Brush Development Or Local Treatment Of Negative W 080012

"IN A GARDEN HAT Study No. 28 - See Page 580

Carle Semon

Ordinary Development See Paragraph No. 635

Ordinary Development See Paragraph No. 635.

Local Brush Development with Background Added See Paragraph No. 635

Local Brush Development with Background Added See Paragraph No. 635.

Ordinary Developmeat

Ordinary Developmeat.

See Paragraph

General View of Room   Paragraph No. 636

General View of Room - Paragraph No. 636.

Local Brush Development with Background Added See Paragraph No. 636

Local Brush Development with Background Added See Paragraph No. 636.

Ordinary Development

Ordinary Development.

See Paragraph No. 67

General View of Room See Paragraph No. 637

General View of Room See Paragraph No. 637.

Illustrations of Local Brush Development

635. Figures XIX and XX will illustrate some of the possibilities in local development of negatives. The subject in both these compositions, with white hat and white drapery, was placed in a full, open light. Notice, in Fig. XIX, the drapery, gloves and hat are so much in evidence that the face, which should be the central point of interest, is lost in the high key of its surroundings. Now, study Fig. XX. The whole tone of the drapery is reduced to a proper representation of the original textures of dress and gloves, but the face is now the central point, just as the artist would paint it. This example is one of the best tests of local, or brush development, as in lighting such a subject it is almost impossible to have a nice accent of light on the face, and not get the white hat and feather hard and chalky.

636. Another example is shown in Figs. XXI, XXII, and XXIII. Notice that the model has been placed in a strong, direct light - Fig. XXI. The result - Fig. XXII - is uninteresting and flat, such as we would not even retouch for a first proof. Now, notice Fig. XXIII; after brush developing, the negative has been carefully retouched, ground-glass substitute used on the glass side, and an appropriate background worked in to carry out the poetry of our pose. In making this series, the photographer has had his mind on the final result, and knew just how to go about obtaining it.

637. We come next to a head study in a series of three figures - XXIV, XXV, and XXVI. This is a class of pictures that very seldom needs local development, but the accompanying illustrations show how the combination of brushing and working up the drapery, hair, and background has produced a beautiful effect in the final print, while the original negative, developed straight, is an ordinary head of no particular merit. Pictures like this - Fig. XXVI - remind us of paintings, because the interest is centralized, the subject is poetically idealized, and yet the individuality is retained in the broad massing of lights on the face. It is a beautiful example of the combination of artistic photography, and might be termed, "Sane photography brought to a high plane of artistic perfection." For instruction for working in backgrounds, see Vol. X.