185. When posing and lighting the subject and making the negative, the photographer should have put forth every effort to secure the very best lighting effect possible, and to produce a characteristic likeness. If this initial step has been given its proper amount of consideration the retoucher will have been saved an immense amount of work.

186. Properly controlling the source of light, correctly posing the individual, giving proper exposure, and, finally, developing the plate to obtain what was seen under the light, will in almost every case eliminate fully one-half the amount of retouching necessary to give a negative which will do justice to the subject and produce an artistic print. If this has been accomplished the modeling and character of the individual has been retained. When the photographer has failed to perform his part, then it is the retoucher who must correct the error and secure proper modeling.

187. Your previous instruction has acquainted you with the strokes required and taught you how to apply the lead properly, touching out the blemishes, etc. You have also learned that by eliminating the many spots, blemishes and pimples a larger spot has been brought into view. This, in turn, you have learned to eliminate by evenly blending the entire surface. You may have blended these blemishes without any regard to the drawing or modeling of the face, and, partly, for this reason your next instruction will deal with this most important part of retouching - Modeling and Re-

taining of the Character, (working on lines which are the distinguishing macks of the character of every face). Modeling, briefly defined, is the shaping and forming of the features of the subject and retaining all the character that is already in the negative.

188. A good artist is known by his successful modeling. The sculptor first roughly moulds the features of his subject in clay, which he afterwards models by smoothing down the hollows and the prominent angles. The artist painter models his subject by means of the brush. For the retoucher the image is already in the negative, with the lines, blemishes, imperfections, etc., somewhat exaggerated; these must be softened or eliminated. To him, therefore, modeling is not only the shaping but the retaining of what exists in the negative, and the softening of the more obtrusive lines, as well as blending and modeling them to give the most characteristic likeness, with all hard lines subdued.

189. All faces, no matter how sharply featured they may be, contain curves which must be retained. Observe the forehead, nose, cheek, lips and chin. They are all composed of some kind of curves, the character of which is governed largely by the lighting of the subject. When the negative is made these features and curves may be emphasized, to a certain degree, in the lighting of the subject.

190. The majority of lightings and most especially broad lightings, give character and roundness to the face. The highest point of light is on the forehead, the next strongest on the cheek, the next on the nose, the lips and the chin, while the drapery is in a still lower tone.

191. In comparing these lights at their different points you must do so with the illumination falling on the highlight side of the face, and not on the shadow side. The shadow side of the face has some points of light which are in a slightly higher key than others, but these highlights are much lower in tone than any light on the light side of the face. This balance of light and shadow is what supplies roundness, atmosphere and perspective. Every object has its high-light and deepest shadow, as well as

intermediate tones. The gradations between these extremes must be preserved in their relative values. This is done by properly modeling the negative.

192. The removal of the first blemishes and imperfections is always required. It is also necessary to blend and thus eliminate any harsh lines, which are usually prevalent in the portrait negative, owing to the fact that the plate has not recorded the various colors and tints in their respective values.

193. Modeling is an extremely delicate part of the work, and you must have a thorough understanding of what is required before you can expect to proceed farther.

194. It is very seldom that the face is focused microscopically sharp - so sharp that the pores of the skin show to any perceptible degree. There are times, however, when the pores in the front of the face may be observed in the negative and the texture of the skin shown to a great extent. It will also be noticed that, as the face recedes from the front, instead of presenting a view of the open pores, only the sides or edges of the pores are seen. Still farther back, toward the ear, no texture or grain will be apparent. There are three reasons for this: First, the pores in the front of the face, being viewed broadside, are naturally larger than those on the sides; second, the front of the face is usually in the sharpest focus; and third, the roundness of the face permits only the sides of the pores to be seen as the face recedes.

195. A properly lighted portrait, in which the majority of the face is in light, will have the light on the features and parts of the face nearest the camera. It is here that the pores of the skin will show most prominently, and, as you begin to retouch in these parts, your stroke in modeling may be longer than in any other portion of the face. A long stroke will give a coarser grain, while a short stroke produces a finer texture. As you proceed to work down into the shadows your stroke may become longer, and, of course, must be much lighter. Working in this manner you will produce an atmospheric effect or roundness which

an even texture over the entire face would ruin. Uniform texture always tends to flatten out the features.

196. Contrasty and harsh lightings will require considerable blending and modeling, for the half-tones, as well as the shadows, need to be built up in order to harmonize with the relative tones in the high-lights. Under-exposure will necessitate this same treatment. A properly exposed negative, which has been developed so that the highest point of light is of good strength, yet mellow and not hard, is the ideal negative to retouch; for if the lighting were correctly made, with good modeling throughout, the gradation between the high-lights and shadows will be practically perfect.