395. Etched Portions Show In Print

Etched Portions Show In Print. It is often the case that, when high-lights have been reduced with the etcher, the etched portions appear to blend perfectly with their surroundings, when the negative is examined by transmitted light, but show up lighter than their surroundings on a print which is made from the etched negative. This is due to the fact that the shaving of the film produces a ground-glass effect, and although the blending with the surrounding tint on the negative itself may appear perfect, when viewed by transmitted light the grain produced by the scraping of the film will retard the actinic rays which act upon the sensitive paper. Therefore, the shaving or etching of the film should be carried a trifle farther than appears necessary when viewed in the easel by transmitted light. Until you become familiar with the accurate tone required, it is advisable to make proof-prints after working each portion, and if the proof shows the etching has not been carried deep enough, go over the space once more and shave the film a trifle deeper; then make another proof, which should show proper blending. After a little experience in etching you will become able to judge the amount of reducing necessary in order to have the etched portions match with the surrounding tint.

396. High-Lights Too Strong In Proportion To Shadows

High-Lights Too Strong In Proportion To Shadows. Whenever high-lights are too strong in proportion to the shadows or half-tones, they should be reduced, if only a little, for false modeling would result and flatness be secured if the half-tones were built up to match these over-dense portions. All highlights should be reduced either with the etching paste, carefully applied. or with the etcher. If this latter method is adopted, you should be very careful to avoid any possibility of scratching.

397. Etching Outlines

Etching Outlines. Where the outline of the face or figure is angular the objectionable prominences should be subdued, and the outlines rounded so as to give it a pleasing shape. Straight lines and angles are to be avoided. Curved lines are more pleasing, and you should aim to secure such in both the outline of the face and of the figure. In making alterations of this kind, first make a proof-print from the negative; then with your pencil outline the

portions you expect to cut away. It is best to do this on the proof, for if the outlining is not just right the lines can be erased with a rubber eraser and new outlines made. When the outlining of the proof is satisfactory, then proceed with the point of the etcher to outline the portions of the negative film which are to be removed; after outlining, apply the broad part of the blade of the etcher, very carefully scraping the film until the tone matches the background or surrounding tone. Be careful not to carry the etching too far, for although the background may be very dark the film is not absolutely transparent or clear glass. If you carry the etching too far and cut through the film, the part where the film has been removed will print blacker than the background, and you will find it difficult to fill in this spot on the glass. The lead will not adhere to the glass, and if you were to apply color with a brush to these parts you would very likely overdo the work - at any rate, it would be very difficult to blend the surface evenly. Therefore, you should strive never to etch so deep that the film is cut through to the glass. It is better to do too little and go over the work a second time than to etch too deep and ruin the plate entirely.