This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
239. After having completed the modeling of the forehead, proceed to the cheek on the light side of the face. Before attempting to place any strokes on the negative, take a general survey of this feature and notice the location of the high-lights, half-tones and shadows. The outline of the face is determined by the prominence of the cheekbone. Sometimes this prominence is very marked and objectionable, owing to the strong high-lights which are accentuated by the shadows. The retoucher may be relieved of a considerable amount of work if the photographer has properly lighted his subject and softly illuminated the shadows so there is no harshness between high-lights and shadows.
240. There is a great variety of differently shaped cheeks. Some are round and full; some are angular, hollow, thin and pale; others are soft and flabby. Then there are cheeks having dimples, and those which are mellow in color. The cheeks which present quite a full and round outline, are usually the most pleasing and tend greatly toward beautifying the face. Men's faces, which are usually quite muscular, are, as a rule, more hollow or angular, and, unless the lighting was properly made, will require very careful treatment in retouching, in order to truthfully represent the exact contour of the face. A little shadow may greatly exaggerate slight depressions and make them appear much deeper than they are naturally. If such exist they must be built up lightly, but care should be exercised that
in building up the hollows, you do not overdo the work and produce flatness. A few strokes of the pencil will frequently be all that is required.
Character Expressed By The Cheek - Location Of Cheek-Bone. Of all the features, the cheek possesses the least number of actual character faculties. The mouth is the most expressive of all the features of the face. Following the mouth we have the eyes, nose, ears, and even the forehead is more expressive in character than the cheek, yet there are points in the latter which should be considered from the character standpoint. A high cheek-bone suggests more of the animal nature in the individual; a lower cheek-bone, which gives by far more beauty to the face, denotes mildness of character and a more congenial nature.
242. Bearing these points in mind proceed to remove the freckles or other imperfections which exist in the highest point of light on the cheek (which usually is on the top of the cheek-bone); then proceed to remove the imperfections that exist on the remainder of the cheek, working up to the base of the nose only on the one side, and down to the ear and jaw-bone on the other. This accomplished, return to the highest point of light and begin with more general and longer strokes to blend and model.
Proper Stroke To Retain Roundness And Grain Effect. Remember, that the pores of the skin on the part of the cheek which faces directly toward the camera are much larger in nature than those back toward the ear. Not only is this true, but the openings of these pores are seen on the front of the cheek, while at the side very little of the pores can be seen by the lens; therefore, the longest strokes and the coarsest grain should be on the front of the cheek. As you gradually work toward the nose shorten the stroke; also when working back into the shadow toward the ear the stroke must be shortened until, when reaching the extreme rear of the cheek, the stroke becomes very fine, thus producing a soft delicate grain.
244. In order to note your progress and see the effect of the work produced, proof-prints should be made at va-
rious stages and a careful comparison made between the proofs from the negative unretouched, and the proofs from the work that you are doing on the negative. It is far better for the beginner to apply too little lead to the negative than too much, for the tendency of those inexperienced in the handling of the retouching pencil is to apply too much lead. It is very much easier to add more lead, if required, than to remove an excessive quantity. In the latter case it is necessary to remove all of the work that has been previously done. In working the cheek, do not retouch close to the eyes; in fact, you should simply work up to the lower high-light, leaving this feature until you return to the retouching of the eye proper.
245. The greatest amount of roundness or depth of the face is presented in the cheek; therefore, it is necessary that extreme care be exercised in retaining this roundness, thus giving the proper atmospheric effect. Working in one direction with an even, uniform stroke will tend to destroy the effect of roundness and flatten all of the face. By working with the muscles and lines of the face, the applying of long or short strokes, according to the space you are modeling, will preserve all roundness.
246. Where it is difficult to work crossways of the plate in order to follow the angles, muscles, lines, etc., it is a good plan to turn the plate at a convenient angle. This will also train you to work with more feeling. By following the anatomy of the face you will invariably and unconsciously turn the plate to work around a muscle or to follow a certain line of the cheek or chin, etc. Working in this way you will avoid flatness and the natural anatomy of the face will be retained.