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.
Harsh Line On Upper Edge Of Eyebrow. This will be caused by your working too close to the eyebrow. There is usually a soft blending of tone on the forehead and you should try to retain this softness in the negative. If you work too close to the eyebrow, and too evenly, you will remove the slight existing fuzzi-ness which produces the original softness. As you approach the brow you should do as little work as possible. Strive to produce proper perspective and retain natural modeling.
Cannot Remove Wrinkles. If, after having penciled in the wrinkles, they are still apparent, and you find it impossible to apply any more lead, the difficulty will be due to your having worked so long in one place that it has become glazed over. It will be necessary to flow the plate with the regular retouching varnish to have more lead adhere. When removing deep wrinkles it is advisable to use a softer pencil than you would employ for regular retouching; also try to build up the deep shadows with as few strokes as possible. Remember, wrinkles should not always be removed entirely, as they show the character of the individual. If completely obliterated, the picture would not give a true likeness of the subject. The deeper wrinkles may be slightly modified in strength, while the smaller ones may be removed altogether. Your own judgment, however, should be used in this respect, much depending upon the subject.
326. Women usually require all conspicuous lines removed. Wrinkles and lines in aged people should be retained, but, of course, they may be softened. Where the plate has been worked so that it will not hold any more lead, and the lines are still insufficiently subdued or eliminated, it will be necessary to flow the plate with the regular retouching varnish, in order to be able to apply more lead. This will supply a fresh tooth, permitting of more work being done over the place previously worked.
Forehead In Profile Too Flat. The highest point of light on the forehead of a Plain Lighting profile is nearest the camera,
and there should be a shadow on the front of the forehead directly above the nose. If you have retouched and built up this latter portion the forehead will be perfectly flat. Observe in the illustrations for this lesson, that there has been a gradual blending from the highest point of light around toward the front of the face.
Filling In Hollows. The greatest difficulty comes from being unable to apply sufficient lead to the plate. You should use a fairly soft pencil and try to apply as much lead as possible at the start. Continually working over and over on the same place glazes over the surface of the film and makes it impossible to apply any more lead. Do not go to the extreme, however, and try to apply too much lead by pressing on too hard with the pencil, as there will be danger of breaking the point of the pencil and thus digging into the film. After some practice you will be able to judge how heavy a stroke to use, and to apply enough lead to match the density around the hollows.