79. Arranging The Retouching Desk

Arranging The Retouching Desk. The retouching desk, as previously instructed, should be placed on a table facing a window, a northern exposure preferred. The correct position at the retouching desk is shown in Illustration No. 7. Observe in this illustration the manner in which the pencil is held, the distance the head is from the negative, and the manner in which the hand and arm rest.

80. If the retouching easel employed is not supplied with a mirror for reflecting the light, then place a sheet of white paper - blotting-paper preferred - on the base of your

Fig. 1 Section of Face Enlarged.

Fig. 2 Pencil Strokes Applied to Remove Freckles.

Illustration No. 9. Chart No. 1 See Paragraph 75

CHILD PORTRAIT STUDY.

Study No. 2 W. G. THUSS.

retouching easel, so as to reflect the diffused light evenly-through the opening of the desk. When the desk is fitted with a mirror, as previously stated, it will not be necessary to use the paper unless the light is exceptionally strong, in which case the paper will give softer light and will be easier on the eyes.

81. The curtain on the window should be drawn down nearly to the top of the easel, thus serving to cut off unnecessary light. A black cloth may be thrown over the projecting board at the top, so as to hang down at the two sides. All light from the window, with the exception of that coming through the opening in the desk, should be cut off, as an excess of side light will not only bother the eye, but is apt to become injurious, even when diffused. If this precaution be taken, retouching will in no way injure the eyes and you will be able to work much more rapidly.

82. Removing Blemishes On The Practice-Chart

Removing Blemishes On The Practice-Chart. With the negative-chart on the easel, you may next proceed to remove the blemishes, working on the chart exactly as you would on a regular glass negative. All that is required at this time is to fill in the blemishes, using any kind of a stroke or line, working in any direction that will break up the imperfections and blend them with the surrounding tones. Do not fill in these imperfections solidly; there must be a looseness or a sort of texture, which has the effect of producing grain. In many cases a few strokes of the pencil is all that is required.

83. When these blotches, blemishes, etc., have been built up and filled in, there will still remain an uneven, blotchy effect, but you need pay no attention to this, as full instructions will be given in a following lesson regarding the method of blending, which will remove this effect.