418. Arms

Arms. The proper handling, or rather modeling, of the arms and hands is very often neglected in retouching. The more general imperfections, blemishes, etc., are always removed, but proper attention is very rarely given to modeling and shaping the arms. If they have been properly lighted the retoucher will have very little work to do, but, it is often the case that the photographer has failed to do his part, and, therefore, it is necessary for you to understand how to properly model these features.

419. The part of the arm nearest to the camera, or the part nearest the source of light, will be most opaque in the

negative. This light, however, should not spread to any degree. There might be a very minute portion in the highest point of the curve that is almost opaque, but from this point there should be a gradual blending around into the shadows. The arm is not flat in any portion and it is essential that the roundness be carried out in the photograph. If the high-lights are too opaque and spread, or have too large an area, it would be advisable to use the reducing paste in preference to the etching knife, as you will be able to secure any results that you wish by its proper application. After having made all the final corrections with the etching knife, then dope the negative and proceed with the penciling, removing any blemishes or imperfections that may exist; next, proceed to model the arm, and strive in every way possible to produce an arm of flesh instead of one that appears like marble.

420. Sometimes the wrist is exceptionally large, and looks bad. This may be altered by tapering the wrist, gradually etching off the high-light and slightly rounding it into the shadows. Frequently the curve of the wrist is quite angular; this may be altered by etching off the angular corners, thus giving this member a natural, graceful curve.

421. Hands

Hands. Proceed in like manner with the hands as with the arms, etching away or reducing the strong highlights, and modeling the shape of the hands, as well as the fingers, so that they appear perfectly normal and natural. If, for any reason, the hand has been posed in a somewhat awkward position, it will be necessary to outline it correctly; also outline the fingers, so that there are no hard, abrupt angles. Remember, curved lines are always pleasing, while straight lines and angles are ugly. The veins and lines on the hands of aged people should always be modified; while on the hands of young people, especially women, the lines should be entirely eliminated.

422. The old masters, in painting portraits where the hand was included, always tapered the fingers, as the tapered finger was the sign of culture and good-breeding. To

a certain extent the retoucher may follow out this same idea, thus avoiding a too blunt appearance of the fingers. Do not carry this principle to the extreme, however, for you must remember that it is the aim of photography to reproduce the original with all of its predominating characteristics, at the same time showing the best points of the subject. Proper shapes and poses of hands are illustrated in Volume VI, and you will find it very profitable to examine the charts illustrating the lesson on posing the hands, in this particular volume.