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 Artistic Retoucliing, 
 
 Modeiing, Etching, 
 
 AH: and Nature, 
 
 Art and Photography, 
 
 Character, Chiaroscuro, 
 
 Composition, 
 
 Style and Individuality, 
 
 I 
 
 BY 
 
 Clara Weisman. 
 
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 http://www.archive.org/details/treatiseonartistOOweis 
 
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A COMPLETE TREATISE 
 
 ON 
 
 Artistic Retouching, 
 
 Modeling, Etching, 
 
 Art and Nature, Art and Photography, Char- 
 acter, Chiaroscuro, Composition, Style 
 and Individuality. 
 
 BY 
 
 CLARA WEISMAN. 
 
 PUBLISHED BY H. A. HYATT, SAINT LOUIS. 
 
Entered according to act of Congress, in the year 1903, by 
 Clara Weisman, in the of&ce of the Librarian of Congress, at 
 Washington. 
 
 THE GETTY CENTfHP 
 LIBRARY 
 
CONTENTS. 
 
 PAGE. 
 
 Chapter I. — Introduction 1 
 
 Chapter II. —Tone Values 5 
 
 Chapter III. —Preliminaries to Retouching 9 
 
 Chapter IV. —Necessities for Retouching 13 
 
 Chapter V. — What is Retouching 17 
 
 Chapter VI. — Reasons for Retouching 19 
 
 Chapter VII. —Little Things 26 
 
 Chapter VIII. —Texture 31 
 
 Chapter IX. —Perspective 39 
 
 Chapter X, —Difficulties and Imperfections 43 
 
 Chapter XI. —Modeling 46 
 
 Chapter XII. —The Forehead 49 
 
 Chapter XIII. —The Cheek 57 
 
 Chapter XIV. —The Eye 61 
 
 Chapter XV. —The Nose 69 
 
 Chapter XVI. —The Mouth 76 
 
 Chapter XVII. —The Chin 80 
 
 Chapter XVIII. —The Cheek in Shadow 83 
 
 Chapter XIX. —The Ear 86 
 
 Chapter XX. —Neck, Bust, Arms and Hands 88 
 
 Chapter XXI. —Shadow Lightings 91 
 
 Chapter XXII. -The Hair 94 
 
 Chapter XXIII. —Drapery 96 
 
iv CONTENTS— Continued. 
 
 PAGE. 
 
 Chapter XXIV. —Etching 97 
 
 Chapter XXV, — Stumping Negatives 100 
 
 Chapter XXVI. —Spotting Negatives 103 
 
 Chapter XXVII. —View Negatives 106 
 
 Chapter XXVIII.— Art and Nature 107 
 
 Chapter XXIX. —Art and Photography 113 
 
 Chapter XXX. —Character 118 
 
 Chapter XXXI. —Chiaroscuro, or Light and Shade, 123 
 
 Chapter XXXII. —Composition 133 
 
 Chapter XXXIII. —Style and Individuality 150 
 
 "ctn 
 
ARTISTIC RETOUCHING. 1 
 
 CHAPTER I. 
 
 INTRODUCTION. 
 
 'T'HE nature of this little book may be explained in 
 a few sentences. My theme is Artistic Retouch- 
 ing, Modeling, Etching, with chapters on Art, for 
 the reason that Photography and Art can be closely 
 united. 
 
 My intention is to be beneficial to those who know 
 little or nothing of the subject, also to assist those ad- 
 vanced in retouching; to carry the work into the ar- 
 tistic. Should I find the book has accomplished such 
 a purpose, my efforts will not have been in vain. 
 
 However, books, lectures, or theories cannot make 
 a retoucher or an artistic photographer, but with much 
 application and much study, with a comprehensive 
 knowledge of what others have done, one can acquire 
 practical understanding, good judgment and refined 
 taste. In all art notes or art principles, wherever 
 found, reading and re-reading alone make these 
 thots and principles a part of one's self, even tho 
 the thot is beyond recall of expression in words, it un- 
 consciously finds its feeling or expression brot out in 
 a picture here or there. This is the true growth of an 
 artist in feeling and ability. 
 
 The methods and ideas put forth in this book may 
 not be the ideas of perhaps the reader, and if its lan- 
 guage sounds at all positive or dictatorial, it is done in 
 all modesty of spirit, having herein placed my personal 
 best efforts and my own individuality and style. That 
 
2 ARTISTIC RETOUCHING. 
 
 such a subject is hard to deal with in this manner is par- 
 tially evident from the fact that such a few have at- 
 tempted a full treatise on the subject. Where such 
 little of the artistic is known among the masses of 
 photographers or camera students, a book of this na- 
 ture could not be amiss. I feel a competency to under- 
 take such a work as this, having taken a course of 
 several years at two of the best art schools in the U. 
 S., namely, St. Louis and New York City, receiving as 
 a result of my studies two medals for best drawings 
 and best portraiture in oil colors from life, together 
 with mentions. For the past three years I have held 
 a position as Instructor in Retouching at the Illinois 
 College of Photography in connection with talks given 
 on Art. 
 
 Feeling the artistic, one is able to understand more 
 clearly artistic retouching and its necessity in portrait- 
 ure. A knowledge of art is beyond question very help- 
 ful. There is something more and far beyond technical 
 skill. Retouching is without question a fact ; and it 
 may, without fear of falling too far from the truth, be 
 said to have revolutionized portraiture. 
 
 In the first place, the end and aim of photography 
 is to please, in other words, to make beautiful. All na- 
 ture tends toward the ideal, perfection ; all human 
 efforts should be to the ideal. Pictures when made at 
 their best and highest are the most beautiful things man 
 can produce. They are the life of the individual, leav- 
 ing here an impression, there an impression of his in- 
 ward self, brot out in his productions. The higher 
 our ideals, the better our work. A photographer must 
 learn to love the beautiful, must be able to know what 
 
ARTISTIC RETOUCHING. 3 
 
 beauty is, not only "skin-deep" beauty, but beauty of 
 line, composition, expression ; to be able to catch the 
 seemingly accidental in nature, the impressions which 
 are fleeting, the things of but a moment's existence. 
 To be a successful photographer, one must be able to 
 see and to know what beautifies and what does not, 
 which is by no means a small undertaking. 
 
 Too many are but too well satisfied with their pro- 
 ductions if they contain merely the features, the nose, 
 the mouth, the eyes and so on, without much thot, as to 
 expression^QEji^onigosi tion. This applies not alone to 
 work in the studio, but to retouching. How many 
 
 thereaTe_,.2iHb^XO}i!id_oilt^..Sl^ ^^^ 
 
 all chins alike, not knowing or seeing the beauty they 
 destroy. No two foreheads are alike, no two ceeks and 
 no two chins. Nature must be interpreted, but it 
 cannot be interpreted until one knows what nature is. 
 Neither can true beauty be known 'till one knows what 
 beauty is. The closer one gets to nature, the nearer 
 one is to the Infinite. This may seem useless material 
 for the introductory part of a book on Retouching, but 
 to the writer much is meant by these lines. 
 
 Be always very careful to keep a likeness, but ideal- 
 ize it. All subjects wish pictures of themselves at their 
 best, the more beauty that is found and bestowed, the 
 better. Even so in those that say, "Take me just as I 
 am." No subject ever wishes a picture taken to a dis- 
 advantage, but he never objects to one that is at his best 
 or even better, no matter how homely the creature, a 
 certain vanity lurks within his bosom. 
 
 The ideal is constructed or taken out of the real, 
 from what actually exists. Objects are the tools ; the 
 
4 ARTISTIC RETOUCHING. 
 
 soul, the expression, the composition is the rest, the 
 ideal or the beautiful. 
 
 The retoucher is a go-between, between the begin- 
 ning of a picture and the finishing. The retouching- 
 proper should begin in the studio, then it hangs in the 
 balance as to the result the dark-room man will pro- 
 duce; for a negative may be properly lighted and ex- 
 posed and if not properly handled with the chemicals, 
 the retoucher and often the finisher must come to the 
 rescue. A result, however, which is not as artistically 
 beautiful as 'twould have been had it undergone proper 
 handling in the other departments. 
 
ARTISTIC RETOUCHING. 5 
 
 CHAPTER 11. 
 
 TONE — VALUES. 
 
 T ET us return to the studio, where much can be done 
 to save retouching. Photographers at the present 
 time depend too much on their retouchers, instead 
 of on their own personal skill as operators. The pho- 
 tographer who uses great care in the lighting and tim- 
 ing, lessens "much retouching." Some operators pre- 
 fer doing their own retouching, fearing to trust it to 
 others, they knowing best the results they desire, knov/- 
 ing best what to do to bring about these ends. In 
 fact, the result would be a much higher grade of work, 
 if the operator did his own operating, developing and 
 retouching, and even for the higher class work make 
 his own prints, mount and frame, complete. 
 
 Under the present conditions, it would seem that 
 the retoucher is a more important factor than the 
 operator from the seemingly careless work that is brot 
 out under the sky-light. 
 
 The first consideration in good operating is regard 
 for tone-values, values of light and shade. We may 
 ask, "What are values?" To begin with, take a sub- 
 ject under the sky-light, three-quarter view of the face, 
 plain light. Look at the brightest looking flesh notes 
 on the nose, forehead, cheek, lip and chin, on the side 
 of the face nearest the source of illumination. On a 
 well lighted subject, the brightest light is often on the 
 bridge of the_nose^nearer to. the side from which the 
 source of light comes. Sometimes the highest light is 
 
6 ARTISTIC RETOUCHING. 
 
 on the forehead, due partially to its prominences and 
 form. There are usually four high Hghts on the fore- 
 head, three of which are most frequently secondary to 
 the highest. The highest light on the cheek is located 
 on the cheek-bone. The light on the lip and chin are in 
 a lower key. If light exists on the shadow cheek, it is 
 in a lower tone than that on the other cheek, or it is 
 simply a suggestion of light. From these lights, no- 
 tice the flesh is somewhat duller, and on the other 
 side of the face, around the throat and the sides of the 
 neck, the shadows deepen the flesh-notes. Compare 
 the high lights with the next lower tones and those 
 with the side of the cheek or neck and there will be 
 found three grades of tone-values, namely, high-lights, 
 half-tones and shadows. These same values are also 
 strongly marked in the drapery, the hair, the hand, 
 in fact, in any object. A very helpful way to look for 
 ^1 tones is to half close the eyes, standing at some little 
 distance from the subject. 
 
 Value is Ihe quantity of light or dark in nature or 
 in a picture. These values may be either in a high key 
 or a low, but whether a high or a low there must be a 
 perfect balance of tone-values. To obtain a picture 
 containing brilliancy and at the same time a beautiful 
 balance of gradations is of the greatest importance. 
 Harmony must prevail. Half-tones or half-lights and 
 half-shadows are the greatest harmonizers. They unite 
 the high-lights with the depth of the shadows. The 
 result is an artistic production as far as lighting is con- 
 cerned. This is not all, the exposure given should be 
 sufficient to secure softness in the tone-values, from 
 the highest Hghts with tender gradations in the 
 
ARTISTIC KKTOUCHING. 7 
 
 shadows, producing roundness with snap, Hfe. The 
 result is luminous lights and luminous soft and deep 
 shadows, with an eye for composition and a keen sense 
 for expression, give beauty to the whole. A correct 
 lighting seems not to be how much light, but how to 
 shut off the needless illumination ; using just enough 
 to unite and "sweeten" the whole composition. It is 
 unity in illuminatrdn that secures the artistic. 
 
 All this can, however, be ruined in the dark-room. 
 It is very essential for the dark-room man to under- 
 stand lighting so he may know the pitch of tone-values 
 or the light and shade of the composition. Not under- 
 standing modeling, he cannot, technically speaking, 
 model his negative with the chemicals. He should so 
 thoroughly understand this that if a negative be either 
 under-timed or over-timed, he will at once know how 
 to manipulate his developer to secure the highest re- 
 sult, so much so that when a negative comes from the 
 dark-room it is neither under-timed nor over-timed to 
 prevent making a very first-class negative, unless it be 
 extremely under- or over-timed, but there is not much 
 occasion even for that to produce a fairly good printer. 
 
 There is a wide range in plates, especially in the 
 longer exposures. Should a negative, however, come 
 to the retouching desk under-timed or over-timed, then 
 the retoucher must work up the deficiencies. In an 
 under-timed^^he negative lacks gradations or half- 
 tones, half-lights and half-shadows ; the high lights 
 having received the "maximum amount of light, while 
 the shadows the minimum." In an over^timed, the 
 negative lacks contrast, lacks high-lights, these must 
 be built up to add contrast. No amount of lead, no 
 
8 ARTISTIC RETOUCHING. 
 
 matter how artistically laid on, can be as luminous and 
 beautiful as a first-class negative. 
 
 The finest productions in photography, as well as in 
 art, contain, or should contain, these numerous tones 
 given in all their refinement of gradations from the 
 highest lights to the deepest shades. Between these ex- 
 tremes are found hundreds of fine tones of light and 
 dark, none being as white as the white of the highest 
 light and none as deep as the deepest shade. These 
 excellent technical qualities can be secured by a well 
 timed, a well lighted negative, combined with a judi- 
 cious handling of chemicals. 
 
 More inferior work has come from under-expos- 
 ure. Combine with it a poor lighting, and indeed the 
 pictorial technique is destroyed. Its unity in illumi- 
 nation, a pulling or binding together of gradations into 
 one harmonious whole, which makes a beautiful pic- 
 ture, not alone pleasing but artistic, is lost. We would 
 conclude then that the true object of retouching from 
 the highest technical standpoint is to perfect a well- 
 lighted, a well-timed and a well -developed negative. 
 
The Anatomy of the Head. 
 
ARTISTIC RlJTOUCHING. 9 
 
 CHAPTER III. 
 
 PRELIMINARIES TO RETOUCHING. 
 
 A LMOST anyone with good eyesight can learn to 
 ■^ retouch. It however requires more time for some 
 than others. Experience in drawing, an insight to 
 form or beauty, or artistic incHnations are, without 
 question, unbounded helps. It goes without saying 
 that the value of drawing cannot be over-estimated. 
 A knowledge of unity of gradations is of the utmost 
 importance. Those having a keener eye for form learn 
 it the quickest. It would not be amiss to state that a 
 grand method for learning retouching would be to 
 study modeling and effect of light and shade in the 
 studio from subjects, to make a careful study of the 
 anatomy of faces, to be able to tell at a glance what 
 adds to or takes from the individual. 
 
 Physiognomy would be a great assistance, to be 
 able to tell what peculiarities to leave or to take out for 
 strength of character. It is extremely necessary to 
 become a first-class photographer to know at a glance 
 either in the studio or at the retouching desk what it is 
 that makes the picture; the likeness of each individual 
 at his or her best. There is some beauty in every face 
 either plainly seen or almost hidden ; but sad to say, 
 very often hidden when before the camera, but it can 
 be produced by the master of the profession. One 
 who can in an instant pick out the beautiful, who 
 knows the beautiful when before him, tho ever so little, 
 or better still, or more technically speaking, one who 
 correctly appreciates a defect. 
 
10 ^ ARTISTIC RETOUCHING. 
 
 The more artistic ability one possesses, the more 
 power he has to portray the pictorial. All this applies 
 to the retoucher as well, for he can either mar or beau- 
 tify. He can make a very inferior negative first-class 
 as regards lighting, expression, or, to some extent, 
 composition. Expression can be changed completely 
 and be a grand success. An artistic retoucher under- 
 stands what creates beauty of face, line or expression. 
 
 Only too often we hear people say, "Make me beau- 
 tiful, if it looks like me or not, make me beautiful. You 
 have made So and So beautiful and I know I am not as 
 homely as she, make me beautiful." Another will say, 
 "Out-do yourself when you take my picture. Make 
 me grand," and very often this can be done. The re- 
 toucher can accomplish what was impossible for the 
 operator, or, better still, he can assist in accomplishing 
 what the operator has begun. Then again, there are 
 those who care not quite so much for beauty but for 
 distinctive peculiarities, or impersonations, strong like- 
 nesses. These, of course, must also be pleased and 
 worthy their aim. An artistic retoucher sees at once 
 what is striking in each individual and can enhance the 
 same by skillful work of pencil or etcher. 
 
 Let us go back to the studio and examine the eye 
 of the camera. The lens, as is known to all, is on the 
 same general principle as the human eye. There i^ the 
 lens, diaphragm and sensitive plate. The iris is a 
 screen, in its centre is the pupil. It is provided with 
 muscles which contract and expand the pupil, the same 
 as the diaphragms. The eye possesses a lens, also the 
 retina, which is a plane, sensitive to the action of the 
 light. In the eye, however, the rays of light after 
 
ARTISTIC RETOUCHING. 11 
 
 passing thru the lens, centre upon one spot on the sur- 
 face of the retina; while in the photographic lens these 
 rays cross and expand before reaching the plate. The 
 eye does not have to focus an object to get sharpness, 
 as is in nature. The result is the photographic lens 
 is by far more miscroscopic than the human eye. 
 
 Now as to the compound lens. It is the combina- 
 tion of two lenses, one corrects the distortion of the 
 other. The focal depth is very much shorter for por- 
 traiture. Least depth of focus produces least dis- 
 tortion. This also gives the most artistic results be- 
 cause of short focal depth. It brings the part nearest 
 the camera sharper, with more detail, while the rest 
 that goes back or recedes, that that goes away in per- 
 spective, is less definite and softer; consequence, more 
 atmosphere. This latter will be dealt with at more 
 length in a following chapter and the reason for these 
 few lines on the lens will then be understood. 
 
 With this wonderful instrument what can be ac- 
 plished, the future alone will tell, as very much of the 
 past and present have done. The every-day photog- 
 raphy demands likenesses. This does not necessarily 
 mean an anatomical drawing of the subject, for how 
 many of us remember the exact drawing or likeness 
 of any esi^ecial feature ; but it takes these special fea- 
 tures to make the whole likeness. We remember our 
 friends by peculiarities all their own from the rest of 
 humanity. Here the skill of the retoucher comes into 
 play. He can tell what to subdue, what to enhance to 
 complete the picture. The greatest attention is paid 
 to the face, which is the principal part of the picture. 
 There are no two faces just alike, no two expressions 
 
12 ARTISTIC RETOUCHING. 
 
 and as a consequence no two are handled just alike. 
 If any of these peculiarities are beautiful, or express 
 some ideal, they should be brot out, but if they exist as 
 defective individualities, subdue them to the extent 
 that they be not the first thing that is seen in the pic- 
 ture. If at a glance the defective peculiarity comes to 
 notice first, then it is too pronounced. Subdue either 
 with pencil or etcher sufficiently that the eye centres on 
 the expression, the eyes, the countenance, the soul or 
 whatever was meant to attract attention. 
 
ARTISTIC RETOUCHING. 13 
 
 CHAPTER IV. 
 nece;ssities for retouching. 
 
 A S RETOUCHING requires wherewith to get re- 
 suits, the acquaintance of the technical part of the 
 profession must be made first. Supposing the indi- 
 vidual has had no experience whatever. Technique is 
 the foundation of all good work. The artist must first 
 make his acquaintance with the handling of the 
 brushes, paints and canvas. So the necessities of the 
 retoucher must be considered. First, the retouching 
 desk ; these can be purchased at any good stock house. 
 Ground glass or onion-skin tissue paper should be 
 used to give a beautiful subdued light. This also pre- 
 vents anything foreign from interfering with the per- 
 fectness of the negative. 
 
 A good light is essential, north light being the best. 
 By no means let the sun shine on the reflector ; it causes 
 a glare and is injurious to the eyes. A strong light or 
 the light consisting much of the visual rays causes the 
 image to be looked thru instead of on it, losing its re- 
 lief. Particular attention should be paid to the light 
 used. If, however, the retoucher is so unfortunately 
 situated that the sun shines on the reflector, place 
 green tissue paper across the back of the desk and this 
 will absorb the strong yellow rays. On dark days a 
 mirror may be used advantageously, use not too 
 strongly. 
 
 The first step after the negative is dry, obtain a 
 proof before retouching. Print dark enough so the 
 
14 ARTISTIC rb;touching. 
 
 imperfections show in the high-Hghts. Occasionally 
 a proof can be made to ascertain the progress. When 
 the negative is finished make another and compare 
 with the original. Print dark enough so the retouching 
 shows in the high-lights. The more proofs are made 
 and studied, the sooner modeling is accomplished. 
 
 Next the negative should be prepared with a var- 
 nish or medium. A good varnish can be purchased 
 at any stock house. The medium that has been found 
 very satisfactory to the writer is as follows : 
 
 Gum Mastic 45 grs. 
 
 Cut in Ether 2 oz. 
 
 This poured very slowly into 12 oz. of gasolene. 
 Let stand twelve hours before use. Follow directions 
 carefully and no trouble can arise. Keep in a dark 
 bottle. To apply the medium, hold the negative by the 
 left-hand lower corner, pour enough medium to flow 
 all over the plate on the upper right-hand corner ; with 
 a little rocking movement of the plate, let the surplus 
 medium return to the bottle from the right-hand lower 
 comer. This dries in a couple of minutes and is ready 
 for use; shaking or fanning hastens the drying. Re- 
 touching may be rubbed off anywhere with gasolene or 
 turpentine on a cloth, working in a blended effect to 
 prevent a line; then reflow the negative. The varnish 
 or medium gives the negative a tooth so the application 
 of lead may give desired results. A negative may be 
 reflowed at any time, even over the retouching. Place 
 the negative over the aperature in the desk, film side 
 out. If a negative takes the lead too freely, cause of 
 being gritty, rub vigorously in a circular motion with 
 the finger, then reflow. 
 
ARTISTIC RETOUCHING. 15 
 
 The pencil is to be considered next. A supply of 
 various grades of pencils is necessary. The Faber 
 Graphite is excellent. It is preferable to begin with 
 a harder pencil, the H H H H, The first difficulty to 
 overcome is a heavy touch. After the lightness of 
 touch is acquired then the H H H pencil or HH can be 
 used. A magnifying glass is used by some, this should 
 be avoided unless very necessary, few needing it. Re- 
 touching and its results are not viewed by microscopic 
 instruments. A few other necessaries are, namely, a 
 small camel's hair brush for spotting, a stick of India 
 ink, a chamois or paper stump, a little fine powdered 
 pomice stone and etching tools. Each and their uses 
 will be mentioned later. 
 
 The necessary requisites having been obtained, first 
 sharpen the pencil by cutting away the wood suffi- 
 ciently, leaving the lead to extend away from the wood 
 about an inch. This long point gives an elasticity to 
 the point or touch, which aids greatly both in the light- 
 ness and freedom of touch. The lead should be taper- 
 ing to a point, on the principle of a needle, tho not so 
 sharp. Sharpen on sandpaper while running the pencil 
 forward and back over the sandpaper, whirl it round 
 and round to obtain a roundness and smoothness. 
 
 The metallic point is a harder pencil, used for deli- 
 cate work. It being used entirely by some retouchers, 
 the plate being ground with powdered pomice stone in 
 a circular motion, shaking off the superfluous powder : 
 a very good method to follow if a negative fails to take 
 lead. This point can be used in 'shadows or thin nega- 
 tives, by using the point quite dull and round gives a 
 softer effect. 
 
16 ARTISTIC RETOUCHING. 
 
 Commence on medium-sized faces ; the imperfec- 
 tions being more readily discerned, and a freedom of 
 touch is acquired quicker than on small faces. On 
 the latter there is a liability to niggling, or becoming 
 "finicky." It is in retouching that a breadth of hand- 
 ling is also very necessary, as breadth of handling is to 
 an artist in his paintings. The difference of the size of 
 the head is not to be compared, but all the grander if 
 breadth is obtained in small faces, whether a negative 
 or a painting. When once retouching is accomplished 
 on medium-sized faces, it can be done on large, or 
 small faces with perfect ease. 
 
ARTISTIC RETOUCHING. 17 
 
 / 
 
 CHAPTER V. 
 
 WHAT IS RETOUCHING? 
 
 "Vl/E MAY now ask, "What is retouching?" Re- 
 touching is not a filHng-in process of pencil on 
 the gelatine film. It is a preserving of modeling either 
 by pencil, knife, etcher, charcoal, crayon, brush or 
 color — anything that will perfect the negative. Re- 
 touching is form. Its true object should be clearly 
 understood, much more its true artistic effects. Re- 
 touching is often thot "flattery," but a negative un- 
 touched is truthfully speaking, with few exceptions, a 
 mocking injustice. 
 
 Retouching has been and is nuich condemned both 
 by those who practice it and by those of artistic feeling. 
 It is the tendency toward extremes in many things, 
 which generally finds its source in a lack of knowledge 
 of what is truly wanted. In the case of retonching, 
 the extreme of over-doing has given the public just 
 grounds. For truly, nothing mars the beauty or 
 strength of the picture more than over-doing. 
 
 Some claim that the public wishes over-doing, no 
 doubt that the greater portion of the public desire lines 
 and wrinkles subdued or even eradicated altogether, 
 but this can be done and yet not destroy the modeling 
 or life-likeness of the individual. A likeness may be 
 improved and yet not have the appearance of being 
 over-done. 
 
 A negative may be retouched either in a mechanical 
 way or an artistic way, the latter leaving a life-likeness, 
 
18 ARTISTIC RETOUCHING. 
 
 everything that gives life, while the former loses the 
 finest, most delicate effects of form or nature. Both 
 negatives being carried as far, the difference being in 
 the difference of handling. The artistic retoucher 
 knows where life exists. 
 
 Why is it that the greatest photographers' works 
 are acceptable by the public and they don't over-do? 
 It is because they know how to retouch. If the public 
 generally had the opportunity of seeing the higher 
 grade of work, they would recognize its life-likeness at 
 once and admire it. 
 
 Therefore, retouching must not be condemned, for 
 in the hands of an artistic retoucher, it is an art in itself 
 alone. A true retoucher feels and stands in awe_of 
 every mark of character, expression or whatever of 
 worth the negative possesses ; it means much to him. 
 The greatest difficulty lies in the fact that there is a 
 lack of feeling, which means a lack of understanding 
 the finer and higher things of life. To be truly artistic 
 one must be filled with feeling. The day has come 
 when all the soul of the man must be left in the picture. 
 
ARTISTIC RETOUCHING. 19 
 
 CHAPTER VI. 
 
 REASONS EOR RETOUCHING. 
 
 'X'HERE has come under the writer's observation 
 seven reasons why retouching is necessary. Some 
 of which could be condensed as for one reason, the 
 imperfections of the art, science or mechanical part of 
 photography. 
 
 The first reason comes from the studio, viz., be- 
 cause of the modeling that was not done under the 
 skj'-light. This alludes to the tone- values that were 
 mentioned in a previous chapter. There should be no 
 broad patches of light and shade, but delicacy of gra- 
 dations must prevail everywhere. Roundness or per- 
 spective is a true test of a good use of light and shade. 
 Modeling only too often suffers by injudicious use of 
 reflectors or head screens as well as lighting. Im- 
 proper values often have a distorting effect. 
 
 2nd. Because of the common plate not taking na- 
 ture in its true actinic value. The common plates of 
 to-day do not take the picture image in its true values 
 of light and shade as represented in nature ; in its true 
 color values in relation of one to the other. 
 
 The consideration of some of nature's colors may 
 be of profit. The warmest colors are orange and red. 
 The warm tones are orange, red, yellow, brown, violet 
 if it tends to red, black if it tends to brown, green if 
 it tends to yellow. The coldest tone is blue. The cool 
 tones are blue, grey, violet if it tends to blue, green if 
 to blue, black if to blue. These are simply the leading 
 
20 ARTISTIC RETOUCHING. 
 
 colors, there existing many shades or varieties of tints. 
 Since the warm and cool tones act at extremes, it 
 throws the tones out of harmony as represented in na- 
 ture in relation of one to the other. Warm tones are 
 taken slower. 
 
 With reference to the face, blemishes, such as 
 freckles, moles, red spots and the like are of a warmer 
 tone than the surrounding color of the skin ; conse- 
 quently these imperfections are left in the plate as more 
 transparent, printing dark spots. These places seem 
 exaggerated, but the imperfectness of the plates picks 
 out each little warm spot its full size, larger than 
 the naked eye can see and leaves a full-sized transper- 
 ency. Complexions that apparently seem to be free 
 from freckles, the plate and lens finds them. Color in 
 the cheeks gives a hollow appearance, because the plate 
 did not take the color in its true value with the sur- 
 rounding skin. Brown eyes take sometimes black. The 
 corners of the eyes that possess a pink or reddish tone 
 is taken darker. The upper lip in shadow is often too 
 dark and flat, doubly dark because in shadow. The 
 side of the bridge of the nose where the light and 
 shadow are united is often very sharp and deep. 
 
 The cool tones are the opposite; these tones acting 
 more quickly on the plate, printing lighter than 
 the surrounding color. Blue eyes are taken lighter, 
 especially if much light is used. Whites of the 
 eyes are taken whiter if they possess a bluish cast. 
 If a cream tone prevails, they are more in true tone- 
 values with the surrounding complexion. If a blue 
 cast exists, especially in the shadow eye, the result is 
 often too strong and it stands out in bold relief, the 
 
ARTISTIC RETOUCHING. 21 
 
 harmony and simplicity of the shadow is destroyed. 
 These should be etched down ; the method of which 
 will be explained later. If reflected light is too strong 
 and in the wrong place, possessing a grey or bluish 
 tone, it will be taken lighter. Shadows are naturally 
 of a warm tone, if reflected light is thrown in that 
 shadow of an opposite tone, the plate responds quicker 
 to the cool tone while the warm is holding back, espe- 
 cially more so for being in shadow ; the simplicity and 
 depth being destroyed. 
 
 High-lights are usually of a bluish nature, the in- 
 visible rays being in predominence, reflecting more 
 light from these places ; these if not placed in true 
 harmony with reference to effect on plates by lighting, 
 will be too high in pitch. There is much to be taken in 
 consideration as to the modeling of the picture image 
 in the plate. Shadows, if warm, will be darker; if 
 high-lights_cool, will be lighter, and the beautiful bal- 
 ance of the tone-values in the image is lost, only to be 
 remedied at the retouching desk ; which means more 
 expenditure of time. Isochromatic plates remedy this 
 difificulty to a great extent, but not entirely. 
 
 3rd. Because of the microscopic detail produced by 
 the lens further than nature is seen by the human eye. 
 It is commonly thot that the camera exaggerates. The 
 lens simply produces strong microscopic detail ; it sees 
 too minutely. The human eye sees nature more beauti- 
 ^ fully, softer, more atmospheric. How much coarser, 
 more wiry even hair is produced if sharply focussed. 
 Retouching is necessary to bring the picture image back 
 to nature as seen by the eye. 
 
 4th. Because of the imperfections the operator has 
 
22 ARTISTIC RETOUCHING. 
 
 failed to hide. There are imperfections the operator 
 can hide and if neglected, the retoucher must come to 
 the rescue. Then again, some imperfections are left 
 from good judgment. It would be sheer injustice to 
 the subject to sacrifice some fine quality of the face for 
 some little imperfection. Far better leave the imper- 
 fection to the retoucher, 
 
 5th. Because of poor developing. Much good work 
 in the studio is destroyed by misuse of chemicals, 
 mostly thru a lack of knowledge of Avhat can be done. 
 Strong^developer gives brilliancy and contrast if prop- 
 erly controlled, while a weak developer gives detail and 
 softness. In an under-timed negative, a weak de- 
 veloper! has tiiii,^ to find its way in the weaker ex- 
 posed parts of the sadows, holding the gradations of 
 the high-lights from being swallowed up. In an over- 
 timed, strong development, properly controlled, gives 
 the brilliancy desired, destroying its natural tendency, 
 flatness; the blackening agent (pyro) building up the 
 lights, by the inrush of this agent, where the light thru 
 the exposure impressed the plate the strongest. This 
 agent causing the shadows also to become clearer if 
 the extra pyro is added at the right time, instead of 
 leaving them heavy or clogged. Bromide is also a 
 good clearing agent. 
 
 In white drapery, the accelerator should be subordi- 
 nated to allow the high-lights to receive their due pro- 
 portion while the shadows obtain their just amount. 
 By this means the blackening agent will have time to 
 find its "best lodgings." A good retarder is bromide 
 or water. Whether in under-timed or over-timed, tones 
 are to be worked for, sought for, with due considera- 
 
ARTISTIC RETOUCHING. 23 
 
 tion of brilliancy and life. In the manipulating of a 
 negative, the developer should be properly regulated as 
 to the agent producing intensity and the alkali ; the best 
 manipulating, however, is done thru water and pyro. 
 
 Play with the chemicals, manipulate, build up, re- 
 duce, know values. Light plays a very important part 
 in the make-up of a picture. The quality of the 
 print is of unbounded importance, result being due to 
 the color of the negative and its intensity, notwith- 
 standing that the lighting and timing may have either 
 been proper or improper. However, it goes without 
 saying that in the balance of light and shade that 
 lighting and exposure have as much to do with a good 
 negative as the chemicals. 
 
 It is of the utmost necessity to learn to feel, as it 
 were, the diflference in the quality of a print from a 
 negative that is intense and heavy and one clear and 
 transparent, possessing a ligjpLtrjess, giving a print that 
 confairis atmosphere, a beautiful something that fills 
 the picture. Develop atmosphere^ feeling into the 
 jpicture. Pour into the trays a goodly mixture of de- 
 veloper and "brains," the latter much in excess. To 
 know, to feel and to do is the grandest formula for 
 negative making. If the operator does his own devel- 
 oping, he can best tell what formula to use, according 
 to subject and time, thereby needing very little manipu- 
 lating after once begun. 
 
 6th. Because of the unequal distribution of proper 
 and pleasing lights and shades. Lights that give an 
 unpleasing effect, that alter the expression, thereby 
 marring the desirable likeness, necessitates corrections 
 of light and shade. Lights or shades that are scattered, 
 broken, remedy by uniting. 
 
24 ARTISTIC RETOUCHING. 
 
 The studio light or a one-source of light, a 45" 
 angle source, increases imperfections of the skin. In- 
 dividuals in every day life see themselves surrounded 
 by light from all sides, viz., side light, top light, front 
 light, back light. These cross lights fill up the little 
 roughnesses of the skin, making them unnoticeable to 
 an observer. The one source of light causes each little 
 raised portion of the skin to cast its little shadow, the 
 result is a mottled effect, which must be cleared up. 
 This is why moles are larger in the negative. If all 
 other imperfections of the skin are eradicated, the 
 mole is apt to attract first attention, make smaller or 
 take it out entirely. 
 
 The subject demands justice, the picture is to please, 
 and if the lighting is beautifully done, it adds many 
 fold to the image. If lights are not properly placed, 
 they should be remedied : lighting should also often be 
 modified. 
 
 7th. Because expression is to be changed some- 
 times. How often, only too often, the operator pays too 
 little attention to the very important artistic quality, 
 exj^ession ; seemingly to be content with simply the 
 physiognomy of the face, regardless of expression, 
 further than a pleasant look, if even that. How little a 
 picture really contains if lacking in expression. Rem- 
 brandt's fame (one of the most renowned artists) v/as 
 due much to the marvelous expressions in his paint- 
 ings. He has given to the world and to photography 
 much. If photographers would but study the masters, 
 more would be accomplished. They knew expression 
 and how to interpret it. 
 
 The eye is the seat of expression. What the soul 
 
ARTISTIC RETOUCHING. 25 
 
 feels the eye shows. Stop a moment and watch a 
 friend while talking ; notice the varied expressions even 
 in a moment's time. The world is filled with grand 
 expressions from nature's own hands, if the artist 
 would but get them. So often the mouth has a forced 
 look or smile, or a "look pleasant" expression, while 
 the eye is blank. Get the expression in the eye and 
 the mouth will take care of itself. In a forced expres- 
 sion of anger, the forehead contains a deep frown and 
 quite knit together, the fire in the eye is lacking how- 
 ever, and the mouth or lower part of the face is quite 
 placid. The expression must come from within. There 
 is perfect harmony over the whole face in a natural ex- 
 pression if this expression comes from within. 
 
 From the above, the reasons for retouching are 
 many. The retoucher has come and come to stay, but 
 science in the future may reduce the amount of re- 
 touching. 
 
26 ARTISTIC RETOUCHING. 
 
 CHAPTER VII. 
 
 LITTLE THINGS. 
 
 OINCE the necessity for retouching has been dis- 
 *^ cussed, the drawbacks of an unskilled retoucher 
 may be considered. It is the extremist, or the one 
 without feeling or regard for expression, drawing or 
 physiognomy, who aims simply at making the nega- 
 tive perfectly smooth all over. Nothing can be more 
 appalling than to produce a negative which seems 
 almost faultless chemically and artistically and have it 
 ruined by a retoucher. This is a tale only too often that 
 must be grievously told. No wonder the artist and the 
 public decry retouching. Such a retoucher succeeds in 
 effacing all traces of character and generally treats all 
 faces and all ages alike. Before retouching a nega- 
 tive, study it carefully as a whole ; then the parts as a 
 whole; then the parts in relation to the parts of the 
 whole negative. 
 
 In the first place, be strongly impressed with the fact 
 that a negative artistically and beautifully retouched 
 requires as little lead as possible to accomplish the pur- 
 pose. No amount of work can make the negative as 
 beautiful as that part that is already perfect. Nega- 
 tives of small children are too often ruined by over- 
 doing. Here, in the sweetness of expression, the subtle 
 lines are so easily marred and would have been much 
 better if left alone, except, perhaps, for a few freckles 
 or a little blending. In the aged, too often grand 
 
I 
 
ARTISTIC RETOUCHING. 27 
 
 character is destroyed, better to have left ahiiost un- 
 touched. 
 
 Retouching is made up of httle things, a Httle mod- 
 ehng here, blending there, softening a line, bringing 
 out a muscle or a prominence here or a feature there. 
 The image is in the negative but in its imperfections. 
 It's on the same general principle as a sculptor whose 
 image is carved from the block of marble or clay, ready 
 for the finishing touches. Thus the retoucher deals 
 with texture, form and color. He perfects while at the 
 same time keeps the likeness or aspect of the person; 
 finishing the work of the posing, lighting or what not of 
 the imperfect negative. 
 
 The stroke might now be considered : now that the 
 negative has been prepared with medium, the pencil 
 sharpened, the negative placed in the retouching desk 
 and the necessity for retouching discussed. 
 
 There are several good systems of retouching, viz., 
 the French or the curve stroke, ( ^ ( ^ ^ ; the English or 
 the straight line, !■'"; the German or the cross-hatch, 
 ^^ ; and the American or the hook, f/^Pf The cir- 
 cular movement is used by some, lifting the pencil only 
 occasionally, but this necessitates of putting lead on the 
 plate where not needed. The dot system is used by 
 some. This lacks breadth of work, giving a decided 
 "finicky" result. From experience the writer has 
 found the curve stroke to give the finest result, ad- 
 justing the form of the stroke to the imperfection. It is 
 the most beautiful and artistic line in nature; it coin- 
 cides more with the curves of the face, no face, how- 
 ever, angular, but tends to curves ; it cuts up the im- 
 perfections better, with fewer strokes. Some use any 
 kind of a stroke, good method also. 
 
28 ARTISTIC RETOUCHING. 
 
 The first^tep in retouching is to remove the trans- 
 parent spots or transparencies caused by freckles and 
 the hke, by a little accent mark or touch. Do this 
 firmly and freely to remove with as few touches as pos- 
 sible to produce a looseness. Avoid a filling-up process, 
 of placing a number of little strokes where one or two 
 would suffice. Place the accent touches (not dots) 
 firmly enough to bring the transparency up in tone to 
 the surrounding color where the imperfections lay. Get 
 the minor imperfections out of the way, those that have 
 nothing to do with the modeling. Take out all the 
 transparencies that interfere with the regularity of the 
 work or skin texture, being careful not to be too precise 
 in trifles. Cut up the imperfections and not fill up. 
 
 For a beginner these imperfections may be taken 
 out all over the face to acquaint himself with pencil 
 and negative, leading the eye to see the other imper- 
 fections which are not visible at first. The imperfec- 
 tions to be looked for next are the larger light places 
 which are all shapes and sizes and give a mottled 
 effect to the skin. These imperfections are the little 
 shadows, etc., mentioned before; they give a clouded 
 effect and for convenience sake may be called "clouds." 
 
 Here the curved stroke comes into play if perchance 
 this system is used. In removing these, place the 
 stroke in the direction in which t'ne cloud lays the 
 longest, whatever that direction. At first work slowly, 
 every stroke is either right or wrong, either adds to 
 or takes from the value of the work. The conclusion 
 is each stroke is a study. After the first stroke is 
 placed, what is left of the imperfection (if that stroke 
 was made the right weight), the rest of the cloud will 
 
ARTISTIC RETOUCHING. 29 
 
 suggest the direction of the next stroke. Never think 
 of whether one stroke should cross another or not, 
 simply look for the place where the imperfection sug- 
 gests the place or direction of the next stroke. The 
 weight of these strokes should be heavy or light enough 
 to make the imperfection meet the color that surrounds 
 the imperfection, whether it lay in a high-light, half- 
 tone or shadow. It is not the stroke itself that should 
 be seen, but the effect of the stroke. Sometimes an im- 
 perfection is narrow and straight, use then a straight 
 stroke. 
 
 The student should be patient, for it is quality, not 
 quantity that is wanted. One stroke made in a wrong 
 place makes more work, this leads to over-doing at- 
 once. This is almost unavoidable at first, a student 
 works all over to learn to know what to leave out. 
 He must or does do too much to know how to do only 
 what and where it is necessary. Some retouchers re- 
 touch with more labor than others. That has its in- 
 fluence on the appearance of the work. Learn to work 
 but play with the work, in other words, work carefully 
 careless or with ease, this leaving its result, an artis- 
 tic result. This method cannot be followed at first. 
 
 The student may make progress and yet not know 
 wherein it lies ; the eye perhaps can detect imperfec- 
 tions quicker ; the stroke is probably placed to better ad- 
 vantage or with better weight. One of the greatest 
 essentials is to study; for the retoucher deals with form 
 in the imperfections and all. Study the imperfections, 
 train the eye as to their separate and distinct forms, 
 then adapt the stroke to the imperfections. In using 
 the curved stroke, some may be more curved than 
 
30 ARTISTIC RETOUCHING. 
 
 others according to the imperfections : some places are 
 such that only a straight stroke is desirable. 
 
 Removing of transparencies, clouds are visible and 
 simplified; removing of the clouds, large clouds_are 
 visible ; removing of these pulls the work together : 
 the strokes becoming longer as the work proceeds, the 
 conclusion is, less work is needed. Take out trans- 
 parencies only such that interfere with the general 
 effect, then take out the mottled places and let natural 
 skin texture become perfected, letting the work blend 
 into and be a part of the original flesh, instead of 
 manufacturing it. Too much lead is wholly devoid of 
 real natural beauty. Study nature and its effects, ad- 
 here to her, for in this lies the secret of all true artistic 
 results. 
 
ARTISTIC RETOUCHING. 31 
 
 CHAPTER VIII. 
 
 TEXTURE). 
 
 There are two kinds of retouching, the mechanical 
 and the artistic. The latter retouching is principally 
 a remedy for the faults of the scientific and photo- 
 graphic manipulations of photography, the mechanical 
 is usually the result of working for a "stipple" or grain. 
 The end and aim of such is to obtain a certain kind of 
 grain effect, more attention being paid to that (a desire 
 to please a "fancy") than to the artistic quality of the 
 flesh technique or character. A stipple gives a harder 
 feeling to the flesh ; this same stipple being carried all 
 over the face almost alike in quality without regard 
 to perspective or atmosphere. A natural effect pro- 
 duced by clearing up the negative gives a natural skin 
 texture. This natural texture gives more of a soft 
 flesh effect. One of the finest qualities in a painting is 
 w^here flesh looks like flesh. This is obtained not by 
 using stroke upon stroke or stroke by stroke with 
 brush, but by doing the work with as few touches as 
 possible. This gives a looseness, a freshness and a 
 life to the face which is obtained in no other way. In 
 this lies the difference between an artist and an ama- 
 teur in art. This quality that is gotten by ease and 
 freedom must be gained by education, by true feeling. 
 It otherwise looks labored. 
 
 A Swedish artist was known to have received 
 $4,000 for a painting he did in two hours. He knew 
 the value of every stroke of his brush, placed it on 
 
32 ARTISTIC RETOUCHING. 
 
 canvas and the result was grand. It possessed a lu- 
 minous, clear, clean atmospheric effect he could not 
 have gotten had he used many strokes. This may 
 seem an extreme case, but it is full of truth and the 
 result was full of artistic effects. Retouching, to be at 
 all artistic, must be on the same general principles. 
 Every stroke in retouching has its place and no other 
 place will do quite as well. Each stroke should count 
 for itself ; each should be made to give its own desired 
 effect. The effect, not the strokes themselves, should 
 be seen. If one stroke could have accomplished a pur- 
 pose (and if not the right weight), and two or three 
 are used instead, this result can never be as artistic as 
 it would have been had but one been used. Too many 
 strokes produce a hardness ; too many and jiiade too 
 lightly produce a tightness, giving more a marble or 
 plaster-cast effect. Too short a stroke necessitates a 
 greater number of strokes, making the work look 
 harder and is more of the order of niggling; the 
 broader, freer, looser flesh effect is also destroyed more 
 or less. 
 
 The direction of the stroke should be in the direc- 
 |l I tion in which the imperfection or cloud lays the longest, 
 ' * whatever that direction. It is the placing of the 
 stroke in the varied directions that produces the true 
 skin effect. Consider for a moment the negative. The 
 image is there, the flesh is there, but imperfectly, not 
 altogether imperfectly from the skin's imperfections, 
 but also from the fault of the reasons described before. 
 These imperfections give a softness to the skin which 
 would not exist were the effect of the skin in the plate 
 perfectly smooth. The effect of the skin is there but 
 
ARTISTIC RETOUCHING. 33 
 
 imperfectly, this being the case, it stands to reason that 
 the strokes should be made as the imperfections exist. 
 A more natural skin effect will be produced if this is 
 followed, for it therefore requires less lead, and less 
 lead produces a looseness and freshness which produces 
 a naturalness which means more life. 
 
 Why a grain at all? It is often said, "The flesh 
 itself does not possess such a grain," and it is true ; but 
 truthfully speaking, it is not such intention. The plate 
 does not depict the pores of the skin ; occasionally a 
 negative possesses a spot in the skin on the cheek 
 or forehead where the actual pores are depicted with 
 such minuteness, but this only occurs in very porous 
 faces and a sharply focused negative, but notice, it is 
 only in a spot or two on the face so depicted. Notice 
 there nature's regularity of the pores of the skin. 
 Nature has a tendency to regularity or uniformity. It 
 is this porous effect in the skin in nature that gives a 
 softness, a carrying quality for distance. The skin 
 itself if it were not porous would look harder. 
 
 The beauty of nature is in its effects. How many 
 of the grandest paintings are not at all inviting to be 
 examined at close range, but the effect at a proper dis- 
 tance is marvelous. This same principle may be re- 
 ferred to retouching. This looseness, softness is for a 
 purpose, not to represent the pores of the skin, but a 
 looseness and softness to give a flesh effect that will 
 carry itself in the photograph at the natural viewing 
 distance. During the past and present a grain or 
 stipple effect has been carried to a coarseness, farther 
 than is necessary or even called for. Of later 3'ears 
 by the extremes of the past, many of the finest photo- 
 
34 ARTISTIC RETOUCHING. 
 
 graphic artists are doing only as little work as possi- 
 ble, the effect is grand beyond question, more natural 
 and not so artificial. 
 
 The beginner, beyond a doubt, puts on a great deal 
 more work than is necessary. He has not learned the 
 right weight of touch for each spot, the right direction, 
 the right place nor the right length of stroke. This 
 all means more than the student will realize at first, 
 and not until these different steps are fully realized 
 will they be understood. It takes a certain amount 
 of time to acquire it. It cannot be forced. The eye 
 must be trained to see the imperfections, must see the 
 imperfections in their true forms to be able to give 
 placement and direction of stroke properly. Then the 
 hand must be trained to do the work with surety and 
 freedom, each with proper weight, length, direction 
 and placement. It is extremely necessary that the stu- 
 dent work slowly, for the reason the eye cannot see 
 perfectly at a glance what the hand perhaps could do. 
 The direction of the stroke after the imperfections are 
 removed is governed also by the direction of the mus- 
 cles in the face. This will be spoken of at greater 
 length under another topic, Modeling. 
 
 One of the hardest things to accomplish for a be- 
 ginner is to get the work to appear as tho it was part 
 of the on^iim/^skin itself and not laid on top of the 
 skin. Never work for a grain or texture ; put all atten- 
 tion to the stroke, its placement, weight, direction, 
 length, and the texture will take care of itself. The one 
 who pays all attention to the grain or stipple effect and 
 particularly if done with short strokes often obtains 
 work more as tho it was on top of the skin. To make 
 
ARTISTIC RtlTOUCHING. 35 
 
 the work look as tho it was a part of the skin, make the 
 strokes in the varied lengths according to the length of 
 the TrnpeHectlons^nd'nTe^vmglit t^^ imperfections 
 
 will be raisedT to meet the color that surrounds the 
 imperfection and no more. If strokes are made heavier 
 and the imperfection is raised in tone then it immedi- 
 ately requires more work to clear the negative. This 
 at once makes the retouching appear to be on top of the 
 skin. Too many strokes force the work to be laid on 
 top of the skin. Strokes in wrong places add more 
 work also. This all is a very important factor to ar- 
 tistic retouching ; in it lies the true feeling of the flesh. 
 Here lies one difference between the professional and 
 the amateur or between the artistic and the mechanical. 
 At first much more attention should be paid to the 
 stroke as to its weight, length, direction and place than 
 anything else, for without this no modeling is possible. 
 
 The first difficulty will be too heavv a stroke , with 
 the use of a harder pencil this will be overcome sooner. 
 Usually after trying to make a lighter stroke, the 
 stroke becomes too light and too many will have to be 
 made to obtain the result. This is not a bad failing for 
 a beginner, because when a real light touch is needed 
 it can be accomplished. It is also the greatest trainer 
 of the hand. It_^is_ver3r__necessary to have a gra- 
 dation oi weight of stroke. By this is meant if an 
 imperfection needs a heavier stroke it can be made, 
 the same of a moderate or a very light. 
 
 Take for instance a space the size of a small finger 
 nail ; in this space there may be many varied weights 
 of touches to accomplish the work properly, according 
 to the imperfections whether very distinct or faint. 
 
36 ARTISTIC RETOUCHING. 
 
 If this gradation of weight of touch is not accom- 
 plished, the negative must have more work than is 
 necessary to clear it, giving a very undesirable effect. 
 Another very important reason for acquiring a grada- 
 tion of weight is because of the gradations of the nega- 
 tive. The weight of touch should vary with every 
 change of tint, also. High-lights, half-tones and 
 shadows require different weights of touches, and ac- 
 cording to their intensity. Shadows requiring lighter 
 touches than the half-tones, the latter requiring lighter 
 touches than the high-lights. To obtain a softer, cleaner 
 effect, make the stroke itself of an even weight, avoid- 
 ing the result of having one end of the stroke heavier 
 than the other. This uneven weight causes little black 
 spots. Jerking the strokes also causes one end to be 
 heavier than the other. 
 
 Dense negatives as a whole require heavier strokes 
 than thin negatives. At first the student will cause the 
 negative to become glazed in places by repeated strokes. 
 Reflow the negative with medium or breathe a warm 
 breath on the place, or dot the place with a needle 
 etcher to roughen the film. 
 
 The length of the stroke should be according to the 
 length of the imperfection, but should a blemish exist 
 quite large, good judgment must be used as to its 
 length. Always avoid extremes. 
 
 Supposing it the aim of the retoucher to acquire a 
 natural effect produced only by using no more strokes 
 than is necessary, the coarseness or fineness of the 
 texture of the skin may now be considered of the dif- 
 ferent ages of individuals and sizes of negatives. A 
 child's face possesses a purer, clearer and more deli- 
 
Profile retouched properly. 
 
ARTISTIC RETOUCHING. 37 
 
 cate skin, therefore the work should be done more 
 dehcately, very little work is necessary because so free 
 from blemishes. Avoid destroying by much work, the 
 delicate, soft subtleness of a child's face, better leave 
 it alone. Then there is the boy or girl whose com- 
 plexion is still beautiful but somewhat more imperfect, 
 requiring little more work and somewhat coarser. The 
 grown young people require the most work, here 
 vanity is at its pitch and the imperfections are more in 
 evidence. The delicacy of childhood's complexion has 
 changed more to a firmer, coarser, harder skin, but yet 
 soft. The texture should be coarser, that of a woman 
 finer than of a man ; of a girl than of a boy ; the aged, 
 stronger in texture still ; may, however be better if left 
 untouched, especially in an elderly man ; that of a large 
 head, much coarser than of a small head. This will be 
 dealt with at greater length elsewhere. 
 
 For a beginner to know how to cut up the work, 
 how to clear up to get the size of texture for each face 
 whether coarser or finer is difficult. This comes thru 
 experience and feeling ; examine the negative more as a 
 whole. The texture is most in evidence in the half- 
 lights and half-shadows. In the high-lights the pores 
 or imperfections of the skin are swallowed up by the 
 light falling directly or at right angles in these places. 
 On the rest of the face the light falls on the diflferent 
 parts at a slant. The shadows also contain less tex- 
 ture, because shadow tends to bury or hide detail. Ac- 
 cording to the law of perspective, there is less positive- 
 ness of texture there, which is explained in the next 
 chapter. 
 
 In any material containing high-lights, half-tones 
 
38 ARTISTIC RETOUCHING. 
 
 and shadows, the half-tones contain the true color of 
 the material, while the high-lights and shadows bury 
 and hide its true color, very much the same with 
 reference to its texture also. Everything existing has 
 a texture of its own, wood, glass, leaves, cloth, flesh 
 and so on ; and in representing these produce their 
 effects and not minutely their true natural texture, 
 which would be impossible in the very effort itself. 
 Get the appearance of things. 
 
ARTISTIC RETOUCHING. 39 
 
 CHAPTER IX. 
 PERSPECTIVE. 
 
 jVJ OW as to the difference of the skin texture in dif- 
 ferent parts of the face. There are three very 
 important reasons why the centre of the face has the 
 coarsest texture or skin grain. First, it is naturally so. 
 The sides of the face, the parts of the forehead that go 
 back near the hair, the temples, and around the chin 
 have naturally finer pores and the blemishes are not as 
 great in size and number, ,2nd. In a three-quarter 
 view or full view of the face, it is the centre of focus 
 and is sharper and more distinct. 3rd. It is nearer in 
 perspective. 
 
 Perspective is a very important element in pho- 
 tography as well as art. Art cannot get along without 
 it, neither can photography to be artistic. It is the first 
 thing sought after by the artist. Perspective is not 
 distance alone in the full sense of the word. Looking 
 down the railroad track, the parallel rails of the track 
 apparently seem to be coming together in the distance. 
 The telegraph poles do likewise. There is a converging 
 of all things toward a centre. The face of a friend 
 may be recognizable a few yards away, at a hundred 
 yards the features may be seen, not clearly enough for 
 recognition ; at half a mile he is recognizable as a man ; 
 a mile he is but a patch or spot. All this is perspective ; 
 but only one feature of it — linear perspective. It is 
 the decreasing in size of objects as the distance in- 
 creases. 
 
40 ARTISTIC RETOUCHING. 
 
 There is another very important feature in per- 
 spective, the indistinctness and blurring of objects as 
 they diminish in size. In the above, in the illustration 
 of the man as the distance is increased from the point of 
 the viewer, the less distinct he became, the less sharp in 
 line, feature and contour ; in other words, he became 
 more of a blurred object as distance increased, scarely 
 recognizable from any other object. 
 
 The tendency is not to bring out in art or pho- 
 tography the man at any distance as the man appears in 
 the landscape ; but to get him sharp wherever he is in 
 the scene as he is known to be in reality at closer range. 
 This is a serious mistake. While the figure decreases 
 in size, it fails to recede or hold itself in atmosphere, 
 because of minuteness of detail, which is such a cry 
 among photographers or even among some artists. 
 The appearance of air or atmosphere is destroyed. A 
 knowledge of technique or detail, seeing things too 
 minutely, blinds us to art truth. As objects recede or 
 go away, they diminsh in size and fade away in dis- 
 tinctness, until at last lost altogether. 
 
 This element of perspective is very important to 
 artistic retouching. Those parts of the face that 
 recede or go away from the centre of the face, or those 
 parts that are away in perspective, as the sides of the 
 face, temples, forehead toward the hair, and chin, the 
 pores of the skin at these places appear smaller and 
 less distinct because of the law of perspective. It is 
 wonderful how nature has played such a good part 
 with reference to the face to produce perspective by 
 arranging the pores of the skin in the centre of the 
 face the strongest. This diminishing in size and be- 
 
ARTISTIC RETOUCHING. 41 
 
 coming less distinct from point of view renders a nat- 
 ural softness, renders more atmosphere as this softness 
 is carried into effect ; as these parts of the face go back 
 in perspective from the centre. Nature has itself 
 helped on in itself this perspective, notwithstanding the 
 effect that is produced from the law of perspective in 
 itself alone. 
 
 The above being facts with reference to pores, and 
 since it is that the artistic retoucher is not trying 
 to represent pores, but a looseness, a softness to keep 
 a flesh likeness in his productions, keeping such 
 by simply clearing the negative of its imperfections ; 
 these things should be taken into strong consideration 
 to produce the effect of the skin with reference to 
 these truths. It is not minuteness, but art futh that is 
 wanted. What beautiful and natural results could be 
 produced in photography if the lens did not see nature 
 too minutely. Not so the case of the lens alone, but it 
 is strongly human nature to see too minutely also. 
 The untrained eye does not see nature as soft and 
 atmospheric as nature is itself. It sees nature as if in 
 close proximity as objects are known to be at close 
 range; a knowledge of things as they are and not as 
 they appear enveloped in atmosphere. 
 
 In a profile where the light falls strongest on the 
 cheek in front of the ear, leaving the front of the face in 
 shadow, or a plain light profile, the strongest texture 
 is in and around the light, while the front of the face, 
 the nose, the front of the forehead and the cheek 
 below the eye, etc., the texture is finer because of the 
 texture being buried or somewhat hidden in lower 
 tones ; and according to the law of perspective, these 
 
42 ARTISTIC RETOUCHING. 
 
 places go away in perspective. To make the texture 
 as strong here as in the Hght is to flatten, is to bring 
 the texture as far forward as on the cheek, thereby 
 helping to lose true form. Always start on that part 
 of the negative that is to be kept forward in perspective 
 so that the work on the parts that go back, the true 
 feeling, modeling, atmosphere, roundness or perspec- 
 tive may be properly kept. 
 
ARTISTIC RETOUCHING. 43 
 
 CHAPTER X. 
 
 DIFFICULTIES AND IMPERFECTIONS. 
 
 T"* HE different qualities of the negative as to sharp- 
 ness may be considered. Sharpness in focusing 
 quite strongly to the front and a small diaphragm used 
 is a harder negative to retouch, and if many imperfec- 
 tions exist, such as freckles and the like, especially if 
 under-timed, is a very distressing negative to retouch. 
 In an under-timed the image has not had time enough 
 to let the warmer tones act upon the sensitive emul- 
 sion to bring these colors in relative intensity to the 
 other tones, producing a harsh and hard effect. Each 
 imperfection is sharply defined in outline, making much 
 more retouching. Longer exposure saves retouching // j 
 and gives softer effects. This is why so many pho- 
 tographers over-time and over-develop. A well-timed 
 negative gives the best result and is easiest to retouch. 
 Strong illumination makes more retouching. 
 
 Skins that contain freckles and the like require 
 more retouching. The operator can overcome some 
 of this by having the subject wash his face in warm 
 water, rubbing it to create a harmony of color tones 
 all over the face. Application of powder and longer 
 exposure also aids the harmony of tones. 
 
 In some negatives, every imperfection lies more in 
 suggestion and is more difficult for a beginner, but 
 making beautiful negatives to handle for the profes- 
 sional. Sharper focused negatives are best for be- 
 ginners, as the imperfections are more distinct, more 
 
44 ARTISTIC RETOUCHING. 
 
 easily discerned. In an out-of-focus negative the be- 
 ginner will find it difficult to get rid of some of this in- 
 distinctness. It can be accomplished with a firmer 
 and bolder stroke, making every stroke count. 
 
 There are imperfections more or less in every nega- 
 tive and when they are only in suggestion, they are a 
 blessing to the picture if properly handled; giving an 
 artistic quality to the picture if strokes are made with 
 regard to right weight, length, direction and place- 
 ment. Stroke out each imperfection until it loses itself 
 and becomes an effect. This effect requires a certain 
 decisiveness to produce life which was destroyed by 
 injudicious timing, perhaps, lighting or developing. 
 This retouching can make the negative a grander suc- 
 cess by this work if rightly done. Retouching has its 
 grand qualities, but only by a first-class workman, who 
 understands the higher and artistic qualifications neces- 
 sary. Keep retouching luminous, not load it up by 
 much work, which only produces a dead effect. 
 
 The color of the negative has much bearing on re- 
 touching, if the negatives are of the extremes in color 
 especially. A very thin, grey negative, particularly of 
 a shadow lighting, if work is required in that shadow, 
 more work is necessary, because every stroke that is 
 made has its intensity (if even lightly done), com- 
 pared with the surrounding clearness or transparency 
 of the shadow, that when printed shows every stroke 
 that is made instead of its effect. The consequence 
 is the whole shadow must be worked all over so the 
 strokes become an eft'ect in relation of one to the 
 other ; bringing the shadow to the intensity of the effect 
 the stroke has on the transparency of the shadow. This 
 is only true of very thin, grey negatives in shadow. 
 
Drawing showing modeling. 
 
ARTISTIC RETOUCHING. 45 
 
 On the other hand, the retouching of an intense 
 negative with a great deal of color requires very careful 
 work, because of its slow printing qualities, having time 
 to pick out each little mark or stroke with minuteness, 
 showing everything in the print. The negative best for 
 retouching is the one that possesses fine printing quali- 
 ties. Such a negative to the writer is one containing 
 an olive tone. A negative possessing more color and of 
 an intensity has more of a tooth to the gelatine film ; 
 the pencil taking easier; the yellow having some effect 
 on the emulsion, making the pores more granular, while 
 the colder tone negative possesses a smoother, closer, 
 tighter grain. A first-class retoucher understands the 
 printing qualities of the different colors and intensi- 
 ties of negatives ; thereby knowing the balance of 
 light and shade, the printing qualities of each negative 
 and what to do, which leads to the heading of the next 
 chapter. 
 
 The illustration following shows the direction of the 
 strokes where extra modeling is necessary. This being 
 a free-hand drawing, shows the modeling of every 
 part, which is not necessary, however, in the retouching 
 of a negative. The drawing showing the anatomy may 
 be an assistance to prevent over-doing, a clearer un- 
 derstanding may be acquired of the true form of the 
 head by its acquaintance. To use nature as a supreme 
 example is of the highest importance. Thus the 
 grandest resudts have been attained by artists and pho- 
 tographers who have walked close by her side. So 
 the retoucher, to preserve nature must understand her, 
 and touch only those places that really could be per- 
 fected without destroying her true character. 
 
46 ARTISTIC RETOUCHING. 
 
 CHAPTER XL 
 
 MODKUNG. 
 
 jVI OW that the student has become quite acquainted 
 with the stroke, the most important part of re- 
 touching may come under consideration, namely, mod- 
 ehng. To a sculptor, modeling is shaping, or forming 
 out of clay or marble the hidden image ; to an artist, it 
 is to shape or form with strokes of the brush the 
 image on canvas ; to the retoucher the image is already 
 there, but imperfectly in the negative state to be per- 
 fected for the positive, the picture — image. 
 
 To the retoucher, modeling is shaping or forming, 
 not alone that, but keeping what is already in the nega- 
 tive. The former part of the definition means very 
 clever workmanship, to be able to change or form any 
 feature necessary. This can be done and grandly. It is 
 certainly an evidence of the highest ability as a re- 
 toucher. Then again, fully as much stress should be 
 paid to the latter part of the definition, keeping what is 
 already in the negative, which is without question also 
 an evidence of the highest ability. The most of the 
 [modeling and the best modeling is often done simply 
 [in the clearing up of the imperfections and no more. 
 It takes a most able retoucher to keep from destroying 
 the most delicate of delicate modeling of any of the fea- 
 tures the image already possesses. 
 
 Each feature of the face contains curves, no matter 
 how sharply featured a face may be, it tends to curves 
 or roimdness. In these curves are countless undis- 
 
ARTISTIC RETOUCHING. 4? 
 
 tinguishable gradations to be left alone and no one 
 but those skilled in retouching can preserve these. 
 These conditions exist in a well-lighted, well-exposed 
 and a well-developed negative. Notice the forehead, 
 the cheek, the nose, the lip, the chin, nothing but a 
 continuation of curves ; not even a square inch without 
 a curve or a slight curve. 
 
 One of the most important steps in modeling is to 
 start retouching from the high-lights and work down 
 into the lower tones, the half-tones or shadows, or both, 
 whatever that lower tone is that surrounds that high- 
 light. By starting from the upper pitch or higher key, 
 the retoucher can hold together or bind together the 
 gradations in their relative values, one with the other. 
 A piano-tuner starts with a pitch and brings all other 
 notes in true values or harmony, so the retoucher must 
 start with a key to bind all tones together to produce 
 harmony. 
 
 The highest light on the face is on the nose or 
 forehead, depending on the shape, condition or color of 
 these respective features. If the nose is large and pro- 
 nounced, this light is probably the highest, bringing 
 that feature into prominence. If the forehead is large 
 and possesses strong prominences, then the forehead 
 may contain the highest light. The conditions of the 
 skin with reference to oilyness or color has its effects. 
 Oily skins reflect more light, accentuating the high- 
 lights beyond true relation of tones. Sometimes in 
 different parts of the face, the skin is whiter, possess- 
 ing more of the cool tones ; in the ordinary plate these 
 chemical rays of light affect the plate more than the 
 surrounding warm tones. The result is this feature 
 
48 ARTISTIC RETOUCHING. 
 
 may possess the highest light, this often occurs with the 
 forehead. 
 
 The retoucher must take into consideration the 
 shape of the features together as a whole and place or 
 preserve the highest light where the face has its highest 
 claim. There can be no positive rule as to where this 
 highest light should be, because of the varied shapes 
 of the features in different faces. 
 
 In plain lighting three-quarter view of the face, one 
 side is well lighted while the other is in shadow or 
 nearly so; supposing a 45° angle source of light is 
 used, this light giving character with roundness. With 
 this lighting, one of the highest points is on the fore- 
 head, one on the cheek, a light running down on the 
 bridge of the nose, a lower light on the upper lip, and 
 another on the chin. Compare the light on the lip and 
 chin with the light on the light side of the face and 
 not with the light on the shadow side. The shadow 
 has a light or a suggestion of a light ; this light even 
 at its brightest is lower in tone than the cheek in the 
 light, this adds to true roundness or perspective. Every 
 object possesses its highest light and its deepest 
 shadow, the gradations between these two points should 
 be well preserved in their proper values ; the highest 
 half-shadow being darker than the lowest tone of 
 direct-light, or half-light. The modeling of the respec- 
 tive parts of these may now be considered. Model with 
 values of light and shade and natural color. 
 
 To become a most efficient retoucher, one must 
 )iavg an idea : then work all things together to accom- 
 plish this idea ; for even a few ill-guided strokes may 
 change an effect or a grand expression. 
 
ARTISTIC RETOUCHING. 49 
 
 CHAPTER XII. 
 
 THE FOREHEAD. 
 
 T N RETOUCHING each feature, finish as the work 
 * proceeds , avoid scattering the work, pull together 
 each part, then all parts into one. Consider well, study 
 the technique, modeling and the artistic qualities ; 
 always remembering it is well to know when to stop. 
 
 No two foreheads are alike in form ; the skulls of 
 races and nations also differ widely in form ; wherein 
 these differences occur, there is just the differences of 
 character. In this lies the characteristics of each race, 
 indicating the great intellectual powers, strong moral 
 character, spiritual feelings, the power of ideality or 
 conscientousness. As these differences exist among 
 races, individuals of the same race also differ in abili- 
 ties and characteristics. The cranium of each indi- 
 vidual has its elevations and depressions which indi- 
 cate to a great extent, if not all, the intellectual and 
 moral character of the man. If this were not true, why 
 this difference of character, disposition and abilities? 
 
 This being the case, why round out all foreheads 
 alike? Notice the beauty in the succession of curves 
 produced by the elevations and depressions, how it 
 curves upward and backward to the hair and on each 
 side too, at the temples, a continuation of beautiful 
 curves, no flat places existing. 
 
 There is no part of the face that is as much in repose 
 as the forehead. In talking, singing, thinking, eating 
 or what not, the features are in action, in harmony with 
 
50 ARTISTIC RETOUCHING. 
 
 what is being done, but by looking at the forehead, it 
 is not very often that we could tell the expression. 
 The forehead proper is more the individual all the 
 time; the rest of the features change according to the 
 thots and actions. An individual may, however, pos- 
 sess a beautiful forehead, but having made poor use of 
 his opportunities or abilities, possesses not the intellect 
 or character of one lacking in grandeur of appearance 
 of forehead, but having spent his years in profit. 
 
 The intellect is a part of the character, character is 
 the individual. It is the face that stamps the char- 
 acter. Since the forehead is typical of the man and 
 the features designate more the man's thots and actions 
 during life, each must be handled with great care and 
 thot. Some foreheads are low and receding, some are 
 broad, others are high and straight. 
 
 In the three-quarter view of the face, plain light, 
 there are usually four elevations in the forehead, the 
 two nearest the source of illumination contain the 
 highest light, either the one above the eye-brow or the 
 one above that. To retouch the forehead, begin with 
 the highest light, clear it up of its transparencies, then 
 the Tmperfectiorfs, or clouds, handling these as de- 
 scribed before, working over half way into the half- 
 tone toward the next highest, then stop; now start in 
 the next highest light, work in the same way, meeting 
 or blending where the work was stopped before. In 
 this manner true modeling may be preserved. From 
 there work over half way toward the next high light, 
 theri_stop ; start with that light and continue in this way 
 'till the modeling is complete, being careful to blend 
 nicely into the shadow. The light here usually ends 
 
ARTISTIC RETOUCHING. 51 
 
 quite abruptly, soften this to complete the curve of the 
 forehead, great care not to destroy the depth of 
 shadow. Do not over-model, it makes the forehead 
 appear boneless. Preserve the anatomy as well as the 
 physiognomy. On the other side of the forehead, work 
 down into the temple and stop, preserving the true 
 form of the temple. Supposing that the true character 
 of the forehead has been carefully kept, sit well back 
 and examine the forehead as a whole, the parts in re- 
 lation to each other, then put on the finishing touches 
 if there are any. 
 
 Study carefully the length, placement and direction 
 of stroke described in another chapter. In the finishing 
 touches the strokes may be made the longest, pulling or 
 binding the parts together. Very often all the modeling 
 is completed when the imperfections are removed, with- 
 out any more strokes. If, after all the imperfections 
 are removed and there is any more modeling to be done, 
 if any abruptness occurs between the high light and 
 half-tone or shadow, model with strokes made in the 
 direction in which the muscles run. 
 
 A retoucher should thoroughly acquaint himself 
 with the drawing of the facial muscles. The changes 
 of expression are due to the changes of the muscles. 
 The accompanying chart contains the leading muscles, 
 only those that influence the retoucher as to modeling. 
 Notice the plate also illustrates the muscles and their 
 direction showing the lights and lower tones, showing 
 what muscles receive the lights and lower tones with 
 the bony structure of the head. Notice the muscles in 
 the cheek where the light falls, how it outlines the 
 form of a beautiful lighting, then its half-tone on the 
 
52 ARTISTIC RETOUCHING. 
 
 side of the cheek and what muscles and in what direc- 
 tion they run, seeming to help the modeling of the face. 
 Notice the location that produces the hollow of the 
 cheek. Notice the direction of the muscles of the 
 forehead, chin, lips, eyes, nose and temples, how they 
 run with the tones that fall on these respective places. 
 See if there is not harmony in both ; see if it was not all 
 to form beauty. The symmetry, the harmony, the 
 working together or pulling together of effects in na- 
 ture is wonderful. 
 
 Some of the muscles and their uses are considered : 
 
 1. Occipito — frontalis. The muscle of the forehead 
 with the muscle of the back of the head unite. 
 
 2. Orbicularis palpebrarum. The muscle which 
 closeis and opens the eye. A muscle of the eyelids also 
 helps to do the same. 
 
 3. The muscles which change the form of the nose. 
 
 4. Orbicularis oris. The muscle which runs around 
 the mouth, giving action to the lips. 
 
 5. The two muscles which give action to the lips 
 also, raising the lips and the corner of the mouth. 
 
 6. Levator labii supioris. 
 
 t. Zygomaticus. The two muscles which are over 
 the cheek-bone. 
 
 8. Muscle used in laughing. 
 
 9. Sevator menti. The muscle which raises and 
 lowers the under-lip. 
 
 10. Quadratus menti. This muscle attaches itself to 
 the comer of the mouth. 
 
 11. The muscle which raises the chin. 
 
 12. Muscles of the temple. These help to raise the 
 jaws, assisting in the mastication of food, 
 
.\\/r /:.'<f:^i.i^'" 
 
 Drawing showing muscles. 
 
ARTISTIC RETOUCHING. 53 
 
 13. These muscles also assist the above muscles 
 
 (13). 
 
 14. Platysuma myoids. The great muscles which 
 cause the head to move. 
 
 Refer frequently to the muscles of the face for cor- 
 rect modeling. The artist who understands muscles 
 and their actions the best, accomplishes the highest 
 and best work. An artist must possess a knowledge of 
 the skeleton or the anatomy of the human figure, for 
 in this consists the foundation of form. It would not 
 be amiss to state that the retoucher should understand 
 anatomy, for it is positive he could do better work, 
 because retouching in reality is form. 
 
 If pastel, water-color or crayon artists took more 
 consideration of the anatomy of the human figure with 
 its muscles and their actions, there would not be so 
 much inferior work that has flooded the country. This 
 is the base of all true substantial work. A retoucher 
 has more to do with the bones and muscles than he is 
 aware of at first. A careful study of these prevents 
 overdoing or a taking out of the strength of the fea- 
 tures, such are more life-like. 
 
 The muscles of the forehead run up and down. 
 There being two sets of muscles running across over 
 the skull. If one of these contracts while the other 
 does not, premature wrinkles exist, termed transverse 
 furrows. If both muscles act in unison, then the skin 
 is stretched across the forehead tightly without 
 wrinkles. If wrinkles exist from this cause, they better 
 be removed, as they are not yet a part of the character 
 of the individual. 
 
 It will be found a little difficult to remove lines at 
 
54 ARTISTIC RETOUCHING. 
 
 first, without a little practice. Place the pencil more 
 at right angles with the negative, using straight lines 
 lengthwise of the wrinkle. Make the stroke heavy 
 immediately, heavy enough to remove the transparency 
 of the place to meet the surrounding color. By using 
 light strokes, having to go over and over, glazes the 
 negative and trouble arises. The negative sometimes 
 dries in relief, more care should be taken in their re- 
 moval. 
 
 Where wrinkles occur from character or age they 
 should be preserved, the amount preserved depends on 
 the individual. The source of light brings out more 
 and deeper lines than is usually seen in ordinary cir- 
 cumstances. The light strikes the ridge of the wrinkle 
 and this casts a shadow, the consequence the wrinkles 
 appear deeper and longer. If they exist as such, they 
 should be subordinated and shortened frorn each side. 
 Shortened especially, if they exist from one side of the 
 forehead to the other; if left long, they attract first 
 attention. If many occur remove some, especially the 
 upper and minor ones. One wrinkle should be the 
 deepest, of every line have its deepest accent placed 
 toward its centre. 
 
 Furrows running upward from the root of the 
 nose, or vertical furrows, often seen when the eye- 
 brows are contracted, should be either softened or re- 
 moved. Remove if due to a frown, but if from force 
 of character, slightly subdued is sufficient. If caused 
 by sorrow or physical pain, best to be toned down a 
 great deal, not entirely, however. It is a part of the 
 individual. Always leave the strongest part of the 
 furrow at the root of the nose, and let gradually lose 
 
ARTISTIC RETOUCHING. 55 
 
 itself in the forehead. For a beginner it is difficult to 
 see the difference between the imperfections and the 
 gradations, especially the half-tones. The best way to 
 train the eye is to stand away from the negative and 
 study the tones or forms with the proof; then look a 
 little closer and observe the imperfections in those 
 tones. 
 
 Where there is a prominence, there exists a half- 
 tone or a lower tone. These prominences are beautiful 
 and should be duly observed, but as a usual case they 
 are never in nature so strong, that in looking at the 
 individual they are the first thing that is seen, which, 
 however, can sometimes be said of a negative. The 
 one source of light and nature not taken in its true 
 values of light and shade are some of the causes of 
 this accentuation, high lights being cool, shades warm. 
 
 If high-lights are broken and irregular, caused by 
 poor lighting or by the shape of the forehead, unite ; 
 best give more simplicity, thus adding beauty and yet 
 not destroying the character. 
 
 While retouching the forehead use great care to 
 observe the definiteness and distinctiveness of its tex- 
 ture according to the law of perspective mentioned 
 before. The texture is stronger nearer the centre and 
 above the eye-brows ; then it becomes finer and less 
 distinct as the forehead recedes, approaching the hair 
 and also where it rounds off into the temples. Make 
 the strokes lighter and fewer, only making as many as 
 is positively necessary. In retouching near the eye- 
 brows, do as little as possible to avoid making a sharp 
 line on the upper edge of the brow, as this is not nature. 
 Leave original softness, and if not soft, make it so. 
 
56 ARTISTIC RETOUCHING. 
 
 The same may be said of the outline of the hair. Leave 
 no straight, hard Hnes, break up by lights or soften. 
 Observe the law of perspective as this gives the fore- 
 head its true and artistic qualities. If the hair^asts a 
 shadow on the forehead, retouch so the shadow is 
 deepest near the hair, keeping nature's effect. Destroy 
 not, for nature casts its own shadow. Keep nature's 
 simplicity, notice the breadth, strength and simplicity 
 of the forehead. How grand in its simplicity of form, 
 notwithstanding it is a continuation of curves ; the 
 strength of its bony structure also notice, and how 
 easily all this may be destroyed ; how it becomes in- 
 sipid and weak by over-work, the same may be said of 
 any feature. There is grandeur in simplicity so no- 
 ticeable in the modeling of the numerous curves, where 
 complication would seem to exist. By simplicity does 
 not mean flatness or smoothness, but with it goes posi- 
 tivenss or definiteness, strength and character. 
 
 Know what to do and do with feeling; work from 
 one high-light to another and vice versa ; pull together, 
 in doing so, take a space so that the work may be 
 pulled together, instead of holding ones self too much 
 in a little space; the latter causes more strokes and 
 shorter ones, while the former method, the imperfec- 
 tions are seen in larger forms and longer strokes may 
 be used. 
 
ARTISTIC RETOUCHING. 57 
 
 CHAPTER XIII. 
 
 THE CHEEK. 
 
 'T' HERE are as many different kinds of cheeks as 
 there are foreheads, noses, eyes, mouths and 
 chins; cheeks are round and full, angular, hollow, 
 thin and pale, soft and flabby, dimpled, rosy and 
 chubby. There are cheeks that present a less distinct 
 outline, yet not full and round, but in truth a beauti- 
 ful cheek. The hollow or angular expresses more of 
 the masculine or muscular. The form of the cheek 
 has very much to do with the beauty of the contour of 
 the face. 
 
 To keep the true modeling, observe the gradation of 
 weight of stroke as to the gradations of the cheek ; no- 
 tice that the sides of the face go away in perspective; 
 that here the texture is smaller and less distinct as it 
 rounds away farther and farther to the sides of the 
 face. 
 
 Now that the form of the cheek is studied, start in 
 the highest light, which is on the cheek-bone, removing 
 the transparencies, then the clouds or imperfections, 
 working down and each way into the next lower tones ; 
 if another and lower light exists near the labial fur- 
 row, then start from this and work toward the highest 
 light, uniting somewhat the two lights, keeping the 
 delicate modeling. After all the imperfections are re- 
 moved and more modeling is required, if a harshness 
 still exists, make the strokes in the direction in which 
 the muscles run. Study the plate on muscles. Always 
 
58 ARTISTIC RETOUCHING. 
 
 remember to do all the clearing-up with strokes in the 
 direction in which the imperfections exist the longest, 
 whatever that direction. If after the first stroke is 
 made, the rest of the imperfection will suggest the 
 direction of the next stroke and so on. 
 
 A hollow in the cheek due to color or a sunken 
 cheek from age, care or ill-health, or because of its 
 natural shape, is a great occurrence. Subdue this 
 hollow, the rest of the face will guide you as to how 
 much to soften; observe the harmony that exists in 
 nature of one feature in relation to another, also know 
 the desire of the customer. Much depends upon the 
 correct modeling of the cheek, it being a very easy mat- 
 ter to over-do a cheek already round, in fact a diffi- 
 cult (Dne to model for a beginner. Dimples are usually 
 too strongly accented, when subduing, keep their true 
 form ; in man, might be better taken out entirely as it is 
 more feminine. 
 
 The retouching of the lines under the eye, the line 
 by the nose or the labial furrow, is in fact modeling 
 part of the eye and nose. The lines under the eyes are 
 usually too strong either from the source of light or 
 color, or both. There is often seen a red or brown 
 tone which only intensifies the depth of the lines. The 
 expression is quite changed from the original and is an 
 injustice, because it takes from youth and beauty. 
 
 Every line has its accent or deepest place, according 
 to the shape of that particular line designates its place- 
 ment. Notice under the eye near the inside corner of 
 the eye, the line is the deepest. Preserve carefully. 
 Lines should be softened and shortened if necessary to 
 add beauty. Soften by starting at the ends and work 
 
ARTISTIC RETOUCHING. 59 
 
 gradually toward the accent, softening this, if neces- 
 sary, to keep harmony; doing all with a stroke in the 
 direction of the line itself, blend from the higher points 
 into the line if extra softening is necessary. The 
 stroke may be nearly straight to prevent a positive 
 grain. The stippler, or the one who works for a positive 
 grain, has as much grain effect in the character lines 
 as anywhere else in the face. This is a serious mis- 
 take. Go back to the law of perspective and atmos- 
 phere. The character lines in nature possess a finer 
 skin in themselves, more as a suggestion of pores in 
 appearance, this all naturally gives perspective and 
 atmosphere to all the parts ; something that the stippler 
 or grain worker destroys. He destroys the intangible, 
 invisible something, the something that lies in sugges- 
 tion, that makes the picture. It is in these places that 
 these artistic qualities exist to a great degree. If these 
 lines possess a grain as the surrounding parts, they are 
 clogged or loaded, veiled with a something that na- 
 ture does not possess ; something that takes out the 
 clearness or luminous qualities of the print. This 
 grain helps to bring the lines forward, out of true 
 perspective. These lines go back, are deeper or farther 
 away than their surrounding parts, such as the fore- 
 head or cheek, or they would not be lines. This is per- 
 spective, another reason why the work should rather 
 lie more in suggestion than in a positiveness as that of 
 the forehead or cheek. 
 
 In working in the lines under the eyes usually leave 
 the one immediately under the eye somewhat deeper 
 ilian the one beneath it. Do not blend them as one, a 
 separation by a little light exists often, preserve it even 
 
60 ARTISTIC RETOUCHING. 
 
 tho it is raised to keep the form. Do not fill the lines 
 till they lose their definiteness of form, a soft, delicate 
 decisiveness that exists is very easily destroyed, a single 
 stroke, or two or three strokes, may do this. If the 
 lower line runs down into the cheek, which often oc- 
 curs more especially from color (this being the dividing 
 of the lights on the cheek mentioned before), soften 
 away the line effect, but keep the gradation or delicate 
 tone, letting the line gradually taper, working up to- 
 ward the accent, but preserving it here. The sharper 
 edge of this line is its lower part from the corner of the 
 eye out. 
 
 The labid furrow or the line by the nose should be 
 delicately and thoughtfully handled also. It starts a 
 little above the side of the wing of the nose and runs 
 often down to the corner of the mouth. If it adds to 
 the face without destroying the character, the end near 
 the mouth may be blended away entirely or softened 
 at least, all depending on the character of the individ- 
 ual. Good judgment comes into play here. Keep, 
 however, its accent part near the wing of the nose. 
 Its deepest point is at that place, or should be, to add 
 beauty. In a laugh or broad smile the deepest place is 
 nearer the mouth however. Now look at the cheek 
 as a whole to see if any finishing touches are necessary, 
 preserve its many tender gradations, making strokes 
 lighter and fewer, as parts of the face go away in per- 
 spective. 
 
ARTISTIC RETOUCHING. 61 
 
 CHAPTER XIV. 
 
 THE EYE. 
 
 T^ HE eye is the life of the face. It is well termed 
 the "window of the soul." It is also the seat of 
 feminine beauty. The most delicate handling should be 
 used in its treatment. It requires the greatest of study 
 as to its form or drawing and its shades and softness. 
 We say there are no sharp lines in the face ; the edge 
 of the lids may be said to be sharply outlined, but see 
 how beautifully nature has clothed them with a soft- 
 ness by eyelashes to tone their edges. How many 
 retouchers only too sadly make dark, straight, stiff and 
 harsh lines for eyelashes, not understanding the deli- 
 cacy of nature. The eyelashes most generally lay in 
 masses, one mass here and another there, laying in a 
 suggestive way, not as separate hairs. Notice too that 
 the eye, when opened and examined, the viewer sees 
 the lashes foreshortened, and not each one out at full 
 length, the former giving an exceedingly soft and 
 beautiful natural effect. The upper eyelashes tend to 
 curve upwards, while the lower downwards. 
 
 The white of the eye is often raised to a surprising 
 pitch by the inartistic retoucher, also spoiling its 
 effect by placing a sharp line around the iris, thereby 
 destroying the simplicity and softness of outline; a 
 delicate blended effect existing between the white of 
 the eye and the iris. The pupil often loses its atmos- 
 pheric depth by making it still darker, cutting away the 
 
62 ARTISTIC RETOUCHING. 
 
 film to the glass with a knife or etching tool, which is 
 often done. 
 
 There exists sometimes a number of reflected 
 lights, usually at the opposite side from which the 
 direct light falls ; more noticeable in light eyes in the 
 iris, giving a blind or deadened eflfect if too strong. 
 These reflected lights should be subdued or removed 
 by etching. There is, however, a bright light on the 
 iris touching the pupil, on the side from which the 
 direct rays of light come. This is the high-light or 
 "catch-light." It only exists as a direct light, possess- 
 ing a great brightening efifect to the eyes. The shape 
 of these "catch-lights" is governed by the shape of the 
 aperature of the sky-light. Sometimes it starts from 
 the pupil and extends even on the white of the eye. 
 This should be reduced entirely by etching all off the 
 white of the eye and part off the iris, leaving a separa- 
 tion between the catch-light and the white of the eye 
 on the iris. The shape of this light should be round 
 or wedge shaped as the artist paints it. If the eye in 
 the shadow side of the face is at all illuminated, it will 
 also contain a catch-light. In this eye this light should 
 not be as large or as brilliant, to preserve simplicity 
 in the shadow. Detail in the lights and simplicity in 
 the shadows add strength and beauty to the whole pic- 
 ture. Eyes that extend outward, the catch lights 
 should be more subdued, large catch lights would only 
 make the eyes protrude the more. In deeper set eyes, 
 the larger and more brilliant catch lights, bring the 
 eyes more forward. Catch-lights should never seem to 
 stand out away from the eye, which occurs if too bril- 
 liant. In pale blue or gray eyes, the eyes are often 
 
ARTISTIC RETOUCHING. 63 
 
 too light, because of the chemical rays of the plate act- 
 ing more quickly on the emulsion. Such eyes should 
 not be illuminated by as strong a light, but if such ex- 
 ists the retoucher must etch down to bring back to 
 nature, which was over-done. Brown eyes, or other 
 eyes which were taken black, seemingly minus the 
 iris, pencil in the iris here or there, some parts more 
 suggestive. If the white of the eye is too high in tone, 
 also because of the color tone, reduce by etching. The 
 simplicity of the shadow is often destroyed by this 
 untruth to nature and the white of the eye stands out in 
 bold relief in contrast with the shadow. 
 
 Notice the beautiful little shadow the upper eye- 
 lid and lashes cast on the eyes. Destroy by no 
 means, it is a part of nature's beauty. The outside 
 corner of the eye where a pink or red tone exists is 
 often too dark, because of the color tone, and more so 
 by being in shadow. This tone down by straight lines 
 to place it in true relative value with the surrounding 
 tones. On the upper lid very little retouching should 
 be done, absolutely not a stroke more than is necessary 
 to preserve delicacy and softness with atmosphere. 
 Very often only a very few transparencies exist, these 
 remove. By no means attempt to produce a grain or 
 stipple, observe the perspective here. If the line above 
 the eye is too deep, which makes the eye deeply set, 
 raise, but do it with strokes lengthwise of the line. In 
 raising any deep line always make light strokes first 
 to obtain an atmospheric softness, then with heavier 
 strokes, building to where wanted. 
 
 Deep set eyes should have more illumination under 
 the sky-light. The inner corner of the eye often has 
 
64 ARTISTIC RETOUCHING. 
 
 in the print a white spot caused by moisture on the 
 duct, which being too strongly taken detracts from 
 its simpHcity and beauty, this can be reduced by etch- 
 ing. In elderly people especially, there exists also 
 some of these bright places on the under lid, from the 
 same cause, remove entirely. 
 
 In the aged the eye-brows and lids are drawn 
 toward the nose; the lids lowering and projecting; the 
 under lid also raising. Crow's feet gather at the 
 corner of the eyes either from age or a merry eye, 
 termed laughing wrinkles. These may be entirely 
 removed according to the wishes of the individual, the 
 minor ones should be entirely removed except in very 
 old age. 
 
 From childhood to youth the inner corner of the 
 eye expresses most character and also changes the 
 most ; then as years advance, the outside corner of the 
 eye is most expressive and changes the most. 
 
 Emerson says, that the eyes speak all languages; 
 they wait for no introduction ; they ask no leave of age 
 or rank; they respect neither poverty nor riches, 
 neither learning, nor power, nor virtue, nor sex ; but 
 intrude and come again, and go thru and thru you 
 in a moment of time. 
 
 It is certain the eye carries the exact inner self of 
 the individual, the mind is at the bottom of it all. The 
 eye may say one thing and the tongue another, and a 
 reader of humanity would rely on the words of the 
 former. What changes of expression when an eye 
 expresses either love, hatred, mirth fulness, passion, 
 anger, joy, sorrow, pity or thoughtfulness. How 
 marvelous the different changes in the eye, how it 
 
ARTISTIC RETOUCHING. 65 
 
 g-] earns, sparkles, glows, flashes, melts, lights up or 
 darkens. Where does this all lay? In the eye from 
 the soul shown by the action of the different muscles 
 that surround the eye, and by the muscles of the eye- 
 ball, expressing the higher and finer spiritual feelings, 
 the changes of expression thru the eye-ball, its light, 
 life, the most delicate of delicacies of the human 
 nature. How wonderfully they respond and so har- 
 moniously to the inward feelings of man. 
 
 It is very essential to the operator and retoucher 
 to understand these expressions, for the operator to 
 obtain, for the retoucher to know and where to make 
 changes if necessary. Very successful changes can be 
 made if the operator has failed in expression ; result of 
 operator's work having been perhaps a very sad or 
 forlorn look. Notice the changes in the eye-brow in 
 a sad or forlorn look and a bright one. In the former 
 the eye-brow lowers and seems to come closer 
 together; in a bright look the eye-brow slightly raises 
 and has a more beautiful curve at the top. In a 
 smile the labial furrow deepens, the nostrils widen. 
 In a sad or forlorn look the upper eye-lid droops and 
 closes more the eye, while the bright look is the re- 
 verse. A pleasant expression may be changed into a 
 bright, intelligent look, by softening the lines at the 
 corner of the eyes and the lines by the mouth and at 
 the corner of the mouth. Giving a curve to the eye- 
 brow by etching makes a wonderful difference in the 
 expression. Separating the eye-brows a little more 
 also adds to beauty. In the illustration at the head 
 of this chapter, in the unretouched negative, the eyes 
 are nearly closed and the expression sad, to show what 
 
66 ARTISTIC RETOUCHING. 
 
 could be done, and successfully; the eyes were opened 
 and expression changed completely; due attention 
 being paid to the change of the different features for 
 the different expressions. In attempting to open a 
 closed e3'e, first make a careful drawing with a pencil 
 on the negative, of an eye open, drawing the eyelids, 
 outside of the iris and pupil. Now take an etcher and 
 etch in the pupil, outside of the iris, the shadow cast 
 by the lid and eye-lashes, keeping the delicacies of these 
 in their respective places. Strengthen the whites of the 
 eyes where necessary. Study the lights and shades and 
 delicacies of a good negative and it will be surprising 
 what even can be done at the first attempt. Keep the 
 mouth in harmony of expression with the eye. 
 
 A staring expression often occurs from the use of 
 an eye-rest closely used, better use none. The farther 
 the^eye looks in the distance, not at a spot or figure on 
 the wall, but out in the distance, the calmer and better 
 the expression. Long exposures are a detriment to 
 expression. Expression is best when caught in an in- 
 stant of time. In a frown the eye-brows are drawn 
 more together at the center, they are also lowered, es- 
 pecially the inner portions. In removing the frown, the 
 eye-brows must be raised by etching; remove also the 
 furrow or furrows that are caused by the frown. A 
 frown usually causes a 'deeper shadow between the eye- 
 brow and eye-lid nearer the nose, this may be filled with 
 more light and helps to change expression. 
 
 The first thing that comes to notice is the size of the 
 eye. Large eyes are usually a type of beauty, es- 
 pecially in women. Writers write of "large, spiritual 
 eyes," and of "little, sparkling, beady eyes." The most 
 
ARTISTIC RETOUCHING. 67 
 
 beautiful eyes have a long instead of a wide opening. 
 Then there are eyes which are more nearly closed. 
 There is also the prayerful eye or the uplifted eye, 
 the down cast eye or the eye expressing humility. 
 
 Eyes are not alike, all have different signification. 
 Each tells its story differently, none are without mean- 
 ing ; some are calm, others are troubled ; some are 
 penetrating, others entreating; some are mischievous. 
 
 The eye-brows, as were touched on before, are 
 closely connected with the eyes in expression. Eye- 
 brows are regular or irregular ; curved or straight ; 
 bushy, thick or thin ; smooth or rough, fine or coarse, 
 each helping to express characteristics. Straight eye- 
 brows are more common to man, while the arched to 
 woman. Eye-brows should usually be left untouched, 
 except for irregular patches of light or dark to be 
 toned down either by pencil or etcher : in simplicity is 
 beauty. 
 
 Much can be done in changing expression, but an 
 eye better be left alone than poorly handled. The 
 operator should get expressions that need no great 
 changes ; retouching should be an improvement of 
 proper operating and not a remedy. A skillful re- 
 toucher and etcher can almost do anything with deli- 
 cate and thoughtful handling. He can successfully 
 turn the eyes, by studying the negative and proof. 
 When one eye is smaller than the other, the smaller 
 eye is usually the one to be remedied. Enlarge by 
 raising the upper lid and perhaps lowering the lower 
 lid. Change the eye-borw if necessary. Too strong a 
 light often dwarfs the eye. For this reason the catch- 
 light in the shadow eye is often larger than the other 
 eye. The one in the light, the upper lid is lowered. 
 
68 ARTISTIC RETOUCHING. 
 
 In sleepy eyes the upper lid is lowered, a brighter 
 look is obtained by raising it. In a smile the lower lid 
 is raised and the upper lowered. More of a serious 
 expression can be produced by raising the upper lid or 
 lowering the lower. Eye-brows are great means of 
 expression, and are easily subject to distortion. In a 
 badly lighted photograph, one eye-brow is lower than 
 the other. The eye-brow in a front side-light, coming 
 even from a good angle, is too faint at the upper and 
 outer edge. The skin is seen thru and the hairs cast no 
 noticeable shadows ; this amounts to distortion. 
 Etcher is necessary to produce them. Eye-brows that 
 are grown together seem stronger than nature, being 
 thrown in shadow or half-tone at the root of the nose, 
 which makes them appear stronger still. Reduce some, 
 because they are more noticeable in a picture if left un- 
 touched. Study eyes as to beauty of form and ex- 
 pression, thereby learning what changes to make, where 
 and how. 
 
ARTISTIC RETOUCHING. 69 
 
 CHAPTER XV. 
 
 The nosh. 
 
 The nose often has much influence on the operator 
 as to the position of the head ; it is one of the leading 
 features in the human face; it is very prominent, im- 
 possible to conceal. The fineness of the nose is indi- 
 cated by the cultivation and advancement of the race. 
 Compare the Ethiopian and the Mongol with the Cau- 
 casian, or the white race. It will be noticed the first 
 two are shorter and compressed in comparison with 
 the last. The Caucasian nose averages in length about 
 one-third of the face, while the other two, one-fourth, 
 or less. Artists who idealize the face, are sure to 
 idealize the nose. 
 
 There are few general classes of noses ; but there 
 are many varieties between these, the profile usually 
 indicates to which class a nose belongs. There is the 
 Roman, the Greek, the Jewish, the snub or the up- 
 turned. The Roman nose is the executive nose. The 
 ancient arstists gave to Jubiter, Hercules and other 
 deities this nose, indicative of power. Julius Csesar, 
 Lord Wellington, Columbus, Queen Elizabeth, and 
 many others of note, all possessed this Roman nose or 
 its type. 
 
 In the Greek nose, the bridge is straight from the 
 forehead to the tip with but a very slight indentation 
 at the root. It indicates artistic tastes, a great lover 
 of beauty. The sculptors gave this nose to Juno, Venus 
 and Apollo. Among the great writers and arstists 
 
70 ARTISTIC RETOUCHING. 
 
 possessing Greek noses were Milton, Spencer, Raffa- 
 elle, Rubens, Murillo and Titian, the last four being 
 distinguished artists. 
 
 The Jewish nose denotes a commercial nose, 
 shrewdness, one who can turn everything to profit. 
 The pug nose or the snub nose, is a nose the operator 
 finds hardest to handle ; of the greatest possessing this 
 nose was Kosciusko. The up-turned nose is the op- 
 posite of the Jewish nose. It has its admirers and 
 often is especially beautiful in children, so is also the 
 pug nose if not too strongly marked. 
 
 The finest and most beautiful noses are in length 
 one-third of the face. There are many variations from 
 this, some longer, some shorter. Some writers had 
 beautiful noses, Chaucer, Milton, Shakespeare, Dry- 
 den, Pope and Tennyson. Artists and sculptors may 
 have idealized the nose, but they realized fully how a 
 beautiful nose added to the face in beauty and strength. 
 
 There are ten parts to the nose, the bridge, the root, 
 two sides, two wings, two aisles, lobe and septum. 
 Noses not alone vary in length, but width. The 
 placement of the high-light on the bridge of the nose 
 determines its width ; if too wide, etch down and place 
 with pencil nearer to the center. The class of the nose 
 whether Roman, Greek, Jewish, snub or up-turned or 
 near these types, depends on the length and break of 
 the high-light. The Greek nose has a straight, un- 
 broken light from the root of the nose to the tip. Many 
 photographers make all noses Greek noses, which is a 
 mistake. 
 
 On a Roman nose, the high-light exists quite 
 curved; if it were the wish of the customer to have 
 
ARTISTIC RETOUCHING. 71 
 
 changed, the high Hght could be straightened by etch- 
 ing away some of the curve and pencil in a straighter 
 high-light. But better be left alone, especially in a 
 man's face, for it adds strength. In an up-turned nose, 
 the light is broken where the cartilege of the nose joins 
 the bone of the nose. The light could be united, also 
 build in some in the shadow side where the cartilege 
 joins the bone, making an appearance of a break. The 
 light on the tip of the nose could also be lowered to 
 lengthen it. Then if the nose is quite wide, which is 
 sometimes the case in a badly up-turned nose, etch 
 down some the side of the tip or lobe. Do not over-do, 
 do just enough to add strength and beauty to the face 
 without changing the nose entirely. It is sure to please 
 the individual. 
 
 If an already long nose has a break in the high- 
 light, it is advisable to let remain as it is, it would only 
 in appearance add more length. If a nose is too long, 
 the light on the tip may be etched off to shorten the 
 length of the light ; if the nose is too long yet, the lobe 
 or tip may be etched off a little, but be sure to have 
 the highest light ^n the lobe ; it brings out the tip a 
 little farther than the rest, which is true to nature. If 
 a short nose has a break in the light, unite the light, 
 to add length ; the light on the end could be lowered a 
 little with pencil. Good judgment and taste must be 
 used not to mar this feature. The nose being almost 
 the hardest feature to model ; it is all form. No feature 
 has as many changes of form as the nose. 
 
 The light is sometimes too broad on the bridge, can 
 be reduced by etching. At the root of the nose it is 
 sometimes too high, etch down a little. The light is 
 
72 ARTISTIC RETOUCHING. 
 
 often too strong, blocked up, destroying the flesh note, 
 looking more as tho it were a high-light on some me- 
 tallic substance. Wherever this occurs, the whole light 
 ought to be toned down by etching. Flesh is soft and 
 duller, not brilliant and hard. The reason often for 
 its being too high and metallic in appearance, is an oily 
 skin or too brilliant a lighting. The edge of the light 
 is often sharply outlined, to soften, make the strokes 
 lengthwise of the light, make the strokes a little 
 straighter with the convex part of the stroke near the 
 light. The tip appears often too wide and thick, etch 
 ofif some of the high-light and bring it over toward the 
 shaded side, in other words, make straighter the light. 
 If the nose, its full length, is too wide, move its high- 
 light. The side of the lobe may be removed a trifle to 
 narrow it. On the wing a little light exists, if any work 
 is necessary, work from this light, being careful not to 
 destroy the modeling. Do only what is necessary. If 
 this light is too strong, etch down a little. The wing 
 in the shadow needs great care. Sometimes the shadow 
 is too strong and the wing is hardly distinguishable, 
 while the shadow is being raised, also raise the light on 
 the wing with care as to form. 
 
 There is often too strong a light (even stronger 
 than the light on the cheek bone) where the side of the 
 nose is a continuation of the cheek, this, should be 
 etched down ; if a break of the gentleness of the curve 
 exists here, blend to give it the slope that exists from 
 the side of the nose into the cheek. The shadow that 
 the projection of the forehead casts on the nose from 
 the corner of the eye towards the root of the nose on 
 the light side of the face, should be toned and its edge 
 
ARTISTIC RETOUCHING. 73 
 
 softened sometimes, because of its depth and sharpness 
 of outHne. 
 
 The bridge of the nose nearest the source of Hght 
 where the hght is reflected the strongest, and the next 
 lower tone on the nose joining the shadow, and the 
 shadow or half-tone cast by the nose on its sides and on 
 the cheek, determines the width of the nose. The 
 shadow on the nose is nearly always too sharply out- 
 lined, giving more the appearance of light off the edge 
 of a bone or a broken bone, instead of flesh over a 
 bone. Soften this, but not broaden, make strokes up 
 and down lengthwise of the edge, strokes curved a little 
 with the convex part of the stroke near the edge. This 
 line should sometimes be softened from the eye-brow 
 to the tip of the nose. Make at first the strokes lightly 
 and then heavier. Do not make the strokes across 
 the shadow from the light, it is liable to flatten the 
 shadow and destroy the delicate modeling of the curves 
 of the nose. If the shadow is strong, make light 
 strokes first to produce soft atmospheric flesh effect, to 
 destroy the transparency of that shadow, and then 
 make heavier strokes to build to the required density. 
 If, however, this shadow has proper illumination, and 
 gradations are displayed to better advantage, clear it of 
 its transparencies, if any, then the other imperfections 
 in the direction in which they lay the longest, then if 
 any more work is necessary, blend in the direction, 
 lengthwise of the edge of the light on the nose and 
 cheek. The lobe of the nose where its tip casts a 
 shadow on the lower rounded part or beginning of the 
 septum is often a sharp edge, soften by strokes length- 
 wise of it. The modeling of the light side of the nose 
 
74 ARTISTIC RETOUCHING. 
 
 should be handled very much the same way, only here 
 strokes can be made their proper weights to bring up 
 the imperfections to their surrounding intensities. 
 Very few strokes are necessary to finish the modeling 
 made in the direction in which the muscles run, for, 
 after the imperfections are cleared away, most of the 
 modeling is done. 
 
 In nature, color sometimes exists in the line above 
 the wing, in the continuation of the lalial furrow, called 
 the aisle of the nose. This has the appearance in the 
 negative of being too deep, soften, letting the labial 
 furrow remain deepest at the side of the wing, dimin- 
 ishing in depth and width as it runs around and above 
 the wing on the side of the nose. The nostrils never 
 subdue unless very dark, if the negative is under-timed 
 greatly. At the lower part of the septum, a little strong 
 light sometimes exists, etch down a little. 
 
 The sides of the nose are often unwisely handled 
 as to texture. Many have as coarse a grain here as on 
 the cheek. Go back to the law of perspective, consid- 
 ering its two phases ; that as things recede they be- 
 come less distinct in sharpness and smaller in size. 
 The side of the nose is at a slant or side-wise to the 
 viewer, pores themselves are not seen their full size, 
 are not as distinct in themselves. This being the case, 
 it would be false to art truth or laws of perspective 
 to have such a texture as is generally seen. The at- 
 mosphere, the intagible something, is destroyed. Do 
 only as much work as is positively necessary to clear it 
 of its imperfections and model ; this will give the nat- 
 ural texture of the skin or flesh. 
 
 The shadow cast by the nose on the lip following 
 
ARTISTIC RETOUCHING. 75 
 
 the labial furrow, do not destroy this line or its char- 
 acter. Notice in nature the shadow that any object 
 casts, the deepest part of the shadow is nearest the ob- 
 ject. The shadow cast by the nose should be strongest 
 near the nose ; let it gradually be softened at its out- 
 side edge. In softening this shadow, follow the 
 outside edge of the light near the shadow in the direc- 
 tion of the light and let the strokes gradually become 
 fewer and less in weight as the modeling comes nearer 
 to the nose. The groove in the center of the upper lip 
 is often sharply edged and too deep, soften the edge 
 by strokes lengthwise of it and soften the groove, being 
 careful to preserve the form, keeping its accent, which 
 is mostly at the lower part. 
 
 In modeling the rest of the upper lip, ail that is 
 often necessary to do is to clear it up of its imperfec- 
 tions. On the lip near the labial furrow is sometimes 
 too bright a light, this could be etched down without 
 marring the modeling and give more beauty and sim- 
 plicity. 
 
76 ARTISTIC RETOUCHING. 
 
 CHAPTER XVI. 
 
 THE MOUTH, 
 
 T^ HE mouth reveals very much the nature of the 
 individual, most especially the line at the corner 
 and the junction of the lips; this being the principle 
 part of the expression. The mouth, like the eye, 
 speaks of one's inward self. The expression of the soul 
 shines in the eye and expresses itself also in the lips. 
 Lips in motion do not always express the most elo- 
 quence. They do not need the tongue to tell the tale; 
 they may either express love or hatred ; joy or sorrow ; 
 pride, scorn, contempt, firmness, peace, pity or dignity. 
 The different kinds of lips are curved and straight ; 
 full lips and thin lips ; prim lips, pouting lips ; lips that 
 protrude and lips that are set back. There are lips that 
 express tender feeling and sympathy and lips that 
 send a "chill to the heart." 
 
 Notice the sweet, pure expression of a little child, 
 how this same expression can be changed to one of 
 pride or hatred, contempt or scorn as years advance. 
 It has well been said by one, "We make our own 
 mouths." How true it is. How many beautifully 
 outlined lips are changed to coarse, irregular lips, each 
 expressing very much the nature of the individual. 
 
 It is an aid to expression to know what changes 
 take place in the different expressions of different 
 kinds of lips. Look at a person with straight lips and 
 see if it does not indicate strength and firmness ; if lips 
 that are narrow and close, do not lack affection ; how 
 
ARTISTIC RETOUCHING. 77 
 
 mouths slightly open indicate a frank, out-spoken na- 
 ture. Queen Victoria was such an example. Notice 
 what changes about the mouth and chin take place 
 when scorn or contempt are expressed. Cheerfulness 
 is expressed by the upward curving of the corners of 
 the mouth ; while a sad, forlorn look by the downward 
 curving of the corners at the junction of the lips. 
 
 Changes take place with advancing years as to ex- 
 pression, form, outline, result being very much as one's 
 life is spent. How marked the change from infancy 
 to age, the beauty of form and fullness of expression of 
 a child's compared with the lack of all these varied ex- 
 pressions in old age. How the sweet, innumerable, 
 charming expressions of childhood change into the 
 no less admired, firmly set, dignified, peaceful expres- 
 sions of old age. All these must be taken into strong 
 consideration when the retoucher takes hold of the 
 negative. 
 
 Severity of expression is found in the downward 
 lines from the mouth, usually found in old age : should 
 not be left in younger people, especially in ladies and 
 children. The mouth is drawn towards the left in a 
 smile (if one is right-handed, and vice versa), shorten. 
 The operator can do much to pose the head in such a 
 way as to place even a homely mouth to an advantage. 
 The best position for the nose may often not be the best 
 for the mouth, the operator must have a keen sense 
 as to what best do and what to leave for the retoucher. 
 The lines at the corner of the mouth, if long drawn 
 and deep, giving some of the above mentioned ex- 
 pressions, should be shortened and subdued, but leav- 
 ing its deepest part or accent at the corner. Great care 
 
78 ARTISTIC RETOUCHING. 
 
 must be used, for a very few touches may destroy the 
 true character or expression. 
 
 The lower part of the upper hp, all in shadow, 
 is very often flat and its upper edge sharply outlined; 
 this not being true to nature, soften by straight lines, 
 following the edge in the shadow, just enough to give 
 a round effect as in nature; the red of the lip is not 
 sharply outlined. Cause of this being sharp is a warmth 
 of color explained before, and being more accented by 
 being in shadow. 
 
 The lower lip usually has a bright light, the place- 
 ment depending on the fullness of the cruve of the lip. 
 Sometimes, if too strong, should be etched down a 
 little. Creases in the lips, remove with straight lines 
 up and down, following the creases. By moistening 
 the lips before exposure, prevents this and other little 
 roughnesses. Keep the true character or natural tex- 
 ture of the lips, little work as possible is by far the 
 best. The shadow in the mouth, the line of separa- 
 tion of the lips should not be too black ; very seldom is 
 unless greatly under-exposed. Preserve the three tones 
 in the lips, the light on the lower lip, the shadow of the 
 upper lip and the shadow the upper lip casts on the 
 lower, the part, which is the deepest. 
 
 If lips are too thick and too noticeable, they may 
 be narrowed by bringing down the light on the upper 
 lip and shortening the lower, narrowing it, being 
 careful to keep harmonious tones and not outline the 
 edge too sharply. 
 
 Great changes of expression may he made in the 
 mouth to correspond to that of the eye by a competent 
 retoucher. The change must be made in its proper 
 
ARTISTIC RETOUCHING. 79 
 
 place and with extreme delicacy of touch and handling 
 of line or contour and it nearly all lies at the junction 
 of the lips and the line at the corner. The little line, or 
 indication of line that tends upward, should be care- 
 fully handled, if touched at all. 
 
 Responsibility, struggle, hard work leaves its foot- 
 prints on the face, drawing down the corners of the 
 mouth sometimes, according to the nature of the indi- 
 vidual. In cheerfulness, the smiles leave their marks 
 in lines in the cheeks near the corners of the mouth. 
 In making any changes mar not what is already beau- 
 tiful ; if not competent to make a proper change, make 
 none at all. 
 
80 ARTISTIC RETOUCHING. 
 
 CHAPTER XVII. 
 
 THE CHIN. 
 
 T^ HERE are many variations of forms of chins, no 
 one can help but know the importance of its 
 form as to the making of a beautiful picture. There are 
 the broad round chins, or the broad square chins ; 
 the narrow square or the narrow round ; the promi- 
 nent or the receding; the pointed, the indented, the 
 long or the short. There are but few among the many 
 that take good profiles, its form next to the nose has 
 much to do with the making of the picture. Surely 
 with this variety, each must have to a great degree, its 
 bearing in the make-up of the individual. 
 
 The chin is usually considered as being indicative 
 of voluntary action or will-power. Animals have, 
 properly speaking, no chins, possessing nothing more 
 than as is called the lower jaw. In the animal the mouth 
 is widened and the jaws extended, in the human, the 
 mouth is concentrated and the chin rounded and full. 
 Posing has much influence over the quality of the pic- 
 ture as to its handling. A weak chin can be given 
 more prominence, much helped by retouching also. A 
 very heavy chin, an over-elongated, can also be placed 
 to a better advantage. 
 
 As much importance is attached to the retoucher as 
 operator as to the proper handling of the chin. Most 
 retouchers round out all chins alike, leaving none of the 
 distinctive individual peculiariities of the different sub- 
 jects. There are no two chins alike and as such they 
 
ARTISTIC RETOUCHING. 81 
 
 should be treated. Keep the chin in subordination to 
 the rest of the face, building or subduing, adding or 
 taking from, to assist beauty of contour of the face or 
 its strength of feature, to make a good balance as far as 
 practicable and yet not destroy the character of the 
 individual. The chin should never be the most prom- 
 inent feature, often in flat negatives, it contains the 
 highest light. This light should be held subservient to 
 the other lights of the face. Let the highest lights 
 of the face surround or be near the eyes ; the light of 
 the inward self of the individual ; then hold in subordi- 
 nation or in control the light of the lower part of the 
 face letting the intelligence, higher and central force, 
 be the controlling influence over the will power, the 
 lower part. 
 
 The highest light on the chin is connected with 
 its deepest shadow as it curves to the neck, at which 
 place it is often illuminated by reflected light from 
 the body or light drapery. This reflected light 
 should be untouched unless too strong, then etch down 
 to reduce. If the highest light on the chin is too 
 strong, particularly in relation with the other lights on 
 the face, it is necessary to tone down to its proper 
 value by the use of an etcher. If from this direct 
 light there exists a sharply outlined shadow, round by 
 use of half-tones. No chin ends by a sharpness, as 
 is often impressed in the plate. To soften or blend, 
 use the strokes only slightly curved, following the 
 contour of the chin, being careful not to destroy the 
 appearance of the shadow by working up to the re- 
 flection, which would cause a serious flatness, destroy- 
 ing perspective. Study first the values and where the 
 deepest sliadow should be, holding the beauty of the 
 
82 ARTISTIC RETOUCHING. 
 
 reflection in its proper place as a reflection and not as 
 a direct source of light. 
 
 There often exists just below the under lip little 
 forms of lights, due to little prominences in flesh or 
 muscles, which destroys the simplicity and beauty of 
 that shadow. These can be removed not by working 
 up to them so much as by etching down a little. This 
 all can be done and not change materially the charac- 
 ter of the individual. The shadow cast by the under- 
 lip on the chin is often a little too deep, soften, but 
 keep deepest accent and true contour, using care not to 
 soften and soften 'till all character is destroyed, making 
 it appear pulpy or boneless or formless. Soften this 
 shadow lengthwise, according to its form. 
 
 Dimples in the chin are nearly always too deep and 
 large, taken deeper and larger than is found in na- 
 ture, from the same cause as wrinkles being enlarged. 
 In subduing the dimple, take notice of its form and 
 subdue accordingly, keeping its accent. The shadow 
 side of the chin usually needs some blending to give 
 it its natural roundness. 
 
 Weak chins can be made stronger by adding more 
 light, giving more prominence ; also be made wider, 
 using judgment not to go beyond what is perfectly 
 legitimate. 
 
ARTISTIC RETOUCHING. 83 
 
 CHAPTER XVIII. 
 The chkek in shadow. 
 
 'X' HIS cheek, whether full view, three-quarter view 
 or less, if not thrown all in the shadow, has, 
 according to the lighting, either a light, half-tone or a 
 suggestion of a light. Whatever its intensity, there is 
 on the cheek-bone a highest point, or an illumination, 
 according to the lighting. In retouching start from this 
 highest point, clear up in the usual way as other parts 
 of the face, then blend into the surrounding part, being 
 careful not to destroy the perspective of this shadow. 
 
 The light is often too sharply outlined against the 
 shadow, often caused by the color in the cheek or im- 
 proper modeling under the sky-light. In blending this 
 light, clear it first of its imperfections, then if there is 
 any extra modeling to be done, do it by making strokes 
 in the direction in which the muscles run. The 
 shadow cast by the nose often is sharply outlined as 
 it falls on the cheek, soften somewhat, according to the 
 general tone-values in the face, being careful to pre- 
 serve the modeling of this shadow. 
 
 If the shadow at the side of the face, or any other 
 shadow, for that matter, where building up is neces- 
 sary, make the strokes lightly first, to give atmospheric 
 effect to destroy the transparency of the place; then 
 gradually build up to its proper value, using, however, 
 as few strokes as possible to do the work, otherwise 
 the retoucfiing will look as tho it was on top of the 
 skin, loaded and perhaps solid, instead of being part 
 
84 ARTISTIC RETOUCHING. 
 
 of the skin. Always take out the imperfections first, 
 giving the strokes proper length, weight, direction and 
 placement. After all the imperfections are cleared up, 
 then with longer strokes do the rest of the work in the 
 direction of the muscles. As the work nears the side 
 of the face, keep the strokes fewer and less in weight 
 to preserve perspective and atmosphere, depth. 
 
 The shadows in a photograph often print black, 
 losing all their delicacy of flesh-notes, losing the lubin- 
 ous quality produced either from direct illumination or 
 reflected lights. The extremely delicate transparency 
 of the skin is buried in shadow, blocking up the little 
 gradations of flesh tints. This holds good with ref- 
 erence to any shadow in the negative or even the lines 
 of the face, restore flesh-notes. 
 
 A shadow has form. The shadow, however, does 
 not contain as much modeling as the light side of the 
 face. The labial furrow on the light side of the face 
 is deeper than in the shadow side. The one in shadow 
 runs in the same direction as the rays of light fall on 
 the subject, consequently illuminating it, while the one 
 on the light side, the light runs across this furrow ; 
 the light striking the raised flesh, it casting its shadow. 
 This holds good with reference to other lines, however, 
 not so marked. In some negatives, there exists no 
 labial furrow in the shadow cheek at all, while the light 
 side possesses one to quite a degree. 
 
 Very little work is required on the temples, depend- 
 ing much on the age or person ; as modeling is done 
 from the forehead down into the temples, or from the 
 cheek into the temple ; preserve this indentation or it 
 mars the likeness by excessive rounding. Preserving 
 this gives strength to the contour of the face. 
 
ARTISTIC RETOUCHING. 85 
 
 If reflected lights are thrown too strongly into the 
 shadow, near the temple, at the edge of the hair or 
 near the ear, because of poor modeling with the re- 
 flector, these should be etched down, because per- 
 spective and depth will necessarily be destroyed by 
 such. False lights are injurious to good modeling; 
 it destroys simplicity. 
 
 As retouching nears the hair that surrounds the 
 face, strokes should become fewer and less in weight, 
 merely clearing up the imperfections to preserve the 
 softness. Nature has provided the outline of the face 
 with hair, producing beauty, softness of contour, also 
 creating variety by toning down what would otherwise 
 have been monotony, thereby creating interest. 
 
 This outline should be kept soft, not as is often 
 seen, sharply outlined. If even it occurs in the nega- 
 tive, by influence of color or a mass of hair falling in 
 outline at any place, giving a sharp edge, soften to 
 bring back to nature ; if very deep and straight, break 
 by lights and produce a blended effect in the other 
 places. 
 
86 ARTISTIC RETOUCHING. 
 
 CHAPTER XIX. 
 
 THE EAR. 
 
 'T'HERE are many shapes and sizes of ears. Ears 
 that are flattened and he close to the head are far 
 more beautiful than those that project. Large ears 
 usually go with large features, large hands and feet ; 
 while small ears with small features, small hands and 
 feet. There are many varieties of forms of ears. It is 
 sometimes necessary to round out or etch off some ab- 
 ruptness or broken curve to beautify and still not de- 
 stroy the character. 
 
 Some ears have numerous elevations and depres- 
 sions, which of necessity gives as many lights and 
 shadows ; others, again, present only one general con- 
 cavity, making a greater simplicity. Oftentimes the 
 lights are too high, caused by improper illumination, 
 making the ear stand out even in front of the face ; 
 losing the going back in perspective ; if this occurs, etch 
 down the strongest lights some, to make it set back. 
 Then again, the skin is drawn tightly over the carti- 
 lege, making the light reflect stronger than it does 
 from a softer texture. The ear is of small importance 
 to the retoucher, its successful handling falls more to 
 the operator than to the retoucher. 
 
 No other retouching is necessary unless there exists 
 freckles or the like, which should be removed. If at 
 the inner circle there exists a very deep shadow, so 
 deep that its deepness detracts, or is out of harmony, 
 soften a little. 
 
 Now that the face has been taken up in parts as 
 
ARTISTIC RETOUCHING. 87 
 
 to modeling, etc., sit back and look at it as a whole in 
 relation of the parts to each other, see if the parts are 
 bound together in tone-values from its own highest 
 point with all the little prevailing tints down to its 
 deepest shadow. Study the lines, if they bear proper 
 relation one with the other; if perfect harmony of 
 character is kept, as well as gradations. 
 
 ' A great mistake to make a middle-aged person, 
 one part of the face youthful looking while another 
 more aged, keep the harmony, producing a oneness of 
 character, instead of a dividedness of character or age. 
 The subduing of the lines is carried according to the 
 printing color of the negative. A negative possessing 
 much color and intensity, the lines should be toned 
 farther than one of a grey or black negative. 
 
88 ARTISTIC RETOUCHING. 
 
 CHAPTER XX. 
 
 NECK, BUST, ARMS AND HANDS. 
 
 T N RETOUCHING the neck, bust, arms and hands, 
 only as little work should be done as possible, 
 simply clear up the stronger imperfections in the 
 varied directions in which these imperfections lay. The 
 more work there is done, the harder the texture of the 
 skin. Apart from the imperfections there is usually 
 blending to be done from the lights into the shadows, 
 handle these in the same manner as the shadows or 
 building up of half-tones. The strokes give a better 
 result if made straighter, gives more of a broad, open 
 style if sparingly used. The farther away from the 
 face, the less of decidedness of texture, let nothing 
 detract from the face, the central attraction. The 
 principle of art used by many, the farther away from 
 the face the less distinct in detail of from is observed. 
 
 In retouching the neck, if, after the blemishes are 
 removed and extra blending is to be done, run the 
 strokes across the neck parallel with the lower jaw. In 
 ladies' portraits, all muscles, especially such as the 
 large one coming from back of the ear to the collar 
 bone (more marked in some poses than others), should 
 be removed, except the insertion at the seemingly junc- 
 tion of these two muscles. This indentation indicates 
 the length of the neck and if left or moderately so, 
 looks very beautiful, if taken out entirely, gives a 
 pulpy, round, shapeless neck, anything but natural and 
 artistic. 
 
 Creases running round the neck are often too deep 
 
ARTISTIC RETOUCHING. 89 
 
 and long. The retoucher must use good judgment as 
 to how much to reduce and shorten, always, however, 
 leave the accent of the line . nearer the back of the 
 neck, depending on the position of the head and body, 
 sometimes better remove entirely. 
 
 The collar bone is often too prominent, subdue the 
 adjoining shadows and if still too prominent, etch 
 down the strong lights, the taste of the retoucher as 
 to how much should be done is necessary in all good 
 work. In softening the shadow on the light side of the 
 face that separates the lower jaw from the neck, soften 
 sufficiently to take away the blackness to produce at- 
 mospheric skin effect. In working up shadows of this 
 kind avoid the extremes in length of stroke, the too 
 long or too short. Strokes of medium good length 
 give more atmosphere, cut up the work better. In 
 order to destroy the heaviness or deadness of the shad- 
 ow, strokes of this kind are necessary to restore life, 
 atmosphereic flesh tints. In modeling the above men- 
 tioned line, subdue more as it nears the ear and keep its 
 deepest part under the chin. 
 
 The larynx, especially in men, throws the throat 
 too far forward, and casts a too deep a shadow. Sub- 
 due this shadow and if too strongly lighted, etch down 
 the light a little. The general tone of the neck, bust 
 and shoulders should be of a lower tone than the high- 
 est light of the face. In retouching the bust and 
 shoulders, after the imperfections are removed, model 
 in the direction in which the form is indicated, follow 
 the curves. 
 
 The arms and hands fall more to the province of 
 the operator than to the retoucher as to their com- 
 
90 ARTISTIC RETOUCHING. 
 
 pleteness, dependent on the posing and lighting. After 
 the imperfections are removed, most of the work to 
 be done is the blending of the lights into the shades. 
 Do not remove the dimple at the elbow. There is 
 always some work on the hands, knuckles cast harsh 
 shadows ; when parts of the hands are in shadow, light 
 often ends abruptly; these must be softened, not too 
 much; overdoing makes them look weak, insipid and 
 flabby, destroying natural effects at once. Veins may 
 be removed, except in the aged. 
 
ARTISTIC RETOUCHING. 91 
 
 CHAPTER XXI. 
 
 SHADOW LIGHTING. 
 
 T N SHADOW lightings, Rembrandt lighting is the 
 most beautiful lighting. It is a lighting if not 
 properly handled, having a distorted effect, very no- 
 ticeable. The nose often being the most distorted, 
 more so, perhaps, than any other feature, because of 
 having the most variations of form. 
 
 In retouching three-quarter Rembrandt or profile 
 start from the highest lights and work down into the 
 tones following, ending in the deepest shadows. Often 
 more modeling or building up of half-tones is neces- 
 sary, first, because of more contrastly lightings; sec- 
 ond, because of the color of the skin and, third, because 
 of improper lighting or modeling under the sky-light. 
 Model in the usual way, avoid over-rounding. In 
 profile Rambrandt, the edge of the light on the fore- 
 head, nose and cheek is often quite abrupt, soften 
 enough to give a flesh effect. Start all retouching on 
 the forehead in the highest light, then the cheek or nose 
 and so on, leaving the neck the last. 
 
 Eyes in the shadows have no catch-lights, keep this 
 simplicity. 
 
 In retouching shadow lightings or profiles all in 
 shadow, keep gradations and perspective. The mod- 
 eling, if done nicely under the skylight, at its best con- 
 sists of very delicate tones. Too often the operator 
 flattens out the gradations by injudicious use of re- 
 
92 ARTISTIC RliTOUCHING. 
 
 flectors, destroying all perspective, making all the 
 features on a level plane. 
 
 In retouching shadow-lightings, avoid "blocking- 
 up" or loading, keep the luminous quality; if lacking 
 in this, retouch as indicated before in the handling of 
 shadows to give atmosphere. In retouching profiles, 
 except profile Rembrandt, start on the forehead, at its 
 highest curve, then the cheek in front of and above 
 the ear at its highest point, working from these into 
 the half-tones or shadows that go away in perspective. 
 Line light start the same way, but also put stress on 
 the illumination, to centralize light- force. The per- 
 spective is more easily kept if retouching is started 
 from the highest point, following the tones and features 
 that go back. 
 
 The student, after having practiced retouching on 
 medium sized heads, may, with advantage, attempt 
 large heads or small ones occasionally. Large heads 
 should be retouched with more freedom, longer strokes 
 and more loosely in effect. Sit back farther to ac- 
 complish this, be very careful not to dwell too long on 
 minute imperfections. Retouching on the film side of 
 the plate, a polished effect is most often obtained, very 
 undesirable. The picture being large, is not viewed 
 at so close a range and will admit of work made 
 heavier and coarser if done regularly. The retoucher 
 has here more than elsewhere the right to take more 
 of the sketchy, artistic effects, thereby producing 
 grander results. A softer pencil and with a dull point 
 gives a more desirable end. 
 
 Some flow the glass side of the negative with 
 ground glass substitute or varnish and retouch on this, 
 
ARTISTIC RETOUCHING. 93 
 
 by the use of pencils or stump and crayon sauce. The 
 best crayon pencils should be used. Retouching, re- 
 sulting from crayon pencils, is usually coarser, blending 
 with the stump is often necessary. To retouch with 
 crayon pencils, the negative need not have so much 
 tooth. 
 
 A large head, beautifully and artistically handled, 
 may become a work of art. 
 
94 ARTISTIC RETOUCHING. 
 
 CHAPTER XXII. 
 
 The hair. 
 
 TT IS often necessary to retouch the hair, especially 
 when a negative is under-timed, out of focus, or a 
 move existed during exposure. 
 
 In an under-timed negative, particularly in deep, 
 richly colored hair, such as red, auburn, dark brown 
 or black, detail is often sadly lacking, even the lights 
 that do exist may be weak but the face rightly timed. 
 To strengthen the light on the hair, take a dull, soft 
 pencil, working with the flat side in the direction in 
 which the hair runs; in curly or wavy hair the direc- 
 tion in which the curl runs. In doing this, avoid using 
 the point of the pencil, as it gives it a hard, stringy 
 effect instead of a soft mass of light. Work in as 
 masses of light and shade, not as individual hairs. 
 
 In putting detail in the shadows or half-tones, work 
 lightly first with the broad side of the pencil ; then heavy 
 as necessary to bring up to the required tone, always 
 working in broad masses. 
 
 In out-of-focus negatives, do the work firmly as 
 possible to obtain the result, to destroy the blurr ; de- 
 cision is often of the utmost importance here. 
 
 In working over moves, separate the doubleness 
 by decisive lines as separate hairs. The length of the 
 strokes should be the length of the lights or tones, if 
 possible ; at least avoid the appearance of having made 
 them with shorter strokes, making them curved or 
 straight, according to the run of the hair. 
 
 In all this, keep the true tone-value of different 
 
ARTISTIC RETOUCHING. 95 
 
 kinds of hair as found in nature. Gray hair, of course, 
 will have half-tones and shadows lighter than any 
 other, and the lights are longer. Red hair, rich auburn 
 hair will print black or darker even than blue black 
 hair. This can be worked up in the usual way or by 
 applying to the negative a little color with a brush, the 
 high-lights could be made longer if so desired. Pow- 
 dering the hair of the sitter brings detail and very sat- 
 isfactory, if carefully done. 
 
 If lights are too strong and chalky, by the use of 
 a large etcher or a knife, they can be toned down to 
 the required intensity, keeping it as masses of light, not 
 as individual hairs. By the use of a stump and plum- 
 bago or crayon sauce, much also can be done in work- 
 ing up the hair. This method will be explained in an- 
 other chapter. 
 
96 ARTISTIC RETOUCHING. 
 
 CHAPTER XXIII. 
 
 DRAPERY. 
 
 TN HANDLING the varied kinds of drapery, study 
 their characteristic effects of lights and shades. 
 Silk or satin, especially the latter have harder, harsher 
 lights; soft materials softer, broader, rounder lights. 
 In the former kind of goods, make strokes straight and 
 decisive, in the latter, delicate touches give softer ef- 
 fects. In velvet the high lights are narrow and high. 
 The lights of satin are higher and bolder than silk. 
 
 A white India linen, if not sharply focused and if 
 over-timed, can be so retouched to give the appearance 
 of silk or satin : the effect mostly due to the handling of 
 the lights. In drapery, half-tones predominate ; the 
 beauty of its lighting being in its predominance of half- 
 tones. 
 
 In retouching finer fabrics, such as chifYons and 
 laces, beads or jets, study the forms of the lights, giv- 
 ing them their accents and touches according to the 
 material, always using the broad-side of the pencil, as 
 the point gives a divided scratchy effect ; worse than 
 if not touched at all, avoid niggling. Work in a 
 broad, effective way with fewer strokes, using the flat 
 side of a dull pencil in all the work. 
 
ARTISTIC RETOUCHING. 97 
 
 CHAPTER XXIV. 
 
 ETCHING. 
 
 'T'O BECOME an artistic retoucher, a true re- 
 toucher, one must become a competent etcher, 
 to bring out the vahie of the picture. Often as much 
 rests on the etching as the retouching. Prints from 
 many negatives would be truer to nature if the etcher 
 was appHed properly. Too often incompetent re- 
 touchers build up to opaque spots, destroying tones 
 and forms. 
 
 By the use of an etcher, expression can be changed 
 in a moment's time, where, perhaps, another sitting 
 would have been necessary ; length or breadth of nose, 
 undue lights that destroy perspective, or the many 
 things that have been spoken of here and there thru 
 the book. Even a double-chin, so objectionable to the 
 subject, may be removed entirely, if so desired, with 
 perfect success. 
 
 Large pieces of drapery can be removed, parts of 
 back-grounds if necessary, in fact, any desirable change 
 can be made. Etching requires a great deal of pa- 
 tience and painstaking to accomplish it. In the first 
 place, a steady hand is necessary; then a knowledge 
 of what is wanted in making any change in the nega- 
 tive; then work slowly and lightly, and above all and 
 with all, sharp etching tools. Better to have two or 
 three in constant readiness. A good, clean eraser with 
 a grit is found to be a good reducer. 
 
 A small pen-knife of good steel does very nice 
 
98 ARTISTIC RETOUCHING. 
 
 work. A broken sewing machine needle placed in a 
 pen-holder makes as fine an etcher as is desirable — one 
 this size, and a larger are enough varieties of tools. 
 
 Make into a tool of this shape ^ g Q £^^~~ have the 
 
 tool flattened more like the blade of a knife. Use the 
 point to remove little spots or lines, and the blade for 
 larger places on the face, drapery or accessories. 
 
 The most important step in etching is that the 
 etcher be sharp, so sharp that it will shave the film, in- 
 stead of scratching it. To test the edge of the blade, 
 see if it will shave off evenly the finger-nail. If any 
 part scratches into it, it is not fit for use. 
 
 As the film is smooth and hard, it is far easier to 
 do good work, to give it a tooth. Rubbing a little 
 fine, dry, powdered pomice stone on the spot to reduce, 
 gives it tooth, something for the tool to take hold of. 
 In removing parts of the drapery, back-grounds, etc., 
 or any large high-light, light-struck part, use pomice 
 stone powder with a little sweet oil or alcohol, rubbing 
 vigorously with the finger in a circular motion; these 
 can be reduced, perhaps necessary to give few finish- 
 ing touches with the etching tool. The sweet oil will, 
 however, have to be removed with turpentine or gaso- 
 lene, or it will effect the print. Powdered pomice stone 
 mixed with equal parts of glycerine and alcohol is also 
 as good a preparation ; alcohol being a reducer in 
 itself alone. Alcohol with this powder is also good. 
 Free the negative from glycerine before printing. 
 
 In etching, make the strokes short rather than long, 
 more even result is obtained, always remembering that 
 as soon as the etcher scratches the film, it is not sharp, 
 and useless to go on. 
 
ARTISTIC RETOUCHING. 99 
 
 Wood alcohol can be used as a reducer. Take the 
 end of a stump or rounded stick and apply to the spot, 
 rubbing or pressing, to cause the over amount of silver 
 deposit to be reduced. 
 
 Etching can be carried to a great extent. Sketchy 
 effects in back-grounds, birds, butterflies and the like, 
 may be worked in by etcher, India-ink, red opaque, and 
 the like. The birds in the illustration were made in 
 this way. Drawing is necessary. Fore-grounds in 
 landscapes may be etched in, flowers, leaves or any- 
 thing desirable. 
 
 In etching in the shadows, etching must be done 
 deeper than the surrounding tone, because the scraping 
 causes the film to be less transparent than the surround- 
 ing color. Consequently it prints lighter. While in the 
 lights, the extra deposit of silver causes a less trans- 
 parency and etching is made easier. 
 
100 ARTISTIC RETOUCHING. 
 
 CHAPTER XV. 
 
 STUMPING NEGATIVES. 
 
 D Y THIS process a poor negative can often be made 
 good. Flow the negative on the glass side with 
 ground glass substitute. A very good formula is the 
 following : 
 
 Gum Sandarac 90 grs. 
 
 Gum Mastic 30 grs. 
 
 Dissolve in Ether 2 oz. 
 
 Add Benzole 1 to l^/o oz. 
 
 Never use more than IV2 oz. Benzole must be 
 good. Flow the same as with the medium, very evenly. 
 To prevent it from running over on the film side, rub a 
 little sweet oil on the edge. Many photographers flow 
 all their negatives thus for printing qualities. 
 
 After the substitute has dried, place the negative 
 in the desk, glass side out. Now take plumbago, crayon 
 sauce or pencil scrapings and apply with a chamois or 
 paper stump to the place where more intensity is 
 necessary. Fresh bread or rubber rubs off the uneven- 
 ness. A pencil can be used to work up a more even re- 
 sult. Hair can be worked in where no detail exists, 
 high-lights raised on the hair, face or drapery. 
 
 A very flat, thin negative that cannot be built up 
 entirely, can be finished by this means. Back-grounds 
 can be made lighter if so desired, or simplified. High- 
 lights can be built up to a very good advantage. Copies 
 can be helped wonderfully. 
 
 Copies are flat, lacking giadations, sometimes con- 
 
Music of the Waves. 
 
ARTISTIC RETOUCHING. 101 
 
 trast. If the negative is a copy and is very flat, etch 
 away the back-ground, leaving about an eighth of an 
 inch around the figure. Take a sharp etcher and scrape 
 the eighth of an inch of fihii so that it is gradually 
 etched, making a blended effect into the back-ground 
 from the figure. This gives a softness that could not 
 be obtained by cutting away the film sharply. Making 
 an occasional proof for the first experiment will soon 
 show what is to be done. Flowing the plate with 
 ground glass substitute will add to the effect in the 
 printing. After this is done, the high-lights can be 
 built up. If white back-grounds are desirable, a posi- 
 tive may be made, treated as above, building up the 
 lights first ; then the positive may be retouched, build- 
 ing in the half-tones or shadows. The negative from 
 this can then also be worked up regarding the lights 
 and blended edges where etching had been done. Have 
 the negative and positive rather thin with more color ; 
 gives a better chance to build up. 
 
 Onion-skin tissue paper placed an inch from the 
 negative while printing, adds contrast. Parts may be 
 held back by stumping on the paper.; or, by the use of 
 two or three thicknesses of paper over certain parts. 
 Use of sweet oil will give transparency to ground glass 
 or paper if so desired. Red or yellow paper, or both, 
 add greatly to printing qualities of a negative. 
 
 Cracks in films may be easily removed by rubbing 
 in with finger, plumbago, lampblack or pastels, which- 
 ever color suits the negative the best. 
 
 The negative, from which the picture entitled 
 "Music of the Waves," was very much under-timed, 
 but by retouching and stumping, a print was made 
 
102 ARTISTIC RETOUCHING. 
 
 possible from it. It is to be remembered that a luniiii- 
 oiis quality, a flesh effect can be gotten or kept even by 
 much retouching that is necessary in such cases (to 
 build up), if the retoucher understands the stroke and 
 its effect, and above all and with all, that he possesses 
 feeling. For, without feeling, a retoucher is no true 
 retoucher. Far more feeling is necessary than can be 
 expressed in words. By persistent effort this comes 
 sometimes all at once. 
 
ARTISTIC RETOUCHING. 103 
 
 CHAPTER XXVI. 
 
 SPOTTING NEGATIVES. 
 
 A NOTHER branch of the work that requires pa- 
 tience and care, is spotting. Moisten the side 
 of the thumb-nail and rub on some India-ink. Now 
 moisten the brush and rub in the ink, whirling the 
 brush on the nail to obtain a point. Apply to the spot 
 or pin-hole at once. Fill up the spot to meet the sur- 
 rounding color or intensity. If the ink was applied too 
 heavily, etch down a little when dry. There are many 
 causes for these pin-holes, being mostly due to dust 
 being on the negative during the exposure, or while 
 developing. Use of old developer causes these same 
 defects. 
 
 The ink should be applied with a No. 1 or a No. 
 2 red sable brush, tapering to a point. A good light is 
 best, neither too strong nor too weak. A little experi- 
 ence will tell how to regulate the illumination. Differ- 
 ent people use different materials for spotting, some use 
 Vermillion, Prussian or other blue. It matters little 
 what is used, so the user understands the color and 
 its printing effects. Lampblack is a good color or me- 
 dium, especially for spotting prints. 
 
 In spotting large places, it is better to apply a thin 
 wash to give it a tooth, this let dry thoroughly before 
 applying any more. If very much intensity is required, 
 better do so by heavier touches, brush being charged 
 with much ink. If not much intensity is required, then 
 broader strokes will better answer the purpose. If 
 
104 ARTISTIC RETOUCHING. 
 
 in any case there has been too much ink applied, etch 
 down or take a needle, placed in a holder, and stipple it 
 with the point to get the result. Do this either when 
 moist or dry. 
 
 One difficulty of spotting is due to having the ink 
 too moist, causing it to run off the glass. Do not take 
 the brush off the plate too rapidly, give the color a 
 chance to pass from the brush to the negative. Some- 
 times the ink, as much as is wanted, will not adhere, 
 too much will have to be applied, then etch down to 
 where wanted. With brush and color, by a skillful 
 hand, much can be done on different parts of the nega- 
 tive; as building up lights, giving accent to drapery, 
 etc. 
 
 Now that the retouching, modeling, etching, stump- 
 ing and spotting have been considered, the negative or 
 copy, perhaps, having gone thru all this, the negative 
 may be viewed at a distance to see if the parts in each 
 have been pulled together into one harmonious whole. 
 
 First and above all, keep the harmony of character 
 in the individual, the whole figure, the face, the hands, 
 the arms, the whole picture. In the young, the muscles 
 are very pronounced; in the older, the pronounced 
 muscles change to wrinkles and folds, even so to entire- 
 ly change the shape as well as the expression. The eyes, 
 parts surrounding the eyes, the labial furrow and 
 mouth, here greatest changes in expression are noticed. 
 Folds and wrinkles which are caused by contraction of 
 the muscles, run, always, in a cross direction to the 
 muscles themselves, as example, in the forehead the 
 muscles run up and down, the transverse lines run 
 across the forehead. 
 
ARTISTIC RETOUCHING. 105 
 
 While age has been giving placement to the lines 
 and folds, the character of the individual has been 
 moulding them. There must be harmony kept in all the 
 parts, even in the skin. The skin itself has expression ; 
 as age advances it carries Mrith it its individual skin 
 texture. The skin of a child, that of a boy or girl, that 
 of an adult, then the aged, each possessing their pecu- 
 liarities, these should be beautifully kept. Great care 
 should be used in softening age, but keep the charac- 
 ter. Avoid retouching a man's face who shows respon- 
 sibility, care, hard work, into one insipid or weak, ex- 
 pressionless face. Men of these distinctive character- 
 istics, these strong marks might better to be brot for- 
 ward, or, at least, kept very carefully. 
 
 The greatest difficulty among retouchers is their 
 lack of knowledge as to what is required in high class 
 retouching, rendering inanimate what is full of life 
 and feeling, having solidified in retouching, losing all 
 delicate atmospheric effects, the invisible something 
 that lies in suggestion. Examine a negative, the feeling 
 in it, the going back or setting in of the image in 
 atmosphere, and how taken out of its plane by hard 
 retouching and much retouching. A good picture 
 stands in and is surrounded by atmosphere ; a poor one 
 stands out, lacking the grandest qualities. How few 
 photoghraphers understand what is meant when they 
 say, "How the face stands out," little knowing they 
 know nothing of wherein true pictorial qualities exist. 
 
 The mechanical retoucher destroys where the ar- 
 tistic almost fears to tread. Very fine judgment is used 
 when known where not to touch a negative. Good art 
 principles are used when known hozv to touch a nega- 
 tive. 
 
106 ARTISTIC RETOUCHING. 
 
 CHAPTER XXVII. 
 
 VIEW NEGATIVES. 
 
 jVI EGATIVES of landscapes, where foliage or grass 
 moved during exposure, making, perhaps, the 
 negative worthless, can be made satisfactory by judi- 
 cious use of a soft pencil or brush, with color, or by 
 stumping. Treat not as separate leaves or blades of 
 grass, but as masses of light and shade, sharpening the 
 accents of highest lights; the strength of this being 
 according to its place in perspective. 
 
 By use of any of these means, shadows can be 
 lightened, broken lines be corrected, high-lights added, 
 foregrounds strengthened, thereby subduing distances, 
 or strengthen distances and add or remove objects. 
 
 Clouds can be worked into negatives by use of 
 stumping, as described under its heading. Best, how- 
 ever, to study some good picture of clouds as to their 
 forms and masses, — pictures by artists. The same may 
 be said of water, pools, creeks, ponds, or waves of the 
 sea. Of all that might be said on these subjects, noth- 
 ing will help so much as observation with study and 
 practice of handling the material, practice : 
 
 "Nature is loved by what is best in us." 
 

 Bubbles of Childhood. 
 
ART AND NATURE. 107 
 
 CHAPTER XXVIII. 
 
 ART AND NATURE. 
 
 r^ OETHE says, "Art is called art, simply because it 
 ^^ is not nature. An artist should not be a mere 
 copyist. Something higher and more subtle is required. 
 The beautiful and the pure idea must be in the mind, 
 then it is no matter what the model is." 
 
 "Art endeavors to convey the impression of the 
 original under some especial aspect." 
 
 Plato says, "If you take a man as he is made by 
 nature, and compare him with an another who is the 
 effect of art, the work of nature will always appear the 
 less beautiful." 
 
 Take, for instance, a log cabin, place it in a picture 
 artistically executed, and see how much more beautiful 
 and interesting it becomes. It is because the human 
 element, the human soul is introduced into the picture. 
 The human soul is the grandest thing in the world. 
 The Creator being the grandest artist, having created 
 all things, nature with all its moods, the human soul 
 with all its powers of feeling and expression. He being 
 the all perfect, we struggling for this perfection. Na- 
 ture itself not being perfect ; nature, with all its ob- 
 jects, but the human soul of the true artist endeavors 
 to express nature at its best, at its highest, at its purest, 
 at its most beautiful, no matter what the object may be, 
 either a log cabin or a simple scene so grandly ex- 
 pressed by Corot ; or a humble scene expressed by 
 humble subjects, as Millet's "Angelus," or his "vSower;" 
 
108 ART AND NATURE. 
 
 or it may be some great conception as the ''Sistine Ma- 
 donna," by Raphael ; or a representation of the mighty 
 Prophets of Michael Angelo ; or the grand paintings of 
 Rembrandt. 
 
 Worldly objects are inferior to the soul. These 
 artists put themselves into their productions ; their true 
 greatness of soul, their highest, purest, grandest feel- 
 ings were expressed in their productions. They have 
 used nature and expressed it in the highest and best 
 as to expression, composition, color, harmony of lights 
 and shades and feeling. It took each his individual self 
 to express his inward self, brot out in his productions. 
 
 Painting is like poetry. Think for a moment how 
 far from reality is poetic language ; what grand figures 
 of speech it contains. It is instantly seen that poetry 
 is ideal, using the real only as a means, the trees, the 
 houses, people, nature itself. It is the same in art. 
 These objects are the tools, the means to express the 
 ideal, just as in poetry. The painter must strive after 
 the ideal, the poet must strive after the ideal, or he 
 could not be a poet. The artist cannot be an artist if he 
 strives merely after the real. The artist must have the 
 real to give his work life, but the real without the ideal 
 lacks beauty in itself. This is true of an artist who 
 expresses his language thru a picture or a poem. 
 
 The same might be said of music. The musician 
 who understands pitch, scale and fingering, and yet 
 does not express feeling, passion or sentiment, is not a 
 true musician. He simply goes thru the mechanical 
 part of the composition and, perhaps, perfectly too, as 
 far as technique is concerned, making it simply a se- 
 lection of realism and not idealism, lacking pure 
 feeling. 
 
ART AND NATURE. 109 
 
 A certain truth to nature is necessary. In portrait- 
 ure, the object is not merely to paint the feautures, but 
 more ^han that, to express s character, Hfe, a something 
 of the individual. Art is not painting apples and 
 grapes in such a manner that you stretch out your hand 
 to pick them up. That would be deception. The artist 
 paints them in such a way that he brings out some 
 beauty that he feels, that he wishes the observer to see. 
 We must remember that nature is not in every case 
 art, realism without idealism is not high art. The more 
 nature is studied, the nearer to art one gets. True art 
 is nature, nature with its objects, its life, its feeling. 
 
 To realize ideas there must be forms, to idealize 
 thots, there must be forms and colors ; to have ex- 
 pression, there must be life; and life without expres- 
 sion, is realism. The artist who strives merely to 
 paint nature without any hope, ambition or object, 
 merely of copying nature as she is, is but unsuccessfully 
 rivaling the photographic camera. 
 
 The object of art is to express the "ideas and 
 m.eanings of men." In representing a landscape, it is 
 not the aim of the artist to paint leaf by leaf, blade of 
 grass by blade of grass ; it is to express some life, some 
 feeling connected with the scene, to obtain high art. 
 For example, a small and very simple landscape by 
 Van de Velde. It is a sandy plain, a winding road, a 
 peasant followed by a dog. But over all hangs a veil 
 of sadness which touches the heart. Another is a deep 
 forest, a fallen beech tree, with a sheet of stagnant 
 water almost hidden by water lilies. There are two or 
 three webbed-footed birds standing on them and one 
 passing in the distance. The scene expresses silence, 
 mystery and soft melancholy. 
 
110 ART AND NATURE. 
 
 Further, what is the object of any language, except 
 to express an idea, a thot, a conception or a feeling of 
 the heart. If neither have any meaning, it is of no avail. 
 It is the impression of the artist's conception, feeling or 
 thot brot out in his language that makes it a work of 
 art. 
 
 The object of art is to please, and the value of a 
 picture or a poem depends very much on the quality 
 and quantity of pleasure given. In viewing a picture, 
 strive to see what the artist sees, look for the artist's 
 meaning in his picture, and after the longer one studies 
 it, the more of worth he finds in the picture. The ob- 
 ject of any true artist is to reveal to the world a hidden 
 beauty. This hidden beauty may be in a very common 
 place object. There is beauty in the ugly. Age pos- 
 sesses it as well as youth. Rembrandt showed it in his 
 aged and wrinkled faces. Israels, one of the grandest 
 of modern painters, showed beauty in his coarse-fea- 
 tured peasants, also did Mauve and Millet. Their pic- 
 tures are filled with a charm, and yet they did not use 
 pretty-faced studio models. The grandest beauty lies 
 in the "conception of the human mind," beauties of 
 form or texture are not to be compared with it. 
 
 It's life that is wanted, and not the things them- 
 selves. The more a person studies nature, the more 
 unexpected beauty he finds — even in things that he 
 once disliked. High art consists in seeking for, 
 
 "Whatsoever things are lovely, 
 Whatsoever things are pure." 
 
 It is the imagination that should be stirred. It is 
 not as if striving for the texture of a trunk of a tree 
 
ART AND nature;. Ill 
 
 SO that the tree shows even its very grain to make it 
 deceptively real. Such detail is tiring, uninteresting, 
 and to say the least, can never be done perfectly. Na- 
 ture's detail can never be reached by any human hand ; 
 it is nature's higher elements and attributes to be de- 
 sired. Bring in as much truth as possible, not to go 
 beyond impressions, however. In looking at a tree, 
 one never examines it as to its minuteness of detail, 
 but as to its general effect, enough detail, perhaps, to 
 designate the kind of tree, or its peculiarities of 
 growth. It is not the weave of any fabric that is de- 
 sirable, but its eflfect, whether a soft material, a loose, 
 a light or a heavy, whether possessing a sheen or the 
 like. Get the impression of it. 
 
 Corot put into his pictures poetry and truth im- 
 pressions. "It is impossible to get any poetry out of a 
 bunch of turnips." "The soul of each artist is a mirror 
 in which nature comes to reflect herself in a peculiar 
 manner," much being the result of selection also. 
 
 The most beautiful, most subtle, most sublime ef- 
 fects in nature or in human expressions are the effects 
 that last but for a moment's time; they are fleeting. 
 The artist must be able to catch these, must be able 
 to perceive them, recognize them when before him. 
 He cannot interpret nature until he knows what nature 
 is, neither can he interpret beauty 'till he knows what 
 beauty is. In the varied moods of nature, in the varied 
 expressions of individuals, there are countless beauties, 
 beauties unknown ; these are the most wonderful, rarest, 
 infiinite of beauties. 
 
 A picture may be produced by a painter, by a pho- 
 tographer, or a statue may be modeled by a sculptor. 
 
112 ART AND NATURK. 
 
 and yet neither one be a work of art. They may have 
 the reaHstic technique and lacking in the very qualities 
 of art. Mind is over matter, spirit is over matter ; the 
 soul must be the picture, not matter the picture. If 
 nature's true picture does not touch the heart, then art 
 is unknown to the individual. 
 
 "Things more excellent than every image," says 
 Jamblichus, "are expressed through images." They 
 "become a new and higher beauty, when expressed." 
 "Nature is one thing and the other thing, in the same 
 moment." 
 
Madonna and Child 
 
ART AND PHOTOGRAPHY. 113 
 
 CHAPTER XXIX. 
 
 ART AND PHOTOGRAPHY. 
 
 A NYONE who creates a work of art is an artist. It 
 matters not whether he is an artist or an ama- 
 teur in art or photography so long as he produces a 
 picture that expresses an idea, a something beyond the 
 materiaHsm of things. This occurs with a poet, a nui- 
 sician as well as a sculptor, painter or photographer. 
 The poet uses his grammar and rhythm to move the 
 heart to tears or to thots of sublimity ; the musician 
 understands pitch, scale and fingering to bring out the 
 soul in his music; the sculptor must use his tools for 
 modeling and understands form ; the painter must 
 understand drawing, modeling and effects of color to 
 bring out his ideas ; so the photographer must use and 
 understand his lens, his developer, modeling under the 
 sky-light and at the retouching desk, and his papers. 
 Each must understand the language of his own art and 
 the means by which his art is attained ; he must under- 
 stand his technique. Each art contains its own beauty, 
 which cannot be produced or expressed by any other. 
 Feelings, thots and ideas may be expressed thru a 
 means, whatever that means may be, and yet not make 
 that means an art in itself. A painter can paint, a 
 sculptor can carve, a photographer can produce a pic- 
 ture, a poet can write a poem or a musician can play 
 a piece and each be a work of art, according to the ex- 
 pression wrought out, tho each used a different me- 
 
114 ART AND PHOTOGRAPHY. 
 
 dium. In one, the attainment of result may be more 
 difficult than in another, but whatever the form of ex- 
 pression makes it an art. 
 
 A painter has an advantage over the photographer 
 in having the subject before him at a much longer 
 period of time, having a better opportunity to study his 
 subject, to find out his grandest qualities. There are 
 moods, however, sometimes rarely expressed, which 
 show the personality of jthe_jndiyidualjn_a^leam or a 
 flash. Artists often have a wild desire to grasp these, 
 which he cannot, unless this expression makes such an 
 impression that he may transfer it to canvas from 
 memory. Here the photographer has the advantage ; 
 if he is ready at the right moment. But with tact and 
 skill he can work for the desired expression or \yatch 
 for a fleeting one. Take the principle of the artist who 
 had a subject that brot a different face to the studio 
 every time she came. He took the method of talking 
 about books, pictures, even about the "glossy, green 
 parrot," finally getting the unconsciousness of his sub- 
 ject, he was able to go to work again. The photog- 
 rapher must often do this to get the unconsciousness of 
 his subject, when that accomplished, wait for a grand 
 opportunity and thereby get a picture worthy of notice. 
 This is easier of access now with quick lenses, quick 
 plates and the use of flash-light machines. 
 
 Since the medium of any art is not art itself, but the 
 means thru which art is expressed, then the argument 
 by some that photography, as soon as the exposure is 
 made, becomes a science, no longer holds good. For 
 developing, retouching, printing and mounting are each 
 not mechanical or scientific alone, but to an artistic pho- 
 
ART AND PHOTOGRAPHY. 115 
 
 tographer has an extraordinary range of possibilities, 
 all for the desired print, the picture. A first-class pho- 
 tographer can develop to retain atmosphere or the in- 
 tangible, invisible subtleness that should be desired in 
 any picture. Here he can control the gradations of light 
 and shade and pitch of tone-values ; produce a desired 
 softness, or a boldness or contrast. Judgment must be 
 used as to the color of the negative and even its dry- 
 ing has modifications. Anything, in fact, that harmon- 
 izes with the subject at hand, in all this there must be 
 taste displayed and sound judgment. 
 
 One of the greatest essentials in photography is a 
 clear kiminous negative ; a negative not alone contain- 
 ing the proper pitch of illumination in harmony with 
 the subject at hand, but a luminous, loose, clear nega- 
 tive ; the grandest, most beautiful technique possible is 
 necessary to produce the delicate, artistic, atmospheric 
 effects with soft flesh notes. The negative should have 
 a muscle to it, have a body. 
 
 The possibilities of scientific photography as well 
 as art photography, are yet quite unknown. What 
 if the sensitive film became so sensitive as to be im- 
 pressed with human thots. 
 
 The timing, too, of a negative, is left to the operator 
 as to the result desired. Also the selection and use of 
 the lens, counts for much in the value of a picture ; 
 there being many different kinds of lenses. Each must 
 understand his lens and to what extent he can modify 
 the diffusion or focusing according to the definition 
 desired in the picture image. In this is often the pe- 
 culiar individualities, of the different noted photog- 
 raphers expressed. It is the artist in his work. 
 
116 ART AND PHOTOGRAPHY. 
 
 Next, the retouching. The foregoing chapters have 
 told how an important a factor retouching is to artistic 
 work. 
 
 Then there is the print. The printer has control 
 over what medium he wishes to use, even to the color 
 or tone, that would give the most harmonious artistic 
 result, whether he use the beautiful platinum with 
 its modifications of the glycerine process and the 
 like ; the carbon or the ozopype print. He can by 
 hand manipulations control the lights and shades, 
 the contrast by use of tissue paper, ground glass 
 substitute or coloring on the back of the negative, 
 whether printed by sun-light or shade, direct or dif- 
 fused. The carbon or gum-bichromate print is sub- 
 ject to many modifications by water, uses of brush or 
 cotton. And last, but not least, is the mount or frame. 
 Much depends on the effect of the finished picture by 
 its style of completeness. An inartistic finisher may de- 
 cidedly mar what would otherwise have been beautiful. 
 
 The result all depends on the individual, whether he 
 is an idealist or a realist ; the former putting feeling 
 into all he does, the latter accepting what comes, going 
 thru it all mechanically. From the lens down to the 
 mount, the former has much power in personal manipu- 
 lations to model his picture, not speaking of the power 
 he has in the lighting, posing and expression, which 
 may be given before the lens is touched. What may not 
 such a photographer accomplish in the art sphere by 
 such skill as this ? To obtain this, requires sincerity of 
 purpose, an honest desire to do one's best and no com- 
 promise ; with these tools, it is difficult to say what 
 might yet be done. 
 
ART AND PHOTOGRAPHY. 117 
 
 Emerson says, "Nature offers all her creatures to 
 him as a picture — language. Being used as a type, a 
 second wonderful value appears in the object, far bet- 
 ter than its old value, as the carpenter's stretched cord, 
 if you hold your ear close enough, is musical in the 
 breeze." 
 
118 CHARACTER. 
 
 CHAPTER XXX. 
 
 CHARACTER. 
 
 /'CHARACTER is expression. "Character is beauty." 
 ^^ "Character is existence." "It is the stamp and 
 image of our minds and principles." Character is in- 
 dividuahty. 
 
 The study of mankind is interesting ; his anatomical 
 structure, his physiognomy. The latter containing the 
 nervous system, including the mind, which is the other 
 side of humanity, the spiritual. Mankind differs widely 
 in appearance, in opinion and in character, and it is the 
 duty of the artist to study these latter to bring out the 
 true character of each individual. It is not lighting, 
 composition or photographic technique that the public 
 eye recognizes, but the expression ; the effect or result 
 is felt by them not knowing what has even aided to 
 produce this. 
 
 Character is also shown by the attitude of the hu- 
 man figure as well as by the soul expressed in the 
 face. By the figure is expressed many feelings which 
 fall in perfect harmony with these inward natural feel- 
 ings. The figure commands, threatens, entreats, re- 
 fuses, admires, beckons, confesses, expresses fear, doubt 
 or shame. It gladens, complains, flatters, applauds, 
 blesses, besides countless other expressions. The hands 
 next to the face are the greatest means of expression. 
 Each feeling, each thot is capable of being translated 
 into action. In other words, it is the thot and feeling 
 that enters into the hands or whatever part of the body 
 
Consolation. 
 
CHARACTER. 119 
 
 that is used to express this certain sentiment or feel- 
 ing, thereby the language of the body being in perfect 
 harmony with the inward self. 
 
 Character is beauty. Form indicates character also. 
 The desire for physical perfection and beauty is almost 
 universal. The soul is the greatest agent used in mold- 
 ing or beautifying the body. A beautiful, expres- 
 sive face may be completely remodeled into another by 
 change of opinion and feeling. The grandest beauty is 
 beauty of expression^ or grandeur of expression. It 
 may not always come from beauty of features or per- 
 fectness of features. A cross, ill-tempered child is not 
 beautiful, take the same child with a gentle, loving dis- 
 position, and see how beautiful he is. Mankind has 
 much to do with making their own beauty or ugliness. 
 Take a homely face and give it a good expression, let 
 it represent some fine character, and it at once be- 
 comes pleasing. A beautiful face with advancing 
 years may remain beautiful with a crown of silver 
 hairs. Goodness improves the expression the longer 
 it exists in the individual. A sweeter expression often 
 exists in the aged than exists in the one of eighteen, 
 such is a character founded on a well-rounded life, on 
 lofty principles. 
 
 The character of each individual is expressed in his 
 individuality. To represent true character is to give a 
 true representation of life, existence. This is the duty 
 of an artist or a photographer. Preserve the charac- 
 ter of the subject, selecting that individuality that adds 
 most beauty. It is this distinctive individual character 
 that marks beauty. There is some beauty in everyone, 
 the same as there is some good in everyone. It is 
 
120 CHARACTER. 
 
 sometimes hard to find, but persevere and it will be 
 found in either one form or another. Some find it 
 hard to find this beauty, finding only beauty here and 
 there, thinking their ideal high, even boasting of their 
 high ideals. It is uncultivated taste, a lack of knowl- 
 edge of what constitutes true beauty. If this were 
 true, what comparatively few poems could be written, 
 what few masterpieces of art painted, and so on. It is 
 said of the artist that he sees beauty even in a mud pud- 
 dle. Nature quite understood what she was about 
 when she designed this infinite variety of things, giv- 
 ing, to everything a true characteristic of its own, even 
 in the material things of this world. 
 
 In portraiture the true characteristics must be ap- 
 preciated to make a success. Cultivate seeing beauty in 
 defects, hunt for it — and it will be an astonishment 
 how much beauty there is even in crude forms vmno- 
 ticed. Get the character of the subject, then with light- 
 ing, timing, developing, retouching and finishing, the 
 picture can be made as charming as is desired. Don't 
 be alarmed at irregular features. Rembrandt, Holbein, 
 Velasquez, some of the most renowned painters of ex- 
 pression and character, used subjects wrinkled and ir- 
 regular in feature. They have proven how vastly su- 
 perior and more beautiful is a characteristic face than 
 one that is simply pretty in features. Rembrandt's 
 picture in the Louvre of nothing more than a "Dressed 
 Beef," has been pointed to with great pride as a proof 
 that the subject of a picture has no consequence, pro- 
 vided it is well handled. This principle can be applied 
 wonderfully to photography. It all depends how sub- 
 jects are handled in the studio, and what is done to 
 
CHARACTER. 121 
 
 bring about the finished picture. For any especial sub- 
 ject, idea or purpose, selection is necessary. A good 
 maxim would be to bring about beauty in spite of the 
 subject, as so many of the painters did. 
 
 Whatever is of good in the subject, bring it out and 
 credit is due for having truly made a portrait. Get 
 expression, get the something that is suggestive of 
 the inward self, the soul. Study the face as a whole or 
 the figure as a whole, and don't allow the eyes to rest 
 too long on the imperfections, but look for enhancing 
 of the good points and then the subduing or hiding of 
 the bad. The higher our ideal of things, the higher will 
 be our expression of beauty of character, and more of 
 a blending of all of the characteristics into one pic- 
 ture. Always remember there is as much character in 
 a hand as the face. 
 
 Infants before they have become sensible to inward 
 feelings or emotions, before they are capable of thots or 
 expressions of thots, before teeth have made their ap- 
 pearance, are quite devoid of expression and quite un- 
 satisfactory as subjects. Then again, in the aged, 
 when the teeth have disappeared, the muscles become 
 relaxed, there is also less variety of expression. 
 
 A photographer has a great and wonderful prob- 
 lem, the proper handling of each individual. Rem- 
 brandt chose only those subjects that had a signifi- 
 cance, a force of character. Pictures are impressive 
 agents, and should be produced with delicate and 
 thoughtful handling. To get a likeness is not so hard, 
 but to produce just character is infinitely difficult. It 
 may be no more than the folds of a dress, but it has its 
 individual characteristics. 
 
122 CHARACTER. 
 
 In conclusion, the character of things must be felt 
 to be able to produce them. If one is deeply im- 
 pressed with the character of things, then the picture 
 will have accomplished a great purpose whether it be 
 a work of art or a work of photography. 
 
 "Manners are not idle, but the fruit 
 Of noble nature and of loyal mind." 
 
Childhood's Reflections. 
 
CHIAROSCURO. 123 
 
 CHAPTER XXXI. 
 
 CHIAROSCURO. 
 
 r^ HIAROSCURO, or light and shade, is the cre- 
 ^^ ator of the appearance of reahty. Without this, 
 pictures would be mostly outline. The painters in the 
 days of the Pharaohs made no use of light and shade. 
 They only saw outline of form. The Egyptian battle- 
 pieces contain no shadows ; neither do their wall-pic- 
 tures. The absence of chiaroscuro shows fully its im- 
 portance in the picture. 
 
 There is nothing in nature from a stone to a moun- 
 tain that does not possess its light and shade. There 
 is always a highest point of light and a point of deepest 
 shade, and it is the preserving of these in their proper 
 relations with the intervenig tones that gives to objects 
 the rounded naturalness of appearance. Each object 
 must have its due proportion of light and shade. It is 
 immaterial as to the intensity of the light, so that it is 
 continuous and rounds out proportionately throughout, 
 having a perfect balance. It matters not whether the 
 picture is made in open sim-light or in a studio, the 
 proportionate relations between the lights and shades 
 must be kept, no difference what the pitch or key 
 is. No matter how much an artist may love light, 
 he always off-sets it by certain quantities of shade. 
 Rembrandt, Corregio and Murillo, who loved shadow, 
 cannot be said to have used too much shadow ; for they 
 always set them off by lights in strong contrast, giving 
 
124 CHIAROSCURO. 
 
 brilliancy of effect. It is unity of illumination that pro- 
 duces an artistic lighting. All true shadows are true 
 contrasts to their lights. 
 
 Rembrandt was a master of light and shade; his 
 brilliant effects have appealed very strongly to the pub- 
 lic eye. No painter has shown such deep transparent, 
 mysterious shadows, such soft blendings, such beauti- 
 ful detail in such depth and yet so broad and 
 simple. Of his pictures, usually there existed one- 
 eighth light and seven-eighths shade. Rubens admitted 
 more light than a quarter. The picture that possesses 
 the most shade, the light will be the most brilliant. 
 Rembrandt "revelled" in shade, while Turner in light. 
 To obtain the best result the light should come from 
 one source and the same effect should prevail through- 
 out the whole picture. To have a scene, the source of 
 light being from one direction and to print in clouds 
 with light falling on them, from an opposite source, is 
 poor art. 
 , ., There are three good qualities necessary to artistic 
 • lighting ; first, a one source of light ; second, a proper 
 i balance of light and shade ; third, that the picture con- 
 tains a center of light from which all other lights and 
 half-lights radiate and decrease in tone until lost in 
 shadow or half-shadow. Half-shadows being in a 
 lower key than half-lights, the two being half-tones. 
 
 There must be a central and highest light ; in por- 
 traiture it should be the lights on the face if the 
 drapery is not in a higher key than the flesh-notes. If 
 the drapery is in a higher key, let the highest light be 
 the strongest on the shoulder near the face to concen- 
 trate the light force near the center of attraction, then 
 
CHIAROSCURO. 125 
 
 tone down to tender gradations into lower tones as 
 the distance increases from the central illumination. 
 
 For an extreme case of concentration of light or 
 central light, the sun as it rises or sets, is a good ex- 
 ample ; a lamp in a room is another ; the light radiating 
 away from the lights of illumination. For a milder 
 example, the light, as it falls in the studio, has its 
 strongest light centralized at one point, from there 
 radiating in lower tones to the sides of the room. 
 Art is based on this important principle. 
 
 Compare the shadow cast by an object with the ob- 
 ject itself casting the shadow and notice how much 
 darker the shadow that is cast than the object itself. 
 Place a finger perpendicularly on a sheet of paper and 
 notice the shadow cast by the finger and compare the 
 shades with the shadow cast. Notice that the strongest 
 part of the shadow is nearest the object. In a person's 
 face the shadow cast by the chin is much darker than 
 the chin itself. Notice that the greatest depth of this 
 shadow is nearest the chin, usually toning in softer gra- 
 dations of tones at the extremities; the longer the 
 shadows, the more tender the gradations as the dis- 
 tance increases. 
 
 The size of the sky-light and placement of the sub- 
 ject has much to do with the effect of chiaroscuro. A 
 small source of light gives contrast, it centralizes the 
 rays, the farther away from the light the deeper the 
 shades. To balance these tones, use stronger reflected 
 lights in photography; while from a large, open light 
 the rays spread over a larger space, illuminating the 
 shadows more. Here the reflector is also often neces- 
 sary to balance with its pitch of light. The artist in his 
 
126 CHIAROSCURO. 
 
 studio uses neither reflector nor curtains (which some 
 photographers do with success), his tools and colors 
 are at his command to paint as he chooses in a high key 
 or a low, so he preserves the values, so he paints the 
 shadows luminous, containing flesh-notes. To an artist 
 the more reflected light, the poorer the work of art. 
 Always remember that a soft subdued light conceals 
 what a harsh and brilliant light brings out. 
 
 The photographer has to do only with mono- 
 chrome, if his subject was taken just as nature would 
 have given it in the studio without screens or reflectors 
 used, the efl^ect would often be harsh and hard, often 
 lacking flesh-notes, but additionally so by the common 
 plate not taking nature in its true actinic value, ex- 
 plained in another chapter. Hence the necessity of 
 beautiful modeling under the sky-light by the use: 
 first, of a good source of light to produce roundness 
 with character expressed to best advantage ; second, by 
 very judicious use of screens and reflectors if used, illu- 
 minating with due regard to the warm or cold color 
 tones of the diflferent subjects. Poor modeling has 
 often come from a lack of knowledge as to the effect 
 in tone values that the warm and cold tones have in 
 monochrome on the sensitive film. 
 
 Illuminate always for flesh-notes, illuminate that the 
 flesh color is visible. Bring the reflector, if used, nearer 
 to the front of the subject to roinid the lights into the 
 shades, allowing the latter to grow deeper and deeper, 
 thereby preserving roundness, depth or perspective. 
 Light also so that the color of the flesh is seen in the 
 high-lights and not swallowed up by the light, such 
 produces chalky lights without delicate modeling. It is 
 
CHIAROSCURO. 127 
 
 much easier to model olive complexions ; next the bru- 
 nettes ; the hardest being the pale or perfect blonds, es- 
 peceially if the complexion has not a tendency to warm 
 tones. More of an effect to produce half-tones will be 
 necessary, either by use of more concentrated light or 
 by use of a screen placed judiciously between the sub- 
 ject and the light, otherwise the picture image will be 
 fiat, lacking perfect chiaroscuro; more so by the effect 
 of colors in the sensitive film. This is one of the great 
 reasons why so many negatives are flat, having some- 
 thing of the appearance of over-timing. 
 
 Iluminate so that good light and shade is produced 
 with good timing, rather over than under, with judi- 
 cious developing and the picture will be placed in at- 
 mosphere, instead of standing out of it. The inexperi- 
 enced, or the student, sees objects independent of at- 
 mosphere. 
 
 They see not the subject surrounded by this subtle, 
 intangible element which modifies the tones of natural 
 objects. Master the laws of light and shade, a proper 
 treatment is of the greatest importance. Any light, 
 so it is beautiful, effective and destroys neither charac- 
 ter nor roundness, harmonizing with the subject, is 
 desirable. If the picture has nothing else, let it have 
 "chiaroscuro." A picture, however, cannot be an ar- 
 tistic production from proper lighting alone, it must 
 have composition and expression. A picture with good 
 composition and expression in spite of improper illu- 
 mination can yet be an artistic production. Go a little 
 farther and say, if the picture contain nothing else, let 
 it contain good composition and expression. The con- 
 clusion, how much grander and artistic if it contain all 
 
128 CHIAROSCURO. 
 
 three of the good quahties, Hghting, composition and 
 expression. 
 
 Harmony is the key-note to artistic productions. It 
 is the art of uniting extremes of Hght and shade or in 
 art of uniting also extremes of cold and warm tones by 
 the use of intermediate tones, that takes away the 
 harshness of effect, binding all into one harmonious 
 whole. The artist must know the result of varied ef- 
 fects of light and shade to produce harmony or con- 
 trast alone or by their combinations. The "unit of 
 value" is light. The importance of any tone in mono- 
 chrome is its relative value to its highest light. Some 
 subjects admit of more contrast than others. Contrast 
 denotes strength. It is better to light a man's face with 
 more contrast than a lady's, he standing for power or 
 strength. A great deal of taste should be displayed as 
 to the use of a milder harmony or a contrasted har- 
 mony, according to the subject at hand, much de- 
 pending on the character and contour or theme of the 
 composition. Israel's picture, "Alone in the World," 
 was painted with low somber tones and colors, admit- 
 ting of only a little light, expressed great harmony, har- 
 monizing perfectly with the theme of the picture. 
 This harmony of low tones aided to give the desired 
 feeling of the whole composition. Should he have 
 painted it with much light in a higher key, the result 
 would not have been so grandly produced. Rembrandt 
 observed this method in his works, he admitted more 
 contrast in some subjects than others. 
 
 A landscape by Whistler is one of the finest ex- 
 amples of harmony in art. His values can not be dis- 
 tinguished with any certainty, the one in relation to the 
 
CHIAROSCURO. 129 
 
 other. Yet it recedes in perspective with almost im- 
 perceptible gradations, so delicately they are hardly 
 seen, rather felt than seen. In the finest modeling the 
 half-lights and half-shadows are imperceptible and 
 should be confused and blended, the extremities can 
 hardly be determined. 
 
 In a milder harmony admit of enough light-force 
 not to produce monotony, requires very great skill. 
 Titian, the greatest colorist, showed great skill in 
 chiaroscusro, this with his color gave his work beauty. 
 Rembrandt proved that with an accent of light or an 
 effect of light and shade that it may be very expressive 
 and adds deep feeling. In another he enveloped the sub- 
 ject with a subtle "mellowness" of light and shade that 
 added sentiment. When an extraordinary effect of 
 light and shade or harmony is found either in nature 
 or in a picture, take note of it. In conclusion, an ar- 
 tistic lighting is one that will best express the purpose 
 of the picture, either its idea or its sentiment. Don't 
 be led to think that art in photography is all dependent 
 upon lighting; if the photographer but knew what ac- 
 tion and expression in a picture means, his lighting 
 would be used as an assistance instead of "worrying 
 over some system of lighting." There have been very 
 pretty effects of chiaroscuro produced, even by ama- 
 teur photographers, who know nothing of any system 
 of lighting, having used taste. Better be said to have 
 taste. Study light and shade and its influence and 
 effect. Get all the ideas possible from others, experi- 
 ence, study pictures produced by the masters ; then 
 bring out the hidden individuality of oneself and use it. 
 Be original. 
 
130 CHIAROSCURO. 
 
 The value of one tone to another plays a big part 
 in artistic work. Mr. Ruskin says that the deep blue 
 sky at noon is whiter than the whitest paper made. 
 Hold up the whitest substance and see how dark it will 
 be in comparison as to tone-values. Water is darker 
 than the sky except when a storm arises. Compare the 
 white of the whitest drapery and note the flesh-tones 
 in another key, strive for a refinement of gradations, 
 none as white as the white of the highest light and 
 none as dark as the dark of the deepest shadow of the 
 black. In lighting, to obtain true values between a 
 black dress and a white face and shoulders, give the 
 drapery full light and tone down the flesh, thereby 
 avoiding contrast. One of the first lessons to learn is 
 to compare tones, know their relative values. Strive 
 for breadth of handling with great delicacy of detail 
 with broad treatment. An over-amount of detail may 
 be subdued at the retouching desk, if the desired re- 
 sult was not obtained under the sky-light. There is 
 grandeur in simplicity. There should, however, be no 
 broad, flat patches of light and shade, but delicate 
 gradations everywhere. Nature is such, study her. 
 
 A good source of light for general use, to produce 
 character with roundness, for a beautiful plain light, 
 is light coming from something like a 45° angle source 
 of light, side and top light coming from the front ; for 
 Rembrandt lighting, a side and top light coming from 
 the rear. Very pretty effects are produced by placing 
 the subject straight across from the light, coming from 
 above the sitter, either broad lighting or shadow ef- 
 fects with striking high-lights. For portraiture, small 
 sources of light, such as windows, give beautiful ef- 
 
CHIAROSCURO. 131 
 
 fects, closing off the lower part of the illumination, 
 using some white material to reflect light into the 
 shadows if necessary. In using this, avoid using it 
 strongly at the rear, as it produces spottyness in the 
 shadows, destroying the beauty and simplicity of the 
 shadows, destroying depth and perspective. Use the 
 reflector rather to the front, blending the lights into 
 the shades, avoiding harshness of effect. A head 
 screen may be used to subdue some strong light on the 
 top of the head or the like. 
 
 A light coming from any source may be effective 
 and beautiful so it harmonizes and places the subject 
 to best advantage. Beautiful results have been at- 
 tained by all side light, or all top light ; light coming 
 from the rear and above ; from the front and above or 
 a 45° angle, or more or less, just so the lights and 
 shades are not spotty, but held in broad masses, — pulled 
 together. Almost anything beautiful can be gotten by 
 a good, plain light. Rembrandt painted many pictures 
 from a little window above the sitter. 
 
 Light is that by which we are enabled to see. Light 
 as it falls on a surface, is divided into two portions ; 
 one absorbs, the other reflects. A polished surface 
 reflects like a mirror and upon it are patches of high- 
 lights as bright as a sheet of white paper. For the 
 same reason such brilliant lights as those on the nose 
 or different parts of the face exist, because of the 
 oilyness of the skin, reflecting more light, making the 
 lights appear metallic, absorbing all soft flesh-like 
 effects. When a substance reflects all the colors to the 
 eye, it seems to us white, being a combination of all the 
 colors. When it absorbs all the colors, it is black, being 
 
132 CHIAROSCURO. 
 
 the absence of all the colors. White reflects light, black 
 absorbs light, black reflects black, same as any color 
 reflects its own color on an adjoining tone, therefore 
 often broken tones are a result. Why is an apple red? 
 When a body absorbs all the colors of the spectrum 
 but red, but reflects that to the eye, that object is called 
 red ; when it absorbs all but blue, it is called blue ; when 
 it absorbs all but green, it is green. 
 
 Light passing thru a lens, the violet or ultra-violet 
 rays are brot to a focus nearer than that of the red 
 rays, the wave lengths of the cool tones or actinic 
 rays differing with those of the warm tones or non- 
 actinic. Hence the importance of knowing something 
 about colors, their relative values and effects to do 
 beautiful modeling with light and shade, with reference 
 to the lens and plates used. 
 
 "Beauty breaks in everywhere." 
 
The First Book. 
 
COMPOSITION. 133 
 
 CHAPTER XXXII. 
 
 COMPOSITION. 
 
 piCTORIAL composition is a filling-in of a flat 
 space. It begins with the outside hnes, or the 
 four boundary Hnes or oval of the picture plane. From 
 these the mind must be led inward to its central point 
 and keep it there. A composition is a combining of 
 several things into one perfect whole. There must be 
 exercise of judgment, as to proportion, lines, har- 
 monious masses of light and shade and color. A pic- 
 ture may have an idea ; but that idea, if expressed by 
 proper proportions, lines, light and shade masses, har- 
 monious tone-values, — these are the means by which 
 the idea is made more complete. 
 
 A poem is based on the same principles, it is made 
 up of words in rhyme and metre, these helping to 
 convey the idea. The more harmoniously these dif- 
 ferent qualities are arranged in the picture or the 
 poem, with its idea or theme, the more of worth the 
 production becomes. 
 
 In a play, a novel or a poem, each are built upon one 
 figure, the central figure, the hero or heroine. All 
 the other characters, scenes or what-not are simply 
 accessories to fill in, a surrounding the central figure, 
 all being inferior, to add strength and gorgeousness to 
 the central figure. Examine the Merchant of Venice, 
 Julius Caeesar or Ben Hurr and in any one there will be 
 seen a concentration, a centralizing, the mind being 
 drawn to the central figure, the rest of the characters 
 
134 COMPOSITION. 
 
 being of minor importance. In a pictorial composition 
 the leading figure must be centralized in position, with 
 a concentration of light force, in a painting central in 
 color effects also. Art requires this whether it existed 
 so in nature or not. In a sunset scene the sun or its 
 strongest light must be nearly in the center to attract 
 greatest attention, from there the light radiates into 
 lower tones toward the outer boundaries of the picture 
 plane. 
 
 How differently the photographic group. Most of 
 the individuals are looking out, straight at the lens, 
 a few are looking to one side perhaps. There is no 
 central interest, each figure is of the same importance, 
 all are conscious of the event, — when the picture is 
 taken. There is no pictorial composition, no relation 
 of one individual to another, no oneness of effect, sim- 
 ply a number of individual photographs taken on one 
 plate. Time is at hand and it will be more universal 
 when groups of families and others will be taken with 
 some meaning attached to the picture. A family pic- 
 ture will represent some fire-side scene or parlor 
 scene, something that represents home or home-life in 
 some form. How beautifully and naturally a group of 
 children could be arranged with some central idea. 
 Such work as this has made itself possible, especially 
 since the appearance of good flash-light machines. 
 
 When a large group is taken, it is usually a 
 group of an organization of some kind ; with a little 
 forethought, a scene could be arranged having some- 
 thing in touch with the group. Let the central head 
 of such be placed central, others being in attitude of 
 conversation or whatever of action it is possible to 
 
COMPOSITION. 135 
 
 express, giving a variety of pose and at the same 
 time a oneness of idea, all centralizing in idea to- 
 ward the central figure or figures. The effect of a per- 
 fect outlined pyramid or half-circle, so often used, may 
 better have a wave effect, central or near central figures 
 placed some higher. This adds interest and destroys 
 the too conventional style of the other. 
 
 A pyramid suggests repose, symmetry ; it also 
 carries with it the idea of solitude. In a family group 
 avoid placing the head of the family in the very 
 center. Have the leading memmbers somewhere near 
 the center, which adds interest and variety. As to the 
 posing of the different members, give dignity to the 
 father, by dignity is not meant stiffness. Give to each 
 something characteristic, easy and simple, coinciding 
 with the idea of the composition. If the picture is 
 made at the home, in the parlor, it is not so difficult to 
 obtain something beautiful and natural with the home 
 accessories. People feel more natural in their own 
 surroundings.' In studying pictures by masters of art, 
 the leading figure is the center of interest, no matter 
 where this leading interest is, whether it be high up in 
 the picture to form a pyramid, or whether lower down. 
 The key-note of any picture should be the center of in- 
 terest. 
 
 To be successful in a composition, it is necessary to 
 plan the picture beforehand. A very good method is 
 to make dates with the subjects and then plan in the 
 meantime, especially if anything extraordinary. The 
 great painters all planned their pictures. They first 
 made a variety of sketches, then a finished drawing of 
 what they liked best, taking from the varied com- 
 
136 COMPOSITION. 
 
 positions that which expressed most clearly their con- 
 ception. Then they obtained a more correct drawing 
 and finished it from nature. By this planning, arrang- 
 ing and re-arranging as to figures and their relation, 
 lines, masses of light and shade and color, they accom- 
 plished as with a mighty hand and a mighty mind. 
 Some of the masters succeeded most in half-fancy and 
 half-portrait, keeping individual peculiarities. 
 
 Study lines, look for them in any good picture, 
 study their meaning. One of the greatest sources of 
 beauty and interest is variety, variety of line, lights and 
 shades, composition. Repetition and uniformity pro- 
 duce monotony, losing beauty and interest. 
 
 Elegance is displayed all thru nature, whether in the 
 human figure or nature itself. It is filled with natural 
 effects, "unstudied ease," which adds the greatest 
 beauty and grace to a composition. Nature, when left 
 to its naturalness, is harmonious, the different parts 
 being in harmony with each other. These cannot be 
 looked-for enough. In giving expression to a certain 
 feeling, notice how the body falls in lines and com- 
 position harmoniously to that feeling. Certain lines 
 are suited to every subject and to its thot. Certain 
 lights and shades also express the sentiment or effect 
 of the picture. 
 
 Some objects appeal to us more than others, from 
 the fact that the lines are more pleasing. A cer- 
 tain light and shade may be used and represent one 
 phase of thot, another light and shade used and a 
 different aspect represented altogether, from this alone. 
 Lines have also a great significance. The influence of 
 the grandeur of lines and light and shade is wonder- 
 
COMPOSITION. 137 
 
 ful. Lines have their meanings and either add to or 
 take from a picture. A picture, inasmuch as it has the 
 power to please or to hold the imagination, is its suc- 
 cess. Some lines create more pleasure and imagina- 
 tion than others. There is no line as beautiful and full 
 of interest as the curve or continuation of curves, caus- 
 ing a variety in unity. Why are the waves of the sea so 
 fascinating? Because of their continuation of curves, 
 producing variety and yet unity. 
 
 Straight lines across a picture should be avoided. 
 Such a condition should be broken in some way. Such 
 lines give the feeling of sorrow. These same hori- 
 zontal lines also express repose or reclining. Arms 
 can be posed and if perfectly relaxed, give in the lines 
 and atmosphere itself, a feeling of perfect repose, un- 
 mistakably felt without seeking for it. Perpendicular 
 lines give the influence of stability and support. The 
 soldier is a good example, he who has vowed to protect 
 and support the nation in trouble; his erect figure, his 
 attitude harmonizing with the act. The curved line is 
 the most beautiful, giving more beauty; straight lines 
 or angles giving strength. 
 
 Lines giving beauty and strength make a grand 
 composition, also combine with it a lofty idea and the 
 result is grand. If all lines in a picture are curved, it 
 becomes weak and insipid. Repetition produces mo- 
 notony and becomes uninteresting. Angles or straight 
 lines can cither make or mar the picture. They can 
 be used, however, with strong and beautiful iifects, 
 for there is beauty in angles and they are expressive of 
 meaning. Angles, however, are hard to handle. In 
 a decided character the figure is molded with inclina- 
 
138 COMPOSITION. 
 
 tion to angles, no sharp angles, however, existing. 
 Right angles are the hardest to handle and least beauty 
 is expressed. Curved lines bind together; angles have 
 a separating effect. Curved lines give grace and ele- 
 gance, while straight lines possess perfect fullness of 
 expression. Notice the full blown rose, the rounded 
 curves of each petal, how the perpendicular stem gives 
 it support, adding strength to its make-up, the straight 
 line of the stamen adding additional beauty. How the 
 leaves of any tree or plant in the vegetable kingdom is 
 graced with beautiful curves and balanced with straight 
 lines ; strong veins give beauty in their straightness ; 
 the angles they produce by the joining of one to the 
 other also adds to the make-up of beauty. Angles, too, 
 represent action, a person running is a good example ; 
 more action being displayed when acute angles are 
 used, less when obtuse, the latter representing more of 
 the idea of stability or support, the figure being then 
 more erect. 
 
 Light and shade bind together lines and assist in 
 effecting a continuation of lines. Accessories are neces- 
 sary in connecting objects and lights and shades; they 
 have no meaning there unless they fill a space or tell a 
 story. Let accessories be few, only what is needed to 
 help the composition. No accessory should be so prom- 
 inent as to detract from the face or figure. Avoid 
 mottled, spotty back-grounds, for single figures or 
 simple compositions, use rather simple back-grounds 
 with gradations of tone-values perhaps, if used prop- 
 erly. 
 
 Simplicity is of greatest importance. It is easy 
 enough to be elaborate, but to know how to produce 
 
COMPOSITION. 139 
 
 beautiful simplicity is the most difficult. Drapery laid 
 in broad, simple folds is picturesque and gives a 
 grander result if laid in tasteful or artistic lines with 
 due regard to light and shade and composition. Sim- 
 plicity of composition is very necessary in photography 
 because of the liability of distortion. The figure or 
 figures must be posed, so they are as near as possible 
 parallel to the lens. The greatest difficulty resulting 
 distortion is, the focal length of the lens is not great 
 enough for the plate usually used. A quarter-plate 
 cannot be cut with a five-inch lens ; the lens is strained, 
 doing more than it can properly do. The result is 
 better if not strained to its fullest capacity. To produce 
 pictorial efifects, the artist must use a lens that gives 
 true perspective and not a perspective that doubles dis- 
 tance and destroys proportions. 
 
 The arrangement of a figure is the pose. There can 
 be no rules laid down to be always used, such an at- 
 tempt would be absurd. Art is not governed by rules. 
 There are certain principles to be observed, different 
 lines, angles and the like have their meaning ; light and 
 shade and expression also. Feeling, high feeling, good 
 taste displayed is the highest art. Use imagination ; 
 stir up the imagination. Create ideas, be different, be 
 original. 
 
 It is a most difficult subject to write on; that to 
 know how to pose any individual, that individual must 
 be studied as to his peculiarities, his character, expres- 
 sion, contour or face and figure; there being such 
 variety of characters, features and figures. 
 
 Much easier to give pose to a man than to a woman. 
 The element of dignity and strength brings out more 
 
140 COMPOSITION. 
 
 the true character of the man, while in woman the 
 element of beauty is most desirable. Beauty of face, 
 expression, grace of pose, are desired by those even 
 not possessing much of the above qualities. Hard to 
 represent dignity, strength or force of character where 
 there is none; express, however, what character or pe- 
 culiarity there may exist. For portraiture, personality 
 is one of the all desired elements. The face is the center 
 of expression and character, the action of the figure 
 shows also much character or personality, or the true 
 aspect of the person. There should be concentration 
 of expression, light and also detail. The eye focuses 
 on only one thing at a time, the rest being less distinct, 
 which causes a centralization of interest. There is 
 something out of keeping if the eye travels and fails 
 to return to its interest. All other things, such as 
 dress, accessories and the like, should be simplified in 
 line, mass and light and shade to enhance the center, 
 the face. All drapery should be to add, to enhance the 
 figure, not the reverse. Only as much detail should be 
 used that will keep the harmony, no throwing out of 
 focus necessary, more a dififusion instead. One great 
 strengthener is simplicity in the shadow and detail in 
 the light ; when and where to concentrate and subordi- 
 nate to produce this simplicity. Too much reflection 
 destroys luminosity of light and also destroys sim- 
 plicity if not well done. 
 
 In three-quarter or full length poses of men, it is 
 quite difficult to secure naturalness and yet not mo- 
 notony. More difficulty arises from the fact of man's 
 costume containing more straight lines, which, how- 
 ever, adds strength to appearance, he representing 
 
Backward Thots. 
 
COMPOSITION. 141 
 
 such. Above all, avoid using stereotyped poses in any 
 posing-. Secure in man strength and naturalness, re- 
 membering that stereotyped poses are not always char- 
 acteristic poses. Greatest care shoiild be used in the 
 tilt or poise of the head and in the posing of the 
 hands. Happy can be the person who has mastered the 
 pose of hands. There is as much character in the hand 
 as the head. There is as much need of the study of 
 hands as the head, as they are expressive of character. 
 A true artist pays a? much attention to the posing of 
 hands and arms as the face. First, as to lighting, they 
 should always be subdued as much as possible unless 
 well posed, or some characteristic pose is used. At 
 any rate keep the lights a little lower in key than the 
 lights of the face, keeping the centralization of the 
 light-force on or near the attractive part of the compo- 
 sition, the face. Hands should not be too much in 
 shadow ; it makes them look too dark, losing the effect 
 of luminosity or flesh-notes. According to the pose, 
 the necessary reflector used for the face, cannot fulfill 
 its mission, consequence the hands often are too dark, 
 flesh-notes at least should be attained. In the pose of 
 hands, it is often better that they be occupied with 
 something, often adds grace. For a beautiful pose, give 
 the hands a perfectly relaxed feeling, also more grace 
 being attained thereby. Avoid affectation or a strained 
 pose. In dark drapery, three-quarter length sitting or 
 standing, the illumination of the hands adds a sec- 
 ondary light to the picture, making a true balance and 
 adds interest. The picture becomes at once a true 
 portrait, not a mere photograph. It is one of the prin- 
 ciples that all good artists use, light masses or color 
 
142 COMPOSITION. 
 
 masses. A stronger light and color existing where at- 
 traction is meant to be desired, then in other parts of 
 the composition secondary lights and colors are added 
 to give a true balance, pulling it together, creating sim- 
 plicity, harmony; it keeps the center from being as a 
 spot standing out in the picture. For example, Titians' 
 best picture, "Bacchus and Ariadne," a representation 
 of landscape with two figures. The foreground con- 
 sisting of warm tones, the sky and back-ground of cool 
 tones. Now to obtain a balance and harmony of colors, 
 he put into the sky some warm tones and also by plac- 
 ing a red scarf on the shoulders of Ariadne, who was in 
 silhoutte against the sky ; he then brot down some of 
 the cold tints into the foreground by the blue mantle 
 on the shoulders of the nymph in the lower part of 
 the picture. He preserved breadth, simplicity, har- 
 mony and union thereby. 
 
 This principle applies to light and shade also. There 
 should be a relation of larger masses, have the strongest 
 accent and pull all other values together delicately. If 
 a strict observance to these laws is kept, it will be ob- 
 served what a different aspect the picture produces, 
 how much more character, beauty and strength it be- 
 stows. The masses of light and shade have much to 
 do with the composition, also if the light part of the 
 picture is relieved with a dark ground, or the dark with 
 a light ; it has its effect in the composition. 
 
 To secure true characteristic poses watch the indi- 
 vidual in his movements about the room, look for little 
 fleeting bits of attitude or expression ; it may be in the 
 hands, poise of the head, attitude of the figure ; it may 
 not be any more than the position of a finger ; be on the 
 
COMPOSITION. 143 
 
 alert, keep eyes wide open, filled with eagerness to 
 grasp the fleeting beauties of nature. Herein lies much 
 of the success of good posing. In women there is more 
 natural grace of figure than in men ; their drapery also 
 gives more pleasing lines than is possible with the 
 dress of men. The folds causing graceful lines, con- 
 tinuing in curves the lines of the figure. 
 
 Posing is mastered thru study, observation and 
 thru a knowledge of what others have done. It is 
 a life study. One of the hardest things to obtain is un- 
 consciousness in some people. It often must be fought 
 for, worked for. Consciousness and awkwardness are 
 companions, unconsciousness and ease and dignity go 
 together, often grace accompanies it. To obtain un- 
 consciousness, draw the mind from the present sur- 
 roundings. Get the general action or pose of the figure, 
 then use lines of drapery and accessories as secondary 
 elements. Beauty of face and expression, beauty of 
 graceful figure are of infinite value in portraiture of 
 women. Alore action is required in the portraiture of 
 the young, more of dignity and repose in the aged. 
 Youth carries the chin higher, gives more action, age 
 lowers it. A standing pose is not suitable for the aged, 
 rather seated in a comfortable chair that falls in good 
 lines with the subject. Seldom place a figure squarely 
 before the camera, it loses action, action being better 
 represented in the three-quarter or profile figure. Stout 
 people or tall, slender people, better be seated, and also 
 usually, short people. A leaning forward gives thought- 
 fulness in expression, especially to the older. Stout 
 little figures should lean forward, giving more slender 
 appearance thru perspective, otherwise will be large 
 or larger. 
 
144 COMPOSITION. 
 
 Avoid in these figures light back-grounds, using 
 such a ground that here and there the figure is lost or 
 partially so. Having the subject rest on one foot, 
 gives action. Letting the body lean slightly forward, 
 creates action. Avoid having the camera too low, it 
 elongates a tall, slender person to exaggeration. If in 
 a woman's dress it fails to reach the floor, take a three- 
 quarter length or sitting position. 
 
 To pose a child is almost to fail. Little suggestions 
 may sometimes be made and with success. The head, 
 body, hands, feet, the whole little being acts in perfect 
 harmony and unison in what it is interested. Noth- 
 ing is more charming in photography than to have the 
 privilege of working with these little creatures, from 
 two years to six or seven ; they are of exceeding in- 
 terest, because of their charm of expression, animation 
 and illumination of face and unconsciousness. Have 
 plenty of patience, be full of fun, make them feel at 
 home, then be ready to grasp anything that may present 
 itself that is beautiful and natural. 
 
 In photography, the bust picture is mostly in de- 
 mand, because, first, perhaps, of the size of the head, 
 for the price of the prints, and, second, perahps pho- 
 tography can best handle only the head. It requires 
 great skill, however, in the pose of the head alone. The 
 lines of the body must harmonize and be balanced with 
 the contour of the head. Expression having something 
 to do with the pose of the head and body. Observe 
 first of all what gives the best contour of the head, with 
 reference to the ears, hair or general shape. Having 
 the contour arranged to the best advantage, the fea- 
 tures usually are placed to better advantage. The 
 
COMPOSITION. 145 
 
 camera should usually be placed on a level with the 
 mouth or chin, as this gives a more correct drawing 
 and also a more exalted appearance in the picture. 
 Avoid looking down on the subject with the camera, 
 gives the effect of lowliness. In posing a man of re- 
 sponsibility, an officer, or a commander, how mistaken 
 to place a camera high. Give him a commanding ap- 
 pearance. A short "turned-up" nose, pose the head 
 lowered, places it to a better advantage. Raising the 
 head, fore-shortens it the more and will be more of a 
 turned-up effect still. Some features are placed to 
 advantage by the method of fore-shortening, some the 
 opposite. Not that the lens itself makes these changes, 
 but it's a natural law of nature. 
 
 Long noses, the fore-shortening would be desirable, 
 such tilt the head a little upward. Long chins, lower 
 the head ; short chins, raise. Three-quarter view is 
 usually the happiest position ; in using this, see if the 
 cheek-bone gives good outline in the shadow side ; if too 
 straight, let the ear or part of the ear break the line. 
 If the mouth is crooked, drooping more on one side 
 than the other, place the subject on that side of the 
 room so that the drooped side will be on the side farther 
 away from the camera, according to the law of per- 
 spective ; parallel lines converge to a center. By plac- 
 ing the droop nearest the camera, the crooked appear- 
 ance will but be more evident. 
 
 Long necks, the camera should be placed high, 
 placing it low only elongates the already undesirable ; 
 fore-shorten it. Large eyes (if too large), have them 
 lool<,out, rather a little down than up, avoid the show- 
 ing of s^ much of the whites of the eyes. It gives a 
 
146 COMPOSITION. 
 
 pleasenter appearance. A beautiful effect is obtained 
 if they are in half-shadow rather than such full light. 
 Deep-set eyes more front light, illumination is of the 
 utmost importance. Large ears, standing out much, 
 may be fastened back by a string across the back of the 
 head, using pins bent to hook in the ears, avoid full 
 view. A bald head with the use of ochre, charcoal, 
 lamp black or any material easily removed, used ac- 
 cording to the color of the hair, may be made to give 
 the appearance of hair. It, however, could be rem- 
 edied at the retouching desk by etching. Hollow 
 cheeks, use more side light coming from the front. 
 High cheek bones, use the light more subdued, thereby 
 reducing the high-lights, reducing its harshness by 
 more mellow half-tones. 
 
 Double chins, raise the head, but if the nose or some 
 feature is placed to a disadvantage by such, never sac- 
 rifice the good features, leave the chin to be etched 
 down by the retoucher. Very round faces, give three- 
 quarter view ; long, slender faces morejull^view. If the 
 lower part of the face is very heavy, prominent jaws, 
 lower the head a little, placing the lens on a level with 
 the eyes. If the chin is pointed and slight, raise the 
 head a little, the lens on a level with the mouth. Good 
 profiles are rare. If in a profile all the features are 
 good except the nose, which, perhaps, has a sinking-in 
 and is long also, to give a beautiful effect, tilt the top 
 of the head toward the camera, fore-shortens it ; away 
 from the camera, the perspective would make it longer 
 in appearance. A drooping mouth, raise the camera a 
 little or lower the head, raising the head only makes 
 it more drooped. Large hands, place on a plane, in- 
 
COMPOSITION. 147 
 
 Stead of in front of the plane, of focusing. Large 
 feet, handle the same. Small hands and feet will ap- 
 pear larger if placed in front of the plane. Observe 
 the law of symmetry. 
 
 A great many of these changes can be made with 
 due regard to the law of perspective and light and 
 shade. In all this there must be a lens used as before 
 said, that will cut properly the plate used. Don't sac- 
 rifice ease for an idea that the head and body should 
 not be posed on a line or thalt the head should 
 not be turned toward the light. The subject at hand 
 is the only being that suggests the pose or light and 
 shade ; whatever gives most beauty, strength and char- 
 acter, do ! A good effect is even acquired on some, 
 face full in the light, great care should be taken as to 
 the modeling of half-tones, especially in such a case. 
 
 There are many little things that come up in the 
 posing of individuals that cannot be explained or brot 
 out in writing, being a subject very difficult of hand- 
 ling in this manner. It is a life study, it must be a part 
 of one's daily life, on the street, in the city or country, 
 at work or at leisure, no matter where. Hard work, 
 persistent effort, observation and reflection with imagi- 
 nation will bring success. 
 
 In composition look for form and contour first in 
 the pose, lines ; depth of perspective, back-ground, sil- 
 houette; then the modeling; then expression. 
 
 A certain degree of relief is necessary to detach the 
 subject from its back-ground, but it must stand in at- 
 mosphere, be surrounded by it, to express a fullness. 
 A light should have something to illuminate, a shadow 
 something to relieve. White paper, or any support can- 
 
148 COMPOSITION. 
 
 not produce an effect of light or atmosphere. Having 
 it darker in some places helps to make it luminous. 
 First duty of a back-ground is to go back. It should 
 be luminous and atmospheric, tho it be either dark or 
 light. Make anything dead black and it at once loses 
 transparency. Titian, the master of color, accom- 
 plished a very difficult picture, a figure in white drapery 
 against a light luminous back-ground, no contrast 
 used to set off the figure. Few have been successful 
 in such an undertaking, difficulty being to get a lumin- 
 ous and atmospheric quality to the light back-ground 
 and make the figure set from it and stand in atmos- 
 phere; and yet how many, many photographers 
 attempt this very thing and with failure, attempting 
 light drapery and well illuminated figures against 
 white back-grounds, over-developing the figure and 
 drapery to secure a white back-ground. Sacrificing 
 the modeling of the figure, blocking up the lights, los- 
 ing transparency and a luminous quality of the print 
 in the figure and drapery for a white back-ground, 
 for a white meaningless back-ground, for the plain 
 paper; object to leave the paper bare of what nature 
 possesses. Paper has no atmosphere, no feeling, it is 
 what is put on the paper that makes the picture, not the 
 paper itself. 
 
 Look at nature and nowhere will atmosphere or 
 perspective be wanting. Even look at a wide 
 stretch of country covered with snow and in that white- 
 ness there is atmosphere, gradations, a going back. In 
 such examples as the above, according to the law of 
 art, the highest light on any back-ground cannot be 
 as light as the highest light on the figure or drapery, 
 if it is, it at once loses atmosphere and perspective. A 
 
The Spirit of the Sea. 
 
COMPOSITION. 149 
 
 good back-ground ought to be darker than the lights 
 in the figure, and Hghter than the deepest shadows, the 
 latter according to the drapery and back-ground used. 
 Do not make papery-looking pictures, there is no depth 
 to them ; nothing that art calls good. As "there are 
 sermons in stones," there is a deep lesson even in a 
 tone. 
 
 The most important objects are placed most prom- 
 inent in light and composition, all other things being 
 subordinated, using these only to enhance the promi- 
 nence of the objects themselves to unite and produce 
 a fullness of effect. The same may be said of beauty, 
 all other things are subordinated to make the force of 
 beauty be felt. 
 
 In Michael Angelo's "Night Watch" the pose of 
 the figure is grand; such a face is rarely found and a 
 magnificent result be obtained with his soft, tender 
 obscure back-ground. Study nature, revere her. Best 
 results only come from truest sympathy with her. But 
 selection is necessary for nature is infinite, then photo- 
 graph well. 
 
 Some good qualities to observe : Reduce the back- 
 ground, set it back. Subordinate the landscape if fig- 
 ures are the leading features of interest. Possess the 
 power of obtaining expression, with the power of pleas- 
 ing the senses. Concentrate force light, with proper 
 distribution of light ; composition of lines, with due 
 regard to meaning. Let the picture possess a dark 
 accent, gives life and a value of added interest. Con- 
 vey the impression of the original under some "especial 
 aspect." 
 
150 STYLE AND INDIVIDUALITY. 
 
 CHAPTER XXXIII. 
 
 STYLi: AND INDIVIDUALITY. 
 
 O TYLE and individuality is a result of knowledge, 
 a knowledge of nature, composition, effects of 
 lights and shades and masses, expression and individual 
 temperament. Art is to please, and an}^ style is a suc- 
 cess inasmuch as it has the power of pleasing, no law 
 being laid down. An artist's style is his manner of ex- 
 pressing his inward self brot out in his productions. 
 Style and individuality cannot be taught. Happy is 
 the person who has found these. The first essential 
 is technique, next a thot, then that thot fully expressed. 
 "Homer sang poetry, Milton dictated it, Coleridge 
 dreamed it, Goethe wrote it ;" it is the poetry that is 
 judged and not how it was produced. One of the great- 
 est masters in art painted with a palette knife, another 
 with his fingers, another looks as tho he painted with a 
 trowel or even a white-wash brush, but what matters 
 that so the result is effected. There are comparatively 
 few photographers who have much originality or in- 
 genuity for effects or treatment. The general pho- 
 tographers are mostly copyists, ready to take up "the 
 latest" style of print, mount, frame or what-not, 
 whether it harmonizes with the picture and its effect 
 or not. Many copy the masters, which makes them 
 copyists. Study the masters, broaden the mind, get all 
 the possible knowledge, then use these in an original 
 way, the results depending very much on the tempera- 
 ment and individuality of the person. Original thot is 
 
STYLE AND INDIVIDUALITY. 151 
 
 the key-note of individuality and style, based on knowl- 
 edge. The more knowledge, the more perfectly the 
 technique is understood, the more freedom and ease 
 is produced instead of being labored or strained. Act- 
 ing thru impulse or feeling freely and without re- 
 straint, produces often the finest results. 
 
 The first craze among artists was to paint things 
 very minutely, sharp, in small detail : then came the 
 other extreme, the vague, the impressionistic style, all 
 attention to color impressions and atmosphereic effects 
 and none to detail. The best artists, the most classic 
 artists, avoid the extremes of either, combining the best 
 effects from each. Photography seems to have had the 
 same extremes. First, a strong desire for sharpness, 
 and extremely so, then the other extreme of fuzziness, 
 having no definition at all, all sacrificed for atmosphere. 
 Now the photographer is doing as the artist, — com- 
 bining the best features of both extremes. Extreme 
 sharpness does destroy atmosphere, beyond a doubt ; 
 it produces a hardness, losing the invisible, intangible 
 something that surrounds and beautifies the whole. 
 
 Nature contains a softness that the lens too often 
 fails to produce. Poor lenses produce pictures devoid 
 of atmosphere. It is not always the fault of the lens, 
 but the handling of the lens and the chemicals. Then 
 again, nature under certain conditions, at break of 
 day or eventide is very indistinct and hazy, great 
 care is necessary in representing these ; to get a proper 
 effect the soul of the artist is necessary to express it 
 at its fullest. Corot, a modern artist, produced these 
 grandly, but he understood nature's moods, his was 
 perfect sympathy with her. Do not follow "fads." 
 
152 STYLU AND INDIVIDUALITY. 
 
 Have as a star the ideal, realism. Work fearlessly, 
 know what is wanted and do it, without being con- 
 trolled by others' tastes. Notice how great men were 
 criticised and how recognized later on. 
 
 A fine picture contains sentiment, feeling, good 
 tone-values, atmosphere and last, but not least, it 
 suggests something. The picture need not be so sharp 
 that every hair on the head or the leaves of a tree be 
 counted. Why is often a mere sketch beautiful and 
 interesting, and very often more interesting than the 
 finished picture ? Simply because it is so suggestive, it 
 leaves something for the imagination, which only too 
 sadly is destroyed by detail upon detail ; the unexplain- 
 able something that is recognized by one of taste, feel- 
 ing or a trained eye. Throwing a negative out of 
 focus does not produce a work of art. If properly 
 handled, diffusion of focus gives the highest qualities, 
 by this is positively not meant the fuzzytype picture, — 
 know nature; tho a fuzzy picture is sometimes a suc- 
 cess. 
 
 There is much more, greatly much more art in the 
 handling of the lens than is recognized or even under- 
 stood by the masses. A well handled negative as to fo- 
 cusing alone, gives depth, perspective, atmosphere and 
 is suggestive of ideas far more like nature itself in 
 softness than sharply focused, because of the mi- 
 croscopic detail produced by the lens, further than na- 
 ture is seen by the human eye. 
 
 The better work over the country often is made on 
 rough papers, such as platinotype, heavy matt papers 
 or drawing papers, and why ? All say, "It gives a more 
 artistic effect," and why? Because it softens down 
 
STYLE AND INDIVIDUALITY. 153 
 
 detail, breaks it up, thereby producing more sim- 
 plicity and harmony, leaving more to the imagina- 
 tion, more suggestive in effect. 
 
 There is no limitation to the individuality or style 
 that can be obtained in the print to the varied methods 
 used. The picture can be molded into whatever the 
 taste desires. It is possible to eliminate, correct, supply 
 or use color or a combination of colors to carry out the 
 idea. The glycerine process has no limitations by the 
 hand, who can subdue or enhance to produce beauty. 
 It is full of possible varieties to suit the taste. Imagi- 
 nation is most necessary to picture making. 
 
 The artists found that by much criticism and thot 
 that pictures represented quite distinctly without vague- 
 ness was the highest art, the photographer has had 
 to come to the same standard to also produce the 
 highest. Nature is not all nature, that is plainly seen, 
 but the seemingly invisible, the latter lying more in 
 suggestion, has its grand charms. It must me sought 
 for, studied, felt before it is even known to exist. 
 There are many painters, but few masters; there are 
 many photographers, but few masters. Why? Because 
 of this intangible, subtle, indefinable art, "A gift of the 
 gods," is most difficult of expressing. 
 
 Poetry, art or photography has its own means of 
 expression, and each is responsible for its own and no 
 other. Get out of the lens, the plate, the paper, the 
 highest and best there is in them. Thru these the pho- 
 tographer is enabled to translate his individuality or 
 style that suits his temperament. The lens, plate and 
 paper are not life, light and shade, feeling or atmos- 
 phere. These latter are created, coming from under 
 
154 style; and individuality. i 
 
 the hand, not from the lens, chemicals or paper ; these 
 are agents used to put man's ideas into something 
 tangible and visible. 
 
 Of the masters of art each expressed his own indi- 
 viduality in his own way. Michael Angelo, Raphael, 
 Murillo and Leonardo da Vinci were painters of the 
 ideal style. Corot is a good example of combining 
 idealism with truth to nature and not sharp detail. He 
 painted mostly morning and evening scenes, made 
 himself famous in the vaporous and misty air effects; 
 Rembrandt for expression and light and shade. Leigh- 
 ton in his picture "Solitude" expressed power, breadth, 
 softness of effect and spirituality. The master of any 
 one of these would make the fame of a painter. Men 
 of this kind were content to follow out their individu- 
 alities and pay no attention to "fads," knowing what is 
 true and good, striving for their ideals and remaining 
 faithful to these that have made all good and lasting 
 pictures of the world. 
 
 A wise photographer would do likewise. Be con- 
 tent to express one thing grandly. Look over the work 
 of the photographers, notice if their notoriety has not 
 resulted from high individualism and style. To get 
 an idea of the styles of some of the great masters, — 
 "there is the grand style of IMichael Angelo and Velas- 
 quez, the majestic style of Leonardo, the beautiful 
 style of Raphael, Andrea del Sarto and Corregio, the 
 ornate style of Titian and Tintoretto, the passionate 
 style of Delacroix, the dignified style of Fromentin, 
 the classic style of David, Ingress and Bouguereau, the 
 poetic style of Millet and Corot, the brilliant style 
 of Fortuny, the strong style of Vollon and Bonnat, the 
 
STYIvi; AND INDIVIDUALITY. 155 
 
 insipid style of Meyer von Bremen," and many other 
 styles, some of which are not worthy of mention, each 
 shows clearly the inward self of the individual. In 
 passing judgment on a picture one's own temperament 
 will be shown very much according as to one's likes 
 and dislikes, either to the stronger styles or weaker 
 ones. Always strive to understand what the artist 
 meant to convey. Do not denounce one artist because 
 he is not like another. 
 
 In examining a photographic picture, look for 
 general effect of photographic technique, with masses 
 and effect of light and shade. A thorough knowledge 
 of these is essential. A person may have imaginative 
 powers, a creative ingenuity and be a deep thinker, and 
 if he have not this fundamental knowledge of what 
 would it all avail? 
 
 The individuality of style is brot to notice whether 
 it is looked for or not. If this individuality exists very 
 strongly, that it holds the spectator, it is more often 
 called genius. The more the scientific and artistic 
 side of. photographic technique is understood and the 
 more the laws or principles of art, composition, ex- 
 pression, feeling, sentiment are transferred into the 
 picture, the more individualism will be pronounced. 
 
 An individual's work is the record of his life. The 
 power Michael Angelo displayed in his productions is 
 but the power he possessed in his individual character. 
 "Raphael's character was as beautiful and fair as his 
 Sistine Madonna." It is the picture filled with life, 
 flowing from the inward soul and not simply the ex- 
 pression of the tools used. It is the indefinable some- 
 thing so requisite to picture-making. 
 
156 
 
 STYLE AND INDIVIDUALITY. 
 
 Emerson says, "He who knows the most, he who 
 knows what sweets and virtues are in the ground, the 
 waters, the plants, the heavens, and how to come at 
 these enchantments, is the rich and royal man. Only 
 as far as the masters of the world have called in na- 
 ture to their aid, can they reach the height of magnifi- 
 cance." 
 
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