تويت
التصوير الفوتوغرافي الحديث
التقنيات المهنية المتقدمة
إعادة لمس السلبية
السلبيات المخدوشة
النمذجة
SCRATCHED NEGATIVES
There is one thing you will find you can do very easily . It is the retouching of scratches or slight abrasions on the negative . If you have tried to fill in a scratch with the pencil so that it will blend into its surroundings , you will have discovered that it is a difficult thing to do , as it is almost impossible to get the lead on evenly .
The best thing to do in such cases is to etch the scratch with the point of the knife and shave down the edges of it until they are smooth . Then you will find it an easy matter to fill in the scratch with the pencil so that it will hardly show . Figure 28 will help make this clear .
This shows a greatly enlarged cross - section of the emulsion of a scratched film . The zig - zag line represents the jagged edges of the scratch while the dotted , curved line indicates how the scratch should be etched , after which an even layer of lead can be applied and the scratch retouched so that it will not be noticed .
Figure 28 A jagged scratch on a negative may have to be etched smooth with an etching knife first before it can be filled in with a retouching pencil .
MODELING
The next step in retouching is modeling . This is no doubt the most difficult part to do correctly . The skill in retouching that you want to strive for is not the ability to alter the modeling of the face by means of the retouching pencil , but rather the ability to retouch the face without altering the modeling .
Modeling , as you have already learned , is the indication of the shape of an object by the sequence of the highlight , half - tone and shadow . When there is only one source of light , an evenly rounded object such as a ball or globe will show only one highlight and around this highlight there will be half - tones growing gradually darker until they merge into shadow . The face is by no means an evenly . rounded object . Each individual feature the forehead , the nose , the cheeks , the Imouth and the chin - will have its separate and distinct lights and shadows that show its shape and modeling .
The positions of these highlights are governed by the varying shapes and contours of the different features as well as by the general direction of the light . You cannot alter the shape or position of a highlight without altering the shape of the feature and so affecting the likeness . The highlight on the nose , for example , shows its width . A broad , rather flat nose will have a very differently shaped highlight from that seen on a narrow , pointed nose . The position of the highlight on the chin indicates its general shape and prominence . Thus you see that this stage of retouching needs careful consideration .
If care has been exercised in the preliminary work of removing blemishes and in the general blending , the shapes and positions of the highlights will not have been altered . There may be a lack of roundness and relief and some of the principle highlights may need to be strengthened a little . If this is done carefully , the likeness will not be altered .
The utmost care and thought must be given to this part of the work . While it is comparatively easy to acquire the necessary manipulative skill in using the pencil to smooth out defects and clean up the face , the modeling of the features is a matter of artistic perception and experience . It is in this perception that the real art of retouching lies .
In describing each separate feature and the usual and normal position of the highlight on it , we will assume for the sake of simplification that the light comes from only one source and that it is the normal 45 - degree lighting . On a face lighted in this way , you will find a highlight on the forehead , a line on the bridge of the nose and a highlight on the tip of the nose . There will be a highlight on the cheek on the lighted side of the face and a more or less V - shaped patch of light on the farther cheek , under the eye on the shadow side and highlights on the chin and on the lips . All these highlights will vary according to the shape of the individual features .
On a carefully lighted face , these highlights will all be seen plainly . However , they may be lacking in strength if the light has been diffused and softened too much , and they may need to be brought out and emphasized just a little in order to increase the roundness and relief . Their position and shape must not be changed or you will alter the shape of the features and thus spoil the likeness .
In making a portrait every step is important in its effect on the finished result ; the posing and lighting , the direction in which the light strikes the face , the exposure of the negative and the development of the negatives , the retouching of the negative and the final printing of the negative - all are important and all must be carefully considered . Do not imagine for a moment that you can depend on retouching to correct faulty lighting or to rectify errors in exposure or development . A little careful retouching will improve a good negative and , by means of retouching , you can often make a poor negative a little better . But you
cannot make it as good as a negative that has been properly lighted , correctly exposed , carefully developed , and then further improved by skillful and judicious . retouching ..
Beginning with the forehead , each separate feature of the face must be considered .
FOREHEAD . The forehead is not flat and it should not be represented as a flat , uniformly illuminated area . There are delicate but definite highlights and shadows .
There is a highlight on the temple on the lighted side of the forehead . The position of this highlight will vary according to the angle at which the light falls on the face and according to the extent to which the face is turned toward or away from the light . In a good negative , this highlight should be clearly though faintly visible . If you wish to strengthen this highlight try to put the pencil work right in the center of the highlight so that you do not alter its position . Remember , however , that the modeling of the forehead usually is very delicate . Do not put on highlights so that the effect will be lumpy .
Usually the only retouching needed on the forehead is in softening or eliminating wrinkles or lines , either the horizontal wrinkles or the vertical line between the eyebrows .
EYEBROWS . The eyebrows may need a little attention . Sometimes they may be more definitely shaped . If they extend across the nose so that they meet , or nearly meet , as they occasionally do , you can improve the expression a little by taking a bit off these inner ends of the eyebrows , or if they are very prominent , by softening them a little .
CHEEKS . If the lighting is properly arranged , there will be a highlight on the cheek and its location will indicate the position of the cheekbone . Most of the highlights on the face ; those on the forehead , cheeks , nose and chin indicate the bone structure under the skin . If the cheek bone is unusually high and prominent , the highlight may possibly need to be lowered just a very little to make the cheek look slightly rounder and fuller .
NOSE . The upper part of the nose is composed of bone and the lower part is cartilage . There often is an indication of this in the modeling of this feature and sometimes there is a distinct break in the line of highlight on the bridge .
When there is bone close to the skin as in the forehead , cheeks and upper part of the nose , the highlights are usually more distinct and definite than where there is a layer of flesh and muscle immediately under the skin . This is why the highlight on the upper part of the bridge of the nose is a little different from the highlight on the rest of it .
Never make a distinct and definite line of light down the entire length of the nose . If the lighting was too diffused or the highlights need to be emphasized a little for any reason , you can strengthen them , but do not alter their shape or position or you will change the shape of the nose .
The nose is so prominent that it is almost sure to show more or less definite . highlights even in markedly diffused lighting . The shape and position of these highlights must be carefully preserved if you need to make them a little stronger .
The sides of the nose and the junction of the nose and the cheek probably never need any further attention than the removal of possible skin blemishes .
LIPS . The lips as a rule have several highlights and they definitely differ . If the shadow thrown by the nose on the upper lip is too dark and heavy , it may well be lightened a little , but its shape should not be altered .
There is usually a slight groove on the upper lip running downward from the nose . The light on one side of this may need to be strengthened a little . A highlight is frequently seen on the lower lip unless the lips are compressed tightly . The position and shape of this highlight indicate the fullness of the lip . If there are any slight cracks in the lips , they should be completely removed . It is to avoid showing such cracks that a photographer often asks the subject to " moisten the lips " just before making the exposure .
Do not attempt to do much retouching on the lips beyond what has been indicated . You can , however , often improve the expression by a little careful work at the extreme corners of the mouth . A downward drooping shadow may usually be lightened considerably or may be removed entirely .
The labial furrow , the line from the corner of the mouth to the nostril , sometimes is very pronounced if the subject is smiling , and this line may be made less prominent .
CHIN . The chin , like the forehead , must not be retouched so that its shape is destroyed . A slight strengthening of the highlight here may sometimes be needed , but do not over do it or it will bring the chin forward too much .
If there is a dimple in the chin or a suggestion of one , be careful not to obliterate it by filling in the shadow . The shadow on the curve of the chin often has a little light reflected into it . White clothing will lighten it very much .
EARS . The ears usually need very little attention . Occasionally in pictures in which the head only is shown on a fairly large scale , the ear is slightly out of focus or is , at any rate , less sharply defined than the rest of the face . Too much retouching of this feature may tend to bring it into too much prominence .
EYES . The eye is the most expressive feature in the face and little or nothing can be done to it without affecting the likeness . If there is more than one source of light , there will probably be more than one catchlight in the eyes . This may be remedied either by spotting out the secondary lights on the print or by etching the negative . As a rule , the eyes need very little retouching if the lighting has been carefully arranged .
NECK . In pictures of women in evening dress , the neck may need some retouching . Where the bones and muscles are prominent , much retouching may be necessary , for shadows and hollows in the neck should usually be softened a good deal , leaving just enough delicate shadow to indicate the anatomy .
ARMS . Prominent veins or other blemishes on the arms must be removed if they show . Shadows that indicate modeling must not be taken out entirely though they may be softened if necessary . Bare legs in pictures of children may need a little attention .
HANDS . Hands must always be kept subordinate in interest . If some work is needed on the hands , you must always remember that the hands show character . Do not try to smooth them out too much .
HAIR AND CLOTHING . Retouching on the dress or draperies may be done with a much freer stroke and a softer pencil than is used on the face . Sometimes wrinkles in a dress or coat ought to be removed . Often highlights on a white silk or satin dress may be emphasized , and occasionally a little etching is needed to improve the outlines . Retouching the hair is seldom necessary , though any stray hairs that are out of place should be retouched out .
CHECK - UP . When all the parts of the face and clothing have been dealt with and when you think that the negative is finished , sit back from the work and get a general view of the whole face to see whether any areas look at all patchy and need pulling together . Should any such blending be needed , go over those parts with the loose , light movement as previously described , softening edges , rounding off , grading and knitting the whole into one clean finish . See that there are no sharp edges to any shadows . If any parts seem to be unfinished , do the final cleaning up .
التقنيات المهنية المتقدمة
إعادة لمس السلبية
السلبيات المخدوشة
النمذجة
SCRATCHED NEGATIVES
There is one thing you will find you can do very easily . It is the retouching of scratches or slight abrasions on the negative . If you have tried to fill in a scratch with the pencil so that it will blend into its surroundings , you will have discovered that it is a difficult thing to do , as it is almost impossible to get the lead on evenly .
The best thing to do in such cases is to etch the scratch with the point of the knife and shave down the edges of it until they are smooth . Then you will find it an easy matter to fill in the scratch with the pencil so that it will hardly show . Figure 28 will help make this clear .
This shows a greatly enlarged cross - section of the emulsion of a scratched film . The zig - zag line represents the jagged edges of the scratch while the dotted , curved line indicates how the scratch should be etched , after which an even layer of lead can be applied and the scratch retouched so that it will not be noticed .
Figure 28 A jagged scratch on a negative may have to be etched smooth with an etching knife first before it can be filled in with a retouching pencil .
MODELING
The next step in retouching is modeling . This is no doubt the most difficult part to do correctly . The skill in retouching that you want to strive for is not the ability to alter the modeling of the face by means of the retouching pencil , but rather the ability to retouch the face without altering the modeling .
Modeling , as you have already learned , is the indication of the shape of an object by the sequence of the highlight , half - tone and shadow . When there is only one source of light , an evenly rounded object such as a ball or globe will show only one highlight and around this highlight there will be half - tones growing gradually darker until they merge into shadow . The face is by no means an evenly . rounded object . Each individual feature the forehead , the nose , the cheeks , the Imouth and the chin - will have its separate and distinct lights and shadows that show its shape and modeling .
The positions of these highlights are governed by the varying shapes and contours of the different features as well as by the general direction of the light . You cannot alter the shape or position of a highlight without altering the shape of the feature and so affecting the likeness . The highlight on the nose , for example , shows its width . A broad , rather flat nose will have a very differently shaped highlight from that seen on a narrow , pointed nose . The position of the highlight on the chin indicates its general shape and prominence . Thus you see that this stage of retouching needs careful consideration .
If care has been exercised in the preliminary work of removing blemishes and in the general blending , the shapes and positions of the highlights will not have been altered . There may be a lack of roundness and relief and some of the principle highlights may need to be strengthened a little . If this is done carefully , the likeness will not be altered .
The utmost care and thought must be given to this part of the work . While it is comparatively easy to acquire the necessary manipulative skill in using the pencil to smooth out defects and clean up the face , the modeling of the features is a matter of artistic perception and experience . It is in this perception that the real art of retouching lies .
In describing each separate feature and the usual and normal position of the highlight on it , we will assume for the sake of simplification that the light comes from only one source and that it is the normal 45 - degree lighting . On a face lighted in this way , you will find a highlight on the forehead , a line on the bridge of the nose and a highlight on the tip of the nose . There will be a highlight on the cheek on the lighted side of the face and a more or less V - shaped patch of light on the farther cheek , under the eye on the shadow side and highlights on the chin and on the lips . All these highlights will vary according to the shape of the individual features .
On a carefully lighted face , these highlights will all be seen plainly . However , they may be lacking in strength if the light has been diffused and softened too much , and they may need to be brought out and emphasized just a little in order to increase the roundness and relief . Their position and shape must not be changed or you will alter the shape of the features and thus spoil the likeness .
In making a portrait every step is important in its effect on the finished result ; the posing and lighting , the direction in which the light strikes the face , the exposure of the negative and the development of the negatives , the retouching of the negative and the final printing of the negative - all are important and all must be carefully considered . Do not imagine for a moment that you can depend on retouching to correct faulty lighting or to rectify errors in exposure or development . A little careful retouching will improve a good negative and , by means of retouching , you can often make a poor negative a little better . But you
cannot make it as good as a negative that has been properly lighted , correctly exposed , carefully developed , and then further improved by skillful and judicious . retouching ..
Beginning with the forehead , each separate feature of the face must be considered .
FOREHEAD . The forehead is not flat and it should not be represented as a flat , uniformly illuminated area . There are delicate but definite highlights and shadows .
There is a highlight on the temple on the lighted side of the forehead . The position of this highlight will vary according to the angle at which the light falls on the face and according to the extent to which the face is turned toward or away from the light . In a good negative , this highlight should be clearly though faintly visible . If you wish to strengthen this highlight try to put the pencil work right in the center of the highlight so that you do not alter its position . Remember , however , that the modeling of the forehead usually is very delicate . Do not put on highlights so that the effect will be lumpy .
Usually the only retouching needed on the forehead is in softening or eliminating wrinkles or lines , either the horizontal wrinkles or the vertical line between the eyebrows .
EYEBROWS . The eyebrows may need a little attention . Sometimes they may be more definitely shaped . If they extend across the nose so that they meet , or nearly meet , as they occasionally do , you can improve the expression a little by taking a bit off these inner ends of the eyebrows , or if they are very prominent , by softening them a little .
CHEEKS . If the lighting is properly arranged , there will be a highlight on the cheek and its location will indicate the position of the cheekbone . Most of the highlights on the face ; those on the forehead , cheeks , nose and chin indicate the bone structure under the skin . If the cheek bone is unusually high and prominent , the highlight may possibly need to be lowered just a very little to make the cheek look slightly rounder and fuller .
NOSE . The upper part of the nose is composed of bone and the lower part is cartilage . There often is an indication of this in the modeling of this feature and sometimes there is a distinct break in the line of highlight on the bridge .
When there is bone close to the skin as in the forehead , cheeks and upper part of the nose , the highlights are usually more distinct and definite than where there is a layer of flesh and muscle immediately under the skin . This is why the highlight on the upper part of the bridge of the nose is a little different from the highlight on the rest of it .
Never make a distinct and definite line of light down the entire length of the nose . If the lighting was too diffused or the highlights need to be emphasized a little for any reason , you can strengthen them , but do not alter their shape or position or you will change the shape of the nose .
The nose is so prominent that it is almost sure to show more or less definite . highlights even in markedly diffused lighting . The shape and position of these highlights must be carefully preserved if you need to make them a little stronger .
The sides of the nose and the junction of the nose and the cheek probably never need any further attention than the removal of possible skin blemishes .
LIPS . The lips as a rule have several highlights and they definitely differ . If the shadow thrown by the nose on the upper lip is too dark and heavy , it may well be lightened a little , but its shape should not be altered .
There is usually a slight groove on the upper lip running downward from the nose . The light on one side of this may need to be strengthened a little . A highlight is frequently seen on the lower lip unless the lips are compressed tightly . The position and shape of this highlight indicate the fullness of the lip . If there are any slight cracks in the lips , they should be completely removed . It is to avoid showing such cracks that a photographer often asks the subject to " moisten the lips " just before making the exposure .
Do not attempt to do much retouching on the lips beyond what has been indicated . You can , however , often improve the expression by a little careful work at the extreme corners of the mouth . A downward drooping shadow may usually be lightened considerably or may be removed entirely .
The labial furrow , the line from the corner of the mouth to the nostril , sometimes is very pronounced if the subject is smiling , and this line may be made less prominent .
CHIN . The chin , like the forehead , must not be retouched so that its shape is destroyed . A slight strengthening of the highlight here may sometimes be needed , but do not over do it or it will bring the chin forward too much .
If there is a dimple in the chin or a suggestion of one , be careful not to obliterate it by filling in the shadow . The shadow on the curve of the chin often has a little light reflected into it . White clothing will lighten it very much .
EARS . The ears usually need very little attention . Occasionally in pictures in which the head only is shown on a fairly large scale , the ear is slightly out of focus or is , at any rate , less sharply defined than the rest of the face . Too much retouching of this feature may tend to bring it into too much prominence .
EYES . The eye is the most expressive feature in the face and little or nothing can be done to it without affecting the likeness . If there is more than one source of light , there will probably be more than one catchlight in the eyes . This may be remedied either by spotting out the secondary lights on the print or by etching the negative . As a rule , the eyes need very little retouching if the lighting has been carefully arranged .
NECK . In pictures of women in evening dress , the neck may need some retouching . Where the bones and muscles are prominent , much retouching may be necessary , for shadows and hollows in the neck should usually be softened a good deal , leaving just enough delicate shadow to indicate the anatomy .
ARMS . Prominent veins or other blemishes on the arms must be removed if they show . Shadows that indicate modeling must not be taken out entirely though they may be softened if necessary . Bare legs in pictures of children may need a little attention .
HANDS . Hands must always be kept subordinate in interest . If some work is needed on the hands , you must always remember that the hands show character . Do not try to smooth them out too much .
HAIR AND CLOTHING . Retouching on the dress or draperies may be done with a much freer stroke and a softer pencil than is used on the face . Sometimes wrinkles in a dress or coat ought to be removed . Often highlights on a white silk or satin dress may be emphasized , and occasionally a little etching is needed to improve the outlines . Retouching the hair is seldom necessary , though any stray hairs that are out of place should be retouched out .
CHECK - UP . When all the parts of the face and clothing have been dealt with and when you think that the negative is finished , sit back from the work and get a general view of the whole face to see whether any areas look at all patchy and need pulling together . Should any such blending be needed , go over those parts with the loose , light movement as previously described , softening edges , rounding off , grading and knitting the whole into one clean finish . See that there are no sharp edges to any shadows . If any parts seem to be unfinished , do the final cleaning up .
تعليق