تويت
التصوير الفوتوغرافي الحديث
التقنيات المهنية المتقدمة
إعادة الاتصال للمصور التجاري
الحجب
RETOUCHING FOR THE COMMERCIAL PHOTOGRAPHER
The fundamental principles of retouching are the same whether used by the portrait or the commercial photographer . Because of this , the commercial photographer should know the fundamentals of portrait retouching , although , of course , he need not develop the skills to the same high degree . He is not so often concerned with tiny details , such as a misplaced will usually attack the problem on a broader front . He is much more likely to use a brush than a pencil . This will become more evident in the following pages .
BLOCKING
Perhaps the first and by all odds the simplest type of retouching the commercial photographer may be called upon to do is to block out an objectionable background . A machine may have to be photographed on location , for example , and yet the photographer is to show the machine only . The simplest way to handle this situation is to block out the background completely as shown in Figures 29 and 30. This is done by painting out the background on the negative , using a special opaque pigment and applying it with a brush . The technique , often referred to as opaquing , is quite simple and easily learned . It requires only a good eye and a steady hand .
Figure 29 A popular cigaret lighter with a conventional simple background suitable to the subject . Courtesy of Ronson Corporation .
Figure 30 The same photo graph as in Figure 29 , but with the background completely blocked out . Air brushing would eliminate the black shadow at the bottom of the lighter .
Put the negative on the retouching desk with the emulsion side up . Then , with a fine brush , apply a line of opaque all around the outlines of the subject to be blocked out . If you do not want the edge to be quite so hard and clean cut , you can use a soft pencil , 5B or 6B , to work along the outline , blending the outlines of the subject a little more gradually into the background . Next apply the opaque around the pencil outline . This is the best way to produce a white background in a portrait or figure study in which you do not want a very hard , clean - cut edge ..
For a commercial subject , such as a picture of luggage , refrigerator or machinery , the clean - cut edge is generally more appropriate . If the subject has straight outlines , you may use a straight edge and a ruling pen .
Opaque will work very well in a ruling pen , but some retouchers prefer to use an ink such as Higgins ' Waterproof Ink , instead of opaque . If you find the ink cracks and flakes off the negative after drying , add a few drops of liquid glue to the ink and stir well . This will make the ink stick to the surface and it will not flake off .
When you have traced all around the outline very carefully , close up to the edges of the object you are blocking out , take a slightly wider brush and extend this line a little farther into the background , making it from a quarter of an inch to half an inch wide .
The best kind of brush for this second part of the operation is a flat brush such as show card writers use . You do not need to be particular as to the exact width of this line . You can make it as wide as you like . Now apply opaque over the entire background . Since you are at a distance from the actual object , you can work quickly and without too much attention to detail , but be sure that the opaque covers the background evenly . If it is applied too thinly , it will not cover . If it is applied too heavily , it may crack and flake off .
If you want to soften the edges of the subject just a little , you can apply opaque to the back instead of the emulsion side of the negative . If you have done a poor job of opaquing , you can soak the negative in plain water and rub the opaque off under water . Then dry the negative and start all over again . If you use waterproof ink instead of opaque for the outlining , you must be careful not to make any mistakes because ink cannot be washed off as easily as opaque .
Such work as this must be done very carefully and accurately . The outline of the subject must be followed accurately . Outlining a piece of complicated machinery demands skill and a very steady hand .
In applying opaque with a brush , do not have the brush so wet that the opaque becomes too thin . To make an absolutely opaque and light - tight coating , have the brush just moist enough so that the opaque can be applied easily with just one stroke of the brush .
If you know that a background is to be opaqued when you are taking the photograph , you can often save yourself a lot of trouble by placing a sheet of white card or heavy paper behind the subject to serve as a white background , so that at least part of the background will not have to be opaqued afterwards . Even if the card or paper does not come out white enough on the negative , painting over it with opaque will be easier , as it will show a clearer outline to be followed with the brush .
التقنيات المهنية المتقدمة
إعادة الاتصال للمصور التجاري
الحجب
RETOUCHING FOR THE COMMERCIAL PHOTOGRAPHER
The fundamental principles of retouching are the same whether used by the portrait or the commercial photographer . Because of this , the commercial photographer should know the fundamentals of portrait retouching , although , of course , he need not develop the skills to the same high degree . He is not so often concerned with tiny details , such as a misplaced will usually attack the problem on a broader front . He is much more likely to use a brush than a pencil . This will become more evident in the following pages .
BLOCKING
Perhaps the first and by all odds the simplest type of retouching the commercial photographer may be called upon to do is to block out an objectionable background . A machine may have to be photographed on location , for example , and yet the photographer is to show the machine only . The simplest way to handle this situation is to block out the background completely as shown in Figures 29 and 30. This is done by painting out the background on the negative , using a special opaque pigment and applying it with a brush . The technique , often referred to as opaquing , is quite simple and easily learned . It requires only a good eye and a steady hand .
Figure 29 A popular cigaret lighter with a conventional simple background suitable to the subject . Courtesy of Ronson Corporation .
Figure 30 The same photo graph as in Figure 29 , but with the background completely blocked out . Air brushing would eliminate the black shadow at the bottom of the lighter .
Put the negative on the retouching desk with the emulsion side up . Then , with a fine brush , apply a line of opaque all around the outlines of the subject to be blocked out . If you do not want the edge to be quite so hard and clean cut , you can use a soft pencil , 5B or 6B , to work along the outline , blending the outlines of the subject a little more gradually into the background . Next apply the opaque around the pencil outline . This is the best way to produce a white background in a portrait or figure study in which you do not want a very hard , clean - cut edge ..
For a commercial subject , such as a picture of luggage , refrigerator or machinery , the clean - cut edge is generally more appropriate . If the subject has straight outlines , you may use a straight edge and a ruling pen .
Opaque will work very well in a ruling pen , but some retouchers prefer to use an ink such as Higgins ' Waterproof Ink , instead of opaque . If you find the ink cracks and flakes off the negative after drying , add a few drops of liquid glue to the ink and stir well . This will make the ink stick to the surface and it will not flake off .
When you have traced all around the outline very carefully , close up to the edges of the object you are blocking out , take a slightly wider brush and extend this line a little farther into the background , making it from a quarter of an inch to half an inch wide .
The best kind of brush for this second part of the operation is a flat brush such as show card writers use . You do not need to be particular as to the exact width of this line . You can make it as wide as you like . Now apply opaque over the entire background . Since you are at a distance from the actual object , you can work quickly and without too much attention to detail , but be sure that the opaque covers the background evenly . If it is applied too thinly , it will not cover . If it is applied too heavily , it may crack and flake off .
If you want to soften the edges of the subject just a little , you can apply opaque to the back instead of the emulsion side of the negative . If you have done a poor job of opaquing , you can soak the negative in plain water and rub the opaque off under water . Then dry the negative and start all over again . If you use waterproof ink instead of opaque for the outlining , you must be careful not to make any mistakes because ink cannot be washed off as easily as opaque .
Such work as this must be done very carefully and accurately . The outline of the subject must be followed accurately . Outlining a piece of complicated machinery demands skill and a very steady hand .
In applying opaque with a brush , do not have the brush so wet that the opaque becomes too thin . To make an absolutely opaque and light - tight coating , have the brush just moist enough so that the opaque can be applied easily with just one stroke of the brush .
If you know that a background is to be opaqued when you are taking the photograph , you can often save yourself a lot of trouble by placing a sheet of white card or heavy paper behind the subject to serve as a white background , so that at least part of the background will not have to be opaqued afterwards . Even if the card or paper does not come out white enough on the negative , painting over it with opaque will be easier , as it will show a clearer outline to be followed with the brush .
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