تويت
التصوير الفوتوغرافي الحديث
التقنيات المهنية المتقدمة
إعادة الاتصال للمصور التجاري
النقش، إعادة لمس الصبغة
ETCHING
We have discussed the etching knife and its use in so much detail under portrait retouching that we have nothing to add here . The techniques are exactly the same no matter who uses the etching knife . True , the commercial photographer uses it much less frequently .
RETOUCHING WITH DYE
Although the retouching pencil is the portrait photographer's principal tool , the commercial photographer is much more likely to use a spotting brush and dye . Dye is much easier to apply over a large area and since it diffuses into the gelatin , it does not leave as sharp an outline .
RED DYE . The dye used most frequently by commercial photographers is new coccine . This is a brilliant red dye which is very easy to apply and easy to remove if necessary by resoaking the negative . It has one important disadvantage - its red color . Although opaque to actinic light , the color makes it rather difficult to tell when the right amount of dye has been applied since the red of the dye and the black of the silver image will not look the same to the eye even though they may have exactly the same printing density .
Photographers experienced in the use of new coccine have come to judge its printing density with a surprising degree of accuracy . However , no matter how much experience they have had , even experts find necessary to make occasional test prints for very critical work . The student , of course , will have to make test . prints regularly in the course of dye retouching a negative with new coccine until he gets just what he wants .
BLACK DYE . To overcome the handicap of color , a number of manufacturers have introduced transparent black dyes which match the color of the silver image . quite closely . Retouching with such dyes is easier . The student will find it much handier to use one of these black dyes . There are a number of excellent ones on the market , such as Webster , Spotone and Marshall . The black dyes are somewhat more limited in their scope , since they are not capable of producing as high a density as new coccine . They are , therefore , generally used for small areas and the new coccine for large .
Retouching dyes are put up in concentrated liquid form , and must be diluted with plain water to working strength before they can be used . The directions for dilution vary with the make of the dye , and so they will not be given here . It is important that you follow the manufacturer's instruction on this point . If the dye is too concentrated , you will not be able to apply it smoothly . It will be absorbed too quickly by the gelatin , resulting in streaky areas .
It is best to prepare dye solutions in several strengths . A very weak solution should be used in shadow areas where you want the faintest possible staining . Medium - strength solutions may be used in the middle - tone areas of the negative , and fairly strong solutions may be used for putting in highlights or working on dense negatives .
For occasional use , you can mix the dye with water in a small water color palette of the type that comes in the less expensive water color sets . Use a medicine dropper to measure out the concentrated dye . For regular use , however , it is best to mix up small quantities of solution in small bottles or vials of about one ounce or less capacity . You should have a stock of at least three strengths .
With the dye diluted to proper working strength , the method of application is about the same for all . You should , therefore , follow the instructions in this Assignment for practically any black retouching dye , although you may have to modify them somewhat if the dye you use requires special handling .
If you prepare working stock solutions of your dye , it is a good idea to add . to each bottle a drop of some photographic wetting agent . The wetting agent will promote more even diffusion of the dye into the gelatin and reduce the tendency toward streakiness . Any standard wetting agent can be used .
EQUIPMENT NEEDED . The equipment needed for dye retouching is quite . simple . In addition to the prepared dye , you will need your regular No. O fine spotting brush , another slightly larger brush such as a No. 3 spotting brush , a supply of absorbent cotton , and some Q - tips . ( See Figure 18 ) .
The Q - tips are small sticks of wood with wads of cotton at the end . They are usually used by doctors for applying antiseptics and are obtainable at any drugstore . If you prefer , you can make your own by taking a small wad of absorbent cotton , sticking a toothpick into it , and then twisting the toothpick around several times to wind the cotton about it firmly . Q - tips are used to apply dye to areas too large for a spotting brush and too small for larger wads of cotton .
APPLYING THE DYE . It is usually best to start applying the dye in the clearer areas of the and work up gradually toward the denser areas with stronger solutions . If you start with the stronger solutions on dense areas , you will have trouble in reducing the application of dye when you get to the thin , shadow portions of your negative and may end up with very streaky results . Dye is usually applied to the back of the negative , but it can be applied to either or both sides if desired .
With most dyes it is best to moisten the surface of the negative where the dye is to be applied . This generally results in more uniform absorption and smoother retouching . Wet a wad of cotton and then squeeze it almost dry so it will not drip . With this moistened cotton , go over the area you intend to retouch until it is properly moistened . Be careful not to use so much water that it drips , and apply the cotton lightly without too much pressure . Keep this wet cotton in readiness for use in the following operations .
Dip the spotting brush into the diluted dye and wipe off the excess solution on the inside of the bottle so that the brush is wet but not dripping . Apply the dye to the area you wish to darken . Start moving the brush fairly rapidly the instant it touches the film and keep it moving all the time or you will get a streaky negative . The dye will diffuse into the gelatin the moment it makes contact . If you stop the brush for even an instant , the area under the brush absorbs more dye than the rest of the film and you will get a streaky or spotty negative .
Be sure to cover the entire area uniformly . It makes no difference what stroke you use or how you cover the area . You may use circular , cross - hatching , or a series of parallel strokes . The main thing is to make sure that every part of the dyed area gets the same amount of dye . When the density of the dyed area is almost right , stop brushing and quickly blot the excess dye with the wad of damp cotton you have been saving for this purpose . This prevents the dye
solution on the surface of the negative from diffusing into the gelatin and streaking it . Examine the negative carefully to see whether the retouched area is of the right density . You may have to hold it at arm's length to get a better . overall perspective .
If you have worked carefully , the likelihood is that the negative is still too light in the dyed areas , since the dye must be applied slowly and in weak solutions to build up density gradually . Never try to rush this operation . It is extremely difficult , if not impossible , to apply dyes quickly and in concentrated form without streakiness .
Dip your brush into the dye solution again and repeat the dyeing procedure until you have built up density to the required degree . Very small areas may be retouched with the No. 0 spotting brush ; for larger areas , use either the Q - tip or a wad of cotton dipped into the dye solution and then touched to a blotter to get rid of the excess solution . The method of application just described is used in all cases .
CORRECTING MISTAKES . Most of the dyes supplied for retouching purposes are quite soluble in water . If too much dye has been applied in error , it may be picked up by dipping a brush or other applicator in plain water and working over the dyed area as though retouching it . The dye will then diffuse out from the gelatin into the water , where it may be picked up by repeated blotting with a dampened wad of cotton . This method will work when the dye application is not too heavy .
If too large an area has been over - dyed , it is usually best to wash the negative in running water until enough dye has been washed out .
When dye retouching is complete , the negative should be hung up to dry in the usual way . It is best , however , to avoid heat in drying . Some dyes will deepen in color slightly after the negative is dry . You should learn the effect of drying on the dye you use , and allow for it when retouching negatives . After you have become accustomed to one make of dye , don't change to another if you can avoid it .
It is best to apply dye to the back of negatives . The film thickness is seldom enough to cause any difficulty . By working on the back , you reduce the possibility of damage to the image . For example , if through accident or error you have applied so much dye that it cannot be washed out , you can easily etch it out with a fine abrasive reducer and not affect the image in any way . This might not be possible if the dye has been applied to the image side .
The exception to this rule is in dye spotting to take out fine scratches and pinholes . In such work , the dye must cover the blemish exactly so that it must be applied to the emulsion side .
التقنيات المهنية المتقدمة
إعادة الاتصال للمصور التجاري
النقش، إعادة لمس الصبغة
ETCHING
We have discussed the etching knife and its use in so much detail under portrait retouching that we have nothing to add here . The techniques are exactly the same no matter who uses the etching knife . True , the commercial photographer uses it much less frequently .
RETOUCHING WITH DYE
Although the retouching pencil is the portrait photographer's principal tool , the commercial photographer is much more likely to use a spotting brush and dye . Dye is much easier to apply over a large area and since it diffuses into the gelatin , it does not leave as sharp an outline .
RED DYE . The dye used most frequently by commercial photographers is new coccine . This is a brilliant red dye which is very easy to apply and easy to remove if necessary by resoaking the negative . It has one important disadvantage - its red color . Although opaque to actinic light , the color makes it rather difficult to tell when the right amount of dye has been applied since the red of the dye and the black of the silver image will not look the same to the eye even though they may have exactly the same printing density .
Photographers experienced in the use of new coccine have come to judge its printing density with a surprising degree of accuracy . However , no matter how much experience they have had , even experts find necessary to make occasional test prints for very critical work . The student , of course , will have to make test . prints regularly in the course of dye retouching a negative with new coccine until he gets just what he wants .
BLACK DYE . To overcome the handicap of color , a number of manufacturers have introduced transparent black dyes which match the color of the silver image . quite closely . Retouching with such dyes is easier . The student will find it much handier to use one of these black dyes . There are a number of excellent ones on the market , such as Webster , Spotone and Marshall . The black dyes are somewhat more limited in their scope , since they are not capable of producing as high a density as new coccine . They are , therefore , generally used for small areas and the new coccine for large .
Retouching dyes are put up in concentrated liquid form , and must be diluted with plain water to working strength before they can be used . The directions for dilution vary with the make of the dye , and so they will not be given here . It is important that you follow the manufacturer's instruction on this point . If the dye is too concentrated , you will not be able to apply it smoothly . It will be absorbed too quickly by the gelatin , resulting in streaky areas .
It is best to prepare dye solutions in several strengths . A very weak solution should be used in shadow areas where you want the faintest possible staining . Medium - strength solutions may be used in the middle - tone areas of the negative , and fairly strong solutions may be used for putting in highlights or working on dense negatives .
For occasional use , you can mix the dye with water in a small water color palette of the type that comes in the less expensive water color sets . Use a medicine dropper to measure out the concentrated dye . For regular use , however , it is best to mix up small quantities of solution in small bottles or vials of about one ounce or less capacity . You should have a stock of at least three strengths .
With the dye diluted to proper working strength , the method of application is about the same for all . You should , therefore , follow the instructions in this Assignment for practically any black retouching dye , although you may have to modify them somewhat if the dye you use requires special handling .
If you prepare working stock solutions of your dye , it is a good idea to add . to each bottle a drop of some photographic wetting agent . The wetting agent will promote more even diffusion of the dye into the gelatin and reduce the tendency toward streakiness . Any standard wetting agent can be used .
EQUIPMENT NEEDED . The equipment needed for dye retouching is quite . simple . In addition to the prepared dye , you will need your regular No. O fine spotting brush , another slightly larger brush such as a No. 3 spotting brush , a supply of absorbent cotton , and some Q - tips . ( See Figure 18 ) .
The Q - tips are small sticks of wood with wads of cotton at the end . They are usually used by doctors for applying antiseptics and are obtainable at any drugstore . If you prefer , you can make your own by taking a small wad of absorbent cotton , sticking a toothpick into it , and then twisting the toothpick around several times to wind the cotton about it firmly . Q - tips are used to apply dye to areas too large for a spotting brush and too small for larger wads of cotton .
APPLYING THE DYE . It is usually best to start applying the dye in the clearer areas of the and work up gradually toward the denser areas with stronger solutions . If you start with the stronger solutions on dense areas , you will have trouble in reducing the application of dye when you get to the thin , shadow portions of your negative and may end up with very streaky results . Dye is usually applied to the back of the negative , but it can be applied to either or both sides if desired .
With most dyes it is best to moisten the surface of the negative where the dye is to be applied . This generally results in more uniform absorption and smoother retouching . Wet a wad of cotton and then squeeze it almost dry so it will not drip . With this moistened cotton , go over the area you intend to retouch until it is properly moistened . Be careful not to use so much water that it drips , and apply the cotton lightly without too much pressure . Keep this wet cotton in readiness for use in the following operations .
Dip the spotting brush into the diluted dye and wipe off the excess solution on the inside of the bottle so that the brush is wet but not dripping . Apply the dye to the area you wish to darken . Start moving the brush fairly rapidly the instant it touches the film and keep it moving all the time or you will get a streaky negative . The dye will diffuse into the gelatin the moment it makes contact . If you stop the brush for even an instant , the area under the brush absorbs more dye than the rest of the film and you will get a streaky or spotty negative .
Be sure to cover the entire area uniformly . It makes no difference what stroke you use or how you cover the area . You may use circular , cross - hatching , or a series of parallel strokes . The main thing is to make sure that every part of the dyed area gets the same amount of dye . When the density of the dyed area is almost right , stop brushing and quickly blot the excess dye with the wad of damp cotton you have been saving for this purpose . This prevents the dye
solution on the surface of the negative from diffusing into the gelatin and streaking it . Examine the negative carefully to see whether the retouched area is of the right density . You may have to hold it at arm's length to get a better . overall perspective .
If you have worked carefully , the likelihood is that the negative is still too light in the dyed areas , since the dye must be applied slowly and in weak solutions to build up density gradually . Never try to rush this operation . It is extremely difficult , if not impossible , to apply dyes quickly and in concentrated form without streakiness .
Dip your brush into the dye solution again and repeat the dyeing procedure until you have built up density to the required degree . Very small areas may be retouched with the No. 0 spotting brush ; for larger areas , use either the Q - tip or a wad of cotton dipped into the dye solution and then touched to a blotter to get rid of the excess solution . The method of application just described is used in all cases .
CORRECTING MISTAKES . Most of the dyes supplied for retouching purposes are quite soluble in water . If too much dye has been applied in error , it may be picked up by dipping a brush or other applicator in plain water and working over the dyed area as though retouching it . The dye will then diffuse out from the gelatin into the water , where it may be picked up by repeated blotting with a dampened wad of cotton . This method will work when the dye application is not too heavy .
If too large an area has been over - dyed , it is usually best to wash the negative in running water until enough dye has been washed out .
When dye retouching is complete , the negative should be hung up to dry in the usual way . It is best , however , to avoid heat in drying . Some dyes will deepen in color slightly after the negative is dry . You should learn the effect of drying on the dye you use , and allow for it when retouching negatives . After you have become accustomed to one make of dye , don't change to another if you can avoid it .
It is best to apply dye to the back of negatives . The film thickness is seldom enough to cause any difficulty . By working on the back , you reduce the possibility of damage to the image . For example , if through accident or error you have applied so much dye that it cannot be washed out , you can easily etch it out with a fine abrasive reducer and not affect the image in any way . This might not be possible if the dye has been applied to the image side .
The exception to this rule is in dye spotting to take out fine scratches and pinholes . In such work , the dye must cover the blemish exactly so that it must be applied to the emulsion side .
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