Today, I propose to make a leap in the past and also to meet you in 1907, to detect how the photographers of the time proceeded to restore and retouch the photos
The retouching of photos doesn't date from the arrival of the electronic but from the creation of the photo. Since constantly, the photos are optimized. We must not eliminate sight of the fact that the photograph is merely a representation of fact and that touching up your photos isn't necessarily cheating. Photoshop masking, image masking, masking, layer masking, and exposure masking services area unit wont to knock out background.
It was a while because I was trying to comprehend how the photographers of the period were doing their retouching. Apart from 2-3 things, I did not know anything about their method of work.
It was through a private visit of the Museum of Photography in Bourg Blanc (29 ) by Mr. Yves Simon that I had the answer to this question. He very kindly gave me the book written by Paul Ganichot entitled Retouching positive and negative signs (Editions Charles Mendel).
Before going farther, I thank Yves very sincerely, for the gift of the book and also for the many information he can give me during the trip. If one day you spend in the Brest region, stop, it is free. The memorial is annexed to the town hall, you can't miss it. This article is a synthesis. It incorporates both quotations from the author that clarifications on my role.
It's a truly unique article, very different from what you are utilized to reading on this site. However, the editorial lineup is respected since it's still a question of retouching photos.
This publication appears to have had some success because I found on the internet traces of 7 distinct editions printed between 1895 and 1910. The version presented for you here is the fifth version. There's no date on the book but from everything I could find on the net, it is going to date from 1907.
This publication is split into two components. I alternate between present and past to allow you to distinguish the writer's opinions from my comments...
Like the photographer of now, that of the first twentieth-century wanted equipment and assorted tools to efficiently retouch his photographs. The author therefore logically begins with the demonstration of the retouching material.
The desk to retouch
In the same way that photographers who wish to retouch and restore their photos with a minimum of precision have a graphics tablet, the retoucher photographer of the early twentieth century also had a material to work in good conditions. This material was called a desk to retouch.
This tool consisted of 3 frames or frames articulated by hinges. Everything was assembled as a type of Z.
The base frame had a mirror. Its function was to reflect the light coming from the exterior towards the middle frame where the picture was to be retouched. The middle frame had frosted glasswhich allowed the whole point to function as a table. Intermediate wooden interlocked into one another and permitted to block the cliche. These intermediaries also had the role of not letting light through the interstices. Last, the upper frame, opaque was meant to protect the consumer from stray lights.
Some versions had black sails falling on the sides, constantly to avoid parasitic lights (like caps on high-end displays ).
The lowest frame also contained a drawer containing the editing tools that I'll present to you now...
Pencils
I had been surprised to find that these famed pencils are simple pencils, the same ones that are employed in college.
The author specifies that the tip of the pencil had to be equally long and thin to protect against the pencil timber from obstructing the user's area of vision...
It was also important to acquire a yellow pen, which allowed to hang on the glass plate (I do not understand exactly what it is).
The brushes
Some brushes could also be useful for touching white dots or holes. These were made from marten hair, given, not too long, and forming the purpose well.
Colors We find here the four colors based on additive synthesis and which, mixed together, make it feasible to obtain the other colors.
To prevent them from peeling off when they dried, they'd have to be diluted from gummed water (prep from distilled water and gum arabic) or in water containing glycerine.
The badger was used to eliminate the dust and the blobs (leather) were utilized to soften the cliche.
It had been advocated in the case of retouching small dimensions and covered with little spots.
This chapter finishes with good practice tips from the writer, particularly on the light for use preferably by day, which is not surprising.
If despite everything, the editing has been completed at night, the alternative was to drop a gas lamp and add a glass balloon filled with water between the desk to retouch and the lamp. If the light was too white, it had been sufficient to place a few drops of dye in the water to reduce the dominant shade (a correction of the white balance in sum...).
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