574. The large collection of ordinary stock backgrounds of different designs, usually seen in the better class studios, is rapidly disappearing, and in their stead plain painted or felt grounds are employed. For all worthy work this plain ground is converted into one suited to the subject being photographed.

575. The ground itself is not altered, but the background of the negative is worked over and changed to suit the effects desired. The work is all done on the back of the negative, and is quite simple when once understood. With a little study and care you can inject a large percentage of originality into your pictures, making them distinct from the ordinary kind. They will be exclusive and better prices will be paid for them. In making negatives with this idea in view, black painted or felt backgrounds should be used, as this work can only be applied successfully over black or very dark backgrounds. Neutrally tinted grounds can be used for making the negative, but before any work is done the background should be locally reduced with Red Prussiate reducer; it then becomes a black background and can be worked upon exactly the same as if the black background had been used when making the negative.

576. When making negatives expressly for this purpose, you should have an idea in mind of just what you want to make, and this idea is then carried out throughout the entire operation, from the posing of the subject to the finishing of the print. Frequently you can make a negative in the ordinary way, and by altering the background

considerably improve the picture; but the best results are obtained when the negative is made with the special purpose of supplying the background effects afterward.

577. We present, in Illustration No. 42, a reproduction from a negative which was made expressly for the purpose of working in the background. The subject was posed with the arm resting on a black rest, which is invisible in the negative. The negative was fully timed and the developer started first with weak diluted developer, Pyro-soda, using stronger developer for local work, such as building up the high-lights. This was done by dipping the fingers in strong developer and slightly rubbing over the highlights or the parts near the strongest lights, and the drapery was in turn kept down in tone by local application of Bromide, using a 10% solution and applying this solution to those parts of the drapery that we wanted to hold back. After partially developing the plate in this way, normal developer was used to complete the development. The plate, after being fixed, washed and dried, was next flowed on the glass side with ground-glass substitute. When this dried (which required only a few minutes) the negative was placed in the retouching easel, with the ground-glass side facing out. The stone wall was first outlined faintly, using a hard retouching lead and applying it very lightly.

578. An ordinary desk rule was used as a guide for the straight lines. After the outline was completed these parts received a faint coating of crayon, applied with a stump. The crayon was first mixed with an equal amount of pumice, to give it a little grit and also neutralize the color. A very small amount of this crayon is all that was required for the lower section. The top layer of the wall, being more in high-light, required a little heavier application. The sharp edges were worked in with a soft pencil, and the dark lines with the etching knife. This completed the wall.

579. The outline in the background was first sketched lightly with a hard pencil on the ground-glass, and then crayon applied, first very lightly, a No. 2 stump being used

Illustration No. 42. Worked-in Background - Subject Specially Posed.

See Paragraph 577.

Illustration No. 43. Worked-in Background on Ordinary Negative.

See Paragraph 581.

with scarcely any crayon visible on it, yet sufficient to accomplish the work. The first attempt was not quite heavy enough, and a second application was necessary, with the results as you see them in Illustration No. 42.

580. In this illustration you will observe the artist has supplied a background which greatly enhances the artistic value of this portrait. This was not an accident, but is the result of careful thought, a thorough understanding of lines, careful treatment of light and shade, correct spacing and balance. The atmospheric effect is exceptionally good. Its pictorial quality, contrast and concentration are nicely handled.

581. For example, we have the straight line a trifle below the center, which is represented by the top of the wall. The line, however, is broken, first by the pose of the subject, and then by the natural breaks in the top of the wall. To the right of the subject, in the background, we have quite a light spot. This light spot suggests the source of illumination for the face. The spot in the background does not appear harsh, as it is broken by the tree. The tree is very much out of focus; there is nothing sharp or definite about it, and it curves into the picture and not out of it. The out-of-focus effect suggests atmosphere. To the left of the subject you will find another light spot, a suggestion of a small tree and shrubbery. This light spot carries out the effect of the horizon, where sky and earth meet. The light spot being parallel with the strongest lights on the left side of the background - practically forming another straight line - and again broken by the subject, adds very much to the perspective and brings the image forward and away from the background. You will notice a high-light on top of the wall near the arm. This is suggested by the light spot on the background. The entire tone of the background, while it is lighted up here and there, is soft and subdued, and the effect thereby produced is charming. Another example of worked-in backgrounds, where a plain black ground was originally used, is shown in Illustration No. 43.