retouching desk with
“split-5×7” negative on the ground glass.
Toronto. Early to mid last century professionals used larger glass plates or cut film to create photographs. Most prints were contact prints making ‘dodge’ and ‘burn’ to adjust exposure and contrast impractical. Instead, professionals would have staff use a retouching ‘desk’ and tools to add the changes directly on the negative.
Our one-time editor, the late Ev Roseborough often saw just such a desk used and in issue 23-2 (fall of 1997) he wrote an article titled, “Observations on the Old and Gentle Art of Portrait Negative Retouching”.
Ev begins his article, ” Retouchers, as I knew them in the early 30s, with few exceptions were maiden ladies in frilly blouses and gold spectacles who sat in a darkened corner. There they worked their way through countless films in the delicately perfumed atmosphere of turpentine varnish with a trace of lavender.
“Dry plates were still in use, although Eastman Super and ParSpeed portrait film negatives received most of their ministrations. Portrait films were orthochromatic with the consequent exaggeration of reddish complexions and blemishes. Supersensitive Pan overcorrected without makeup and Portrait Pan, although excellent, was not popular because inspection under dim safelight during development was difficult.
“Female retouchers were sometimes also the receptionists in small studios; in larger establishments several would be employed at desks behind a dark curtain and rarely saw the light of day. They often married the proprietors.
“There were only a few male retouchers, mostly free-lance, who would call several times a week at the studio to pick-up and deliver. Each knew how much work the individual photographer expected done on a head. Payment was often based on the dime or quarter sized head, which is what they were paid.
“When sitters returned the daylight (red) proofs, major surgery such as opening of drooping eyelids, straightening of a crooked nose or slimming very full lips would be marked. Routine was the removal of skin blemishes and stray hair, cross eyes, bags under the eyes, mouth corners and wrinkles. A skillful photographer rarely needed cross eye retouching. Discretion was the better part of valour, often overlooked; thus we have many [prints of] bland, expressionless faces with pearly skin.” …
Collectors interested in both the old film technology like the retouching desk and the newer digital gear visit our events (see PHSC EVENTS at right) and join our society (see MEMBERSHIP above and at right). For questions related to the events, email our president Clint at fair@phsc.ca and for membership questions email our membership secretary Lilianne at member@phsc.ca. The next event (May 4th) is our spring auction.
