Earlier this month I discussed the evidence of some rather heavy-handed old-fashioned photograph retouching work I have been encountering in the course of processing the UJA, UFJC, and FJP photographs subseries. Almost immediately after publishing this post, I found the most subtle example of retouching I have seen so far. It was particularly noticeable because there are two similar prints: one retouched, the other not. The unretouched photo appears immediately below and a very similar shot with slight retouching in the woman’s hair, blouse and hand can be seen below the first, if you study it for a moment.
Here is a little closer view. The photographer or designer must have used a very fine paint brush.
So, some of the retouching work in this collection was quite subtle, at least occasionally. There is definitely less of this subtle variety overall, however.
Also since my previous post, I learned from a designer friend who is experienced with both digital and analog techniques that the opaque background paint that features prominently in a few of the photographs included in that post is Pro White Retouching Ink and it is apparently still available for sale. She likened the 20th Century use of Pro White to the contemporary use of the “silo” (short for “silhouette”) or “clipping path” Photoshop tools.