heavy heart must you have put up those parcels, and written，
An object requiring the particular care and attention of the operator is the proper focus. It is not unfrequently the complaint of sitters that their hands are represented as being magnified and greatly out of proportion with the general figure. This is the case also with the nose and eyes, but in a less degree. As this cannot be wholly remedied, it is desirous to come as near as possible, and in order to do this, it is necessary to present the figure in such a position as to bring it as nearly as possible upon the same plane by making all parts nearly at equal distance from the lenses. This must be done by the sitter inclining the head and bust formed to a natural, easy position, and placing the hands closely to the body, thus preserving a propel proportion, and giving a lively familiarity to the general impression. It is not an uncommon fault among our less experienced operators to give a front view of the face of nearly every individual, regardless of any particular form, and this is often insisted upon by the sitter,* who seems to think the truth of the picture exists principally in the eyes staring the beholder full in the face.
* I might here picture some curious scenes experienced by our operators Every one is familiar with a certain class of our community whose ideas of the importance of a free and easy position of the body are too closely confined with stays, attention to toilet, tightly fitting dress coats and the like, to admit of being represented as if nature had endowed them with least possible power of flexibility. To such we would suggest the following, to be well learned and retained in the mind while presenting themselves before the Daguerreotype camera:
"The experience of one who has often been Daguerreotyped, is, to let the operator have his own way."
Nothing, in many instances, can be more out of place in a Daguerreotype portrait than this, for let a man with a thin, long, defeated-politician-face, be represented by a directly front view, we have, to all appearances, increased the width of the face to such an extent as to reveal it flat and broad, losing the characteristic point by which it would be the most readily recognized. The method we should adopt in taking the likeness of such an individual as above, would be to turn the face from the camera, so as to present the end of the nose and the prominence of the cheek bone equally distant from the lenses, and then focusing on the corner of the eye towards the nose, we cannot in many cases, fail to produce an image with the lips, chin, hair, eyes and forehead in the minutest possible definition.
It should be the study of every operator to notice the effect of the lights and shades while arranging the sitter, and at the same time be very particular to give ease in the position.
No matter how successful the chemical effect may have been, should the image appear stiff and monument-like, all is lost. "In the masterpiece, grace and elegance must be combined."
I will here use the words of another, which are very true:
"So great is the difference in many faces, when inspected in opposite directions, that one of the two views, however accurately taken, would not communicate the likeness-- it not being, the usually observed characteristic form. When the right view of the head is obtained, it is first necessary to consider the size of the plate it is to be taken on, so as to form an idea of the proportion the head should bear to it. The mind must arrange these points before we commence, or we shall find everything, too large or too small for the happy proportion of the picture, and the conveying of a just notion of the stature. The work will have to be done over, and time sacrificed, if this is not attended to. The adjustment of the head to the size of the plate (as seen from the margin of the mat), is not to be taught: everyone must bring himself, by scrutinizing practice, to mathematical accuracy; for something will be discovered in every face which can be surmounted only by experience.
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