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" 256 THE PHOTOGRAPHIC NEWS. [May 29, 1868. tively enjoyed the operation, that it has become almost a passion. It is more than probable that this objection to “ sit ” has been engendered by the brusque manners and rough, un- courteous, and conceited behaviour of photographers them selves. A certain amount of self-confidence, if there is any basis for it, reacts favourably on the sitter, but it should not be carried too far, or some sensitive people may consider it amounted to rudeness. A good deal depends on such an apparent trifle as the manner of taking off the cap of the lens and exposing the plate; and there is as much difference in the method of per forming this simple operation as there is difference of opinion amongst photographers on any other circumstance connected with their art. One will shout: “ The exposure’s agoing to begin ! ” in such an angry and threatening tone that you feel inclined to call the police ; while another will so smother you with the suavity of his manner that you feel ashamed of troubling him. The first rarely succeeds in anything but disgusting his customers; the other oppresses them by over-politeness. It is evident that some course between these two is the correct one. The photographer must have a strong will to enable him to carry out his idea as to arrangement, and sufficient subtlety to do so, and, at the same time, please his subject. His motto must be, suaviter in modo, fortiter zn re.” It may be asked : What has all this to do with “ Pictorial Effect in Photography "? Simply this: It is the province of the artist to secure the most characteristic, the most truth ful, and the most pleasing aspect of every subject; and that, without regard to the matters to which I have been direct ing attention, character, truth, and beauty will alike be want ing in photographic portraits, whether the originals be common-place or distinguished. GRADATED BACKGROUNDS FOR HEADS, ETC. BY K. GILLO. The effect of gradation on a background in producing relief in a portrait often seems to be overlooked by photographers. Ruskin says : “ No colour exists in nature, under ordinary circumstances, without gradation,” and enforces again and again that an ungradated touch is bad at any time. Any one, on looking over a collection of photographs, vignette heads, medallions, &c., cannot fail to notice the even and unbroken tint of the backgrounds generally. Look at a portrait by a first-rate artist, a miniature, or any finished work of art, and you will find the background a study of itself, and that on account of the gradation it contains. The following plan will, in great measure, supply what is wanted, without extra time or trouble :—A square back ground (about four feet is a convenient size), on a frame with a cross-piece at the back, in the centre of which is a hole to allow the horizontal rod of rest to pass. It will be seen that when the rest is placed against the head of the sitter the face appears in the centre of the square. There will be found no difficulty in painting this small background with a gradation from dark on one edge to light at the other. Lampblack and whiting, with a little size, answers capitally. When you have arranged the sitter, you can turn this round any way you please: light at the top, shading into dark below, or vice veviH, or a diagonal grada tion to suit circumstances and your own feeling. It is astonishing the different effects produced by turning this background round. Sometimes the effect may be improved by shielding part of the light from the background with a blind or curtain. From the fact of this background being so close to the head of the sitter, you often get a boldly cast shadow from the head or shoulders, which is very effective. PHOTOGRAPHIC PRINTING IN SILVER, THEO RETICAL AND PRACTICAL. BY W. I. BOVEY. Handling Sensitive Paper—Filling Frames, etc. The chemical influences which work out a photographic fac simile of objects are so delicately arranged, so exquisitely sensitive to disturbing agencies, and the turning points that create an issue of weal or woe are so tenderly balanced, that a philosophic regard for minor details becomes an imperative necessity if the operator would steer clear of the difficulties that so frequently make shipwreck of his hopes and pro ductions. Doubtless many of my readers who have hitherto failed to recognize the importance of minor considerations will feel inclined to scoff at the idea of any value being attached to so insignificant an operation as handling paper and “filling in frames.” Whether inclined to scoffing or scepticism, believe me, dear reader, when I say that I would prefer entrusting the work of printing to inexperienced hands than allow the paper to be creased, thumb-marked, and stained by the careless fingers of an ignorant assistant, whose sins of commission and omission are too frequently visited on the devoted head of the paper-albuminizer or dealer, whose daily routine is made a worry and bore by the complainings of thoughtlessness and the denunciations that proceed from ignorance. And here let me observe, I have not the slightest ambition to become a sensational agent, nor do I wish to wound the self-esteem of photographers; but I am backed so strongly by evidence indisputable 1 hold in my possession that I have no hesitation in asking every photographer to pay heed to the instructions I from this point proceed to give, for they need it sadly. And I beg every reader to throw his prejudices in favour of this or that method over board if the results such methods yield are wedded to uncer tainty. I fully purpose placing in the hands of my readers a sure and certain remedy for all toning difficulties, a remedy based on strictly scientific grounds. And I must here apologize for the liberties I feel bound to take in showing that, however strong the remarks and ridicule levied on the self-devoted, and, I believe, entirely disinterested Mr. McLachlan, on account of the round-about path he takes to obtain certain results, precisely the same adverse arguments apply to all the fashionable toning methods, where the fanciful bases either perform their work tardily, or bother the action of the gold in such a way that it takes a fit of sulks, and won’t tone at all. When sketching out the design of the present series of papers on printing matters, I purposed taking each opera tion in regular course, and to deal with all matters per taining to silver printing exhaustively ; but I am tempted to deviate from my original plan by the numberless applica tions I am receiving from all parts for aid in ridding the applicants of their toning difficulties; and as the season is advancing I am desirous of assisting my readers in the most effective manner; consequently I shall run through the pre liminary instructions as briefly as possible, and at as early a date as circumstances will admit. I shall first deal fully with the toning bath, and after wards retrace my steps to describe the various dodges con nected with the printing which are resorted to by printers who are desirous of getting something more than the nega tive alone is capable of yielding. I now return to the high road, and proceed to deal with the handling of photographic paper. Summarizing the remarks I have to offer, and, for simplicity sake, dividing them into three parts, my first is a caution. 1st. Never bring two albuminized surfaces into immediate contact, either previous to, or subsequent to, sensitizing- Neglect of this rule occasions abrasions, streaks, subdued lustre, and divers other imperfections, which the injured prints alone are capable of rendering intelligible. 2nd. Avoid any contact of fingers with the sunface of the sensitive paper. However clean the fingers may have