"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--