There should be as little lead used on a negative as is consistent with good work; make every touch tell to some purpose.
Note carefully the way the subject is lighted, and let the effect of the stippling be in that direction; you will thus be less likely to change the character or likeness of the face.
The lights and shadows should be caused to blend imperceptibly; this will give a harmonious effect.
Let the grain or stipple be seen in all parts suitable in fineness to the size of the head.
The refinements of negative retouching cannot be taught in books, although much has been written concerning the same.
Try to light your subject and develop your negative so as to get the utmost roundness or relief; then be careful not to destroy this modeling, but improve p70 it by retouching, only doing so much work as to give a soft, clean-looking complexion.
Patient perseverance, close observation and trying again, will bring a certain degree of success, and while only the few can become first-class retouchers all may learn to improve their work by this great help to photography.
SILVER PRINTING.
It was long ago said that silver printing was doomed, that in a few more years it would be among the things that were.
Other processes have been introduced, have had their little day and have passed off, some of them of much merit, and, it was supposed, possessed of every element of permanency, but they were found wanting in some very important respect, and so not being able to hold their ground they passed into the limbo of neglected things.