Everything would have gone well at this point, but the dog, which it was intended should form an important adjunct to the picture, and symbolically typify the sign of the house--"The Jolly Dog"--set up a mournful howl, and made desperate efforts to get away from the range of that uncanny instrument in front of him. However, the photographer waited for a more favourable moment, and while the dog was considering the force of his master's remarks, the exposure was successfully made. The result was regarded as quite a _chef d'oeuvre_ in the eyes of those who stopped to gaze at it as it hung in a place of honour in the window of the little front shop. The "reg'lar" East-enders, as distinguished from the foreign element, were, indeed, very easy to please; but, unfortunately, they were not the mainstay of the photographer's business. He must needs look for other customers to eke out a living. And here his difficulties began. He had to be careful not to take a certain low type of Jewish features in profile, for the foreign Jew, once he has been acclimatised, does not like to look "sheeny"; and the descendants of Ham--euphemistically classed under the generic term of "gentlemen of colour"--were always fearful lest their features should come out too dark. One young negro who came to be photographed expressly stipulated that he should not be made to look black. To obviate this difficulty, the photographer wets his customer's face with water, so as to present a shiny appearance to the lens of the camera, and a brighter result is thus secured. On this particular occasion the ingenious dodge failed, and the vain young negro loudly denounced it as representing him a great deal blacker than he was in the flesh. Indeed, the tears sparkled in his eyes as he protested that he was "no black nigger." There is a subtle distinction, mark you, between a "nigger" and a "black nigger" in the mind of a "coloured person," and no greater insult can be levelled at him than to apply the latter epithet. [Illustration: Too, too black.] The tout's thoughts are soon distracted by the appearance of a German fraulein, evidently of very recent arrival in England, who is admiring the photos in the window. She is arrayed in a highly-coloured striped dress, which is not of a length that would be accepted at the West-end, for it reaches only to the ankles, and shows her feet encased in a clumsy pair of boots. An abnormally large green umbrella which she carries is another characteristic feature that seems inseparable from women of this type. The tout has a special method of alluring the women folk within the studio. He has a piece of mirror let into one of the tinsel frames which he carries in his hand as specimens. He holds this up before the woman's face, and asks her to observe what a picture she would make. This little artifice seldom fails to attract the women, whatever their nationality, for vanity is vanity all the world over.