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FEBRUARY 20, 1885.J THE PHOTOGRAPHIC NEWS. 123 of vulgarity to a collection of photographic specimens, as the over-frequent recurrence of the same design as a background. To enter into a discussion of the artistic principles which should regulate the sketching or painting of a background design would be beyond our present design ; but it may be well to point out that in portraiture the background and accessories should be strictly subservient to the figures, and anything whatever of a loud or decidedly obtrusive typo should be avoided; but after having given such manipulatory details as may assist the reader, it may be well to give a few examples of style. Plain unbleached calico, or even light brown paper stretched on a frame, may be rapidly and easily worked upon with charcoal, chalk, or crayon, a tolerably stiff hat or coat brush being used to soften the work. A background painted with a size-colour, as already described, also takes marks from these materials readily enough, and the work is easier to remove, either by dry brushing, or by means of the damp sponge, than in the case of unprepared cloth or paper. Should more permanent designs be required, they may be painted in water-colours or distemper; but no special remarks are required on the subject. Mr. R. Faulkner, the eminent portraitist, makes many of his backgrounds by a process in which colours mixed with powdered gum or dextrine are applied to a stretched fabric, and the back of the cloth being now damped, the dextrine or gum softens and fixes the colour. This mode of working gives a desirable softness of outline, while it is easy to ensure the most delicate transitions from shade to shade, provided that the distributing brush is used before the application of the water. Such a pigment as burnt sienna may be mixed with one, two, or three times its weight of the powdered gum or dextrine, and the dry mixture may be formed into crayons by pressure if required, although tho greater part of the work may be ordinarily done with stump and brush. When considerable surfaces have to be tinted, it is an excellent plan to tie the various mixtures of pigment and powdered gum in little muslin bags, like blue-bags, and to dust the material through the fabric; while similar devices, such as tubes filled with the powder and tied over with the muslin, will suggest themselves to eve ry intelligent worker. It is well to complete the work as far as possible before damping the back of the calico screen, as it will be found impracticable to work with the powdered colours on a damp surface. The method may be varied by mixing the colours with powdered resin, and damping with methylated spirit. Finishing touches with charcoal or crayon may, of course, be put on these backgrounds. The use of solid accessories in connection with tho background is very.general, and the following sketch will sufficiently indicate It represents the Ue way in which such accessories may bo used, interior of a studio designed by Mr. Notman, Among what may be termed tho ccentricities in back grounds may be mentioned the initial backgrounds (or rather, accessories, as they are solid) of Seavey, and tho subjoined sketches will afford sufficient explanation. Tho caricature backgrounds (or, should we not rather say, fore grounds ?) of Coolide deserve mention, as a photographer with some notion of the grotesque in ty create much merriment by the production and circulation of’pi stures obtained by the] method showngin the following cut.. Mr. Thomas Gulliver, writing in the Photographic News, tells us how to introduce a ghost in the background, or even a ghostly reflection of a landscape. He says “ Many persons now using gelatine plates have at command a good large plate glass window, and it often happens that this said glass window faces a bit of landscape or a shrubbery. By a little careful arrangement this window may be made into a landscape background. Care must be taken to put the camera on a low stand, as the background is formed by the reflection of the trees, &c., opposite. Should it be deemed advisable to introduce a ghost into the picture, all that is required is to pose the lady or gentleman ghost-fashion, and place either one or the other so that the reflection shall come in its appropriate place.” PRESIDENT’S ADDRESS AT THE BIRKENHEAD PHOTOGRAPHIC ASSOCIATION. We may congratulate ourselves upon the fact that our soiree of inauguration has been a gratifying success, and therefore it now simply falls to my lot to state what 1 think should be our aims. We should offer to all amateurs and professionals of both sexes, duly elected, a hearty welcome ; our meetings should be characterized by practical demonstration as well as by general information ; a sub-committee should be formed to instruct students, artistically and chemically ; a box should lie in the hands of the Sectretary for questions to be asked and replied to ; Birkenhead, being situated on the estuary of the Mersey, offers great opportunities (which should not be lost sight of) for the production of pictures of instantaneous seascapes and the like ; excursions should be made into the country to suit as many of the members as possible; the Society should fix upon, with as little delay as possible, a series of competition subjects for the year, arranging to issue (the funds permitting) suitable awards for the best pictures illustrative of the same ; at the end of each year the council should select from among the prizes one or more subjects for reproduction and presentation to each individual member.