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7 1 1 t i 1 t 3 f I r t r i 3 t f r 1 f r t t y 8 1 it 0 d s, e a 0 t- p id to a marked improvement in the registers. The great sensi tiveness of the Morgan paper, as compared to the old iodide paper, permits the making of much more extensive and elaborate records, while its development is simpler, and more under control. It would be a sad day for photographers if what is called “ rational dress ” came into fashion. Photography has an ugly knack of revealing the weak points, artistically con sidered, of costume ; and the dread garment of Mrs. E. M. King, which is nothing more nor less than the Bloomer pantalette, hideous as it is in itself, would look positively appalling when photographed. In fact, if anything could kill the monstrosity, it would be photography. The statue of the Iron Duke, now that one can approach it closely, is a dreadful looking object; but some allowance must be made for the fact that it was never intended to be gazed at from the level of the eye. How an object can be distorted when examined from a wrong point of view, was forcibly brought to our notice when examining a short time ago a series of photographs of the figures in the west front of Wells Cathedral. The photographs were taken years since, when the building was being restored, the camera being planted on the staging, and of course immediately opposite the figures. The resulting pictures were most absurd and untrue, from the fact that the sculptor had meant the figures to be seen from the ground, and had purposely shortened every horizontal line, and had elon gated every vertical one. Thus the legs, from the knees downward, were, in the photographs, out of all proportion, as also were the arms from the shoulders to the bend of the elbow ; yet, when seen from below, every line fell in its proper place. In such an instance as this, the artist has the advantage of the photographer, who cannot correct what he knows to be wrong. In Herr Otto Pfenniger’s interesting paper on “Wash ing Emulsion,” which we published last week, there is a calculation that may well be noted. It relates to the amount of emulsion necessary for coating a given area. According to our Swiss correspondent, it takes a little over three pounds of emulsion to coat 200 half-plates. M. Marey, of the Institute of France, is successfully continuing his experiments of photographing animals in motion. His camera, our readers are aware, is arranged so as to make rapid intermittent exposures, sometimes a period of a tenth part of a second, and sometimes but the hundredth part of a second, intervening between the securing of the images. So that an animal in motion, photographed in M. Marey’s camera, is shown by a series of pictures, each one differing from the other, and repre senting its mode of progress. The best results obtained by M. Marey, and which he has just submitted to the Academy cf Sciences, represent the flight of a pigeon, for it is to the movement of birds that the eminent physicist has been directing his attention more especially. These photographs analyse the flight of a pigeon most accurately. They demonstrate, in a word, the positions assumed by the flying bird during successive tenths of a second, as also the curve traced by the tip of the wing when in action. On the conclusion of our " Half-a-Dozen Portraits,” we shall redeem the promise given last autumn to guide our readers over some of the best known European passes across which the camera may be carried with advantage by the tourist photographer. The Stelvio, the Simplon, the Spliigen, the Maloja, the Kirkstone, High Cup Nick (Yorkshire), &c., over which we have tramped with the knapsack, will receive attention. As every tourist photographer knows, there is no more charming souvenir of a summer’s outing, especially upon foreign soil, than pictures taken by yourself on a tour. The photographs you purchase, let them be ten times as good as your own, are another matter altogether. The bought picture is not taken from the point of view at which you stood and admired the scene, and for this reason is some times scarcely to be recognised. Your own photograph, on the other hand, calls up at once not only the object in all its vivid details, but not uufrequently a little history, too, that you remember well as you gaze at the tiny print. In a word, your own photograph is often a pleasant relic of a pleasant holiday. Up to the present, the season has been anything but a prosperous one to photographers at the West End. Usually the six months after the opening of Parliament, when “ everybody ” is in town, form a period of much hard work to the fashionable photographer, to which, however, he does not object. But business has never been known to be worse than it is just now. Nor is the reason far to seek. The “ Upper Ten ” have been infected with a holy horror of dynamite, to the effect, at least, of leaving their families in very many instances in the country house instead of bringing them to town. The society journals note the outcome of the scare in the limited number of balls and receptions which have taken place, and others besides photographers have doubtless suffered. It is to be hoped that for the next three months a better feeling will prevail, and that photographers will more than regain their lost ground. A relative of Mrs. Partington thinks we ought to mention, for the benefit of the uninitiated, that “ photo-relief” has no connection with the Charity Organisation Society ; that when there is printed on a carte portrait that the negative is “ preserved,” there is no question of Messrs. Crosse and Blackwell’s handiwork ; and finally, when firms advertise themselves as “ the largest photographers ” in the world, it does not follow that, like the giantess Marian, they ace | “still growing.”