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will, in most cases, give sufficient density, but there is great danger of clogging the lines. It is better only to apply the pyro and silver once, and obtain the necessary density by a chang e in the colour of the deposit, rather than by any addi tional deposit. The pyro having been thoroughly washed off, the plate is immersed in a saturated solution of bichlo ride of mercury, where it remains till it is quite white; if there are fine lines, the action should not be carried beyond the dark grey stage. It is then well washed, and a diluted solution of hydrosulphate of ammonia is poured over it, which instantly changes the colour to a dense russet black. The plate is again thoroughly washed, and, when dry, varnished in the usual way. In the course of my experience in India I found that if citric acid was used in the re-intensifying solution the film was extremely liable to' split when immersed in the bath of bichloride of mercury. I therefore sought a means of re placing the bichloride of mercury, which is undesirable for several reasons, using the following solution, recommended by Mr. Carey Lea. Cold sat. sol. bichromate pot. ... 3 fl. drachms Hydrochloric acid 1 drachm Water ... ... ... ... 6 ounces This solution is poured on after the plate has been rein tensified with pyro ; it quickly changes the colour of the film to a bright lemon yellow, and appears to somewhat clear the lines. It is washed off, and the hydrosulphate of ammonia is applied, which changes the colour to a dense chocolate brown. The only point to which attention need bo drawn is th necessity of thoroughly washing the plate after each stage of the operation, for unless this be done the lines will be stained or covered with deposit, and the negative rendered useless. Faults in the negative may be partly remedied by duffing out transparent spots and stains with lampblack, &c.; and when the nature of the film will admit, broken and closed lines may be opened by the dexterous use of a sharp needle or etching point. ■ (To le continued.) PICTORIAL EFFECT IM PHOTOGRAPHY ; BeIxa Lessons in Composition ano Cianoscuna von PIOTOGRAPIIERS. by n. p. ROBINSON. CHAPTER XXI. “ Grouping.—My advice to photographers on the subject is something similar to Punch's celebrated advice to persons about to marry : * Don’t! ’ Except in very small pictures, it is almost impossible to secure a satisfac tory group of more thn two persons at once by photography. It tasks the skill and attention of the photographer quite enough to see that the arrange ment, lighting, and expression of one figure are perfect.”—Jtrjlunaer. PoRTRAITURE—continued. The composition of a portrait group depends very much upon the character of its constituents. Two or three child ren, if they are not excessively stupid samples, are very easy to group together, and, when well done, make the most agreeable and natural pictures ; while two adults, espe cially of the male kind, although easier to photograph, seldom make an effective composition. The great art in the composition of a group is in so arranging the figures that they shall have some relation to each other, as well as the ordinary elements of pictorial con struction. There should be some bond of union between those who compose the group; some incident should be represented in which they are mutually interested; or some thing must be imagined' out of the picture to attract the attention of both, if only two are represented, or of many of them, if there is a number. The figures should be massed together, and not scattered over the picture so as to make it necessary to examine each portrait in detail, until it has been seen, and the effect agreeably felt, as a whole. Nothing has a more disagreeable effect than two figures in one pic ture which may be cut in two without much injury to either half. Two figures, like Enid and Geraint in the wild land,— « Apart by all the chamber’s width, and mute As creatures voiceless, thro’ the fault of birth, Or two wild men supporters of a shield, Painted, who stare at open space, nor glance The one at other, parted by the shield.” It is not necessary in representing two persons in conver sation, that they should be looking at each other; the effect of listening can be rendered without that. It constantly happens that in conversations even on the most important subjects, the talker and the listener do not look at each other, although, even if the sounds were not heard, it would be obvious from their appearance that the persons were i n conversation. One point which should command the atten tion of the student is, that there should be variety in the heads, not only as regards profile, three-quarter, or full face, but in their position on the paper. Thus, it is difficult (although possible) to obtain much pictorial effect out of two figures of exactly the same height standing together ; in such a case variety must be got in the lines of the different figures by varying the direction of the bodies, by the ar rangement of the arms and hands, and by the disposition of the accessories and background. As an example of the possibility of this, I give an illus tration taken from a photograph of two young ladies, alike in height and general appearance. It will be noticed that the subject is extremely uniform—two young ladies standing, ■with an upright post and mass of foliage, very nearly alike, forming the entrance to the arbour, on each side of them ; yet a very slight alteration in the almost corresponding sides of the picture has made it a pleasing and agreeable composition.* It is by the amount of perfection with which he succeeds with groups that the photographer will discover the power that is within him. If, after repeated attempts, he fail, or do not succeed to his satisfaction, he will do well to confine himself as much as possible to vignette or medallion heads, a style demanding some taste and care, but taxing the artist much less than more elaborate compositions. Many photo graphers have so studied the best methods of treating the * Our engraver has given the background a more pronounced character than it possesses in the photograph, which is not an improvement.—ED,
