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and nearly facing the strong side-light. Last of all, the head-rest was placed in position, the face turning a little more than the body towards the camera and the light. Until this moment the image in the camera has never been examined, but a glance towards the lens has been given now and then whilst arranging, to observe the relation between it and the model. The position and accessories having been satisfactorily arranged, the image on the ground glass is examined and focussed, and, without the delay of more than two or three moments, the exposure commences. It is only fifteen seconds, and after a brief rest and a slight modifica tion in the position of the head, a second plate is exposed for about the same time, two dark slides with prepared plates having been just before handed from the dark room through a small aperture or door behind the background, through which, after exposure, they pass back again into the hands of an assistant for development. Whilst the plate is developing, we will glance for a moment at some further arrangements of the studio, which are not shown in the sketch in our last. The camera and lens are protected from the light by a light frame-work, which projects about twenty inches in front and behind, and over which a black cloth is hung. This, in front, pro tects the lens from diffused light, and behind enables the operator to stand conveniently under it whilst examining the image on the ground glass. One of the subjects of much discussion has been the light and shade upon the background, which many have supposed to be chiefly due to masking or sunning down in the printing. That such aids to effect may occasionally be used is quite possible; but, as a rule, this is clearly not necessary, as the effects are easily obtained in the studio. We have before described, as one means to the end, a canopy attached to the background tolerably close to the head of the sitter, casting a shadow on the upper portion of the plate. But a more important means of securing light and shade on the background consists in the position it often occupies in relation to the side-light. Unlike the common practice of photographers, M. Salomon does not take pains to place the background quite parallel with the camera. In many instances, whilst one end is placed in the shadow quite behind the side-light and at a good distance behind the sitter, the other end is brought round so to receive a full amount of direct light from the side window, and is also brought tolerably close to the sitter. This arrangement effects two or three objects: one end of the background becomes in the picture very dark, whilst the other is moderately light, and so aids the effect of light and shade in the picture. Further, the background being placed in this position, some idea of which will be formed from its position in our diagram in the last number, it serves in some degree to reflect a little light on the retiring and shaded half of the sitter. The direct light from the side, which illuminates one side of the sitter, also reaches the background, against which the shadowed side of the sitter is relieved ; whilst the part of the background against which the lighted side of the sitter appears, being placed back, escapes this light. It will thus be seen that, in the picture, the lighted side of the face appears against the shadowed side of the background, and the shadowed side of the head against the lighted side of the background, a mode of arrangement ■which conduces very much to the sense of relief and solidity in the head, and gives the retiring cha racter to the background, producing an effect of space and atmosphere. This mode of treatment may frequently be observed in the portraits by Sir Joshua Reynolds. The negatives are now developed, and brought by M. Salomon into the studio. They are both technically excel lent, clean, and brilliant, with a few points of very dense high light, much gradation, occasional touches—though in this case very few—of bare glass in the deepest shadows. They have been developed with iron and intensified with the same solution to which a few drops of nitrate solution have been added. For fixing, a strong solution of cyanide is used, and occasionally, if desirable, a little local inten sifying is produced by the application of iron and silver to certain parts of the plate after fixing. The chief point which engrosses M. Salomon’s attention in examining the negatives is the modelling in the face, which, to satisfy him, must accurately repeat the light and shade he had seen on the face in lighting and arranging it; his education as a sculptor rendering him peculiarly quick to feel and exacting in securing this modelling. Another lady follows : and here, to the artist's delight, there is no crinoline, and a sitting position is selected. A blonde English girl of eighteen is the sitter. She is placed in a chair, profile to the camera, the elbow resting on the table, the head on the hand, and a book before her, a little pains being given to break the continuity of light on its edges by giving dog’s ears to the corners of the leaves. She wears a black silk dress with broad black velvet trim ming edged with white lace, the spotty effect of which gave us apprehension for the result, but in M. Salomon seemed to cause but little concern, the reason for which we saw here after. The soft and yiel ding folds of the dress, undistended by any obstinately elastic and balloon-like jupon under neath, were carefully manipulated into the folds which the sculptor knew so well how to arrange. The aim appeared throughout to bring the ridge of a fold prominently into the light, and to make the furrow behind it deep, and shaded by the fold from the light. All the principal folds were arranged so that the light reached them, and cast their shadows definitely in one direction. In this instance there was more material to work with, and the artist became more deeply interested in its arrangement. After placing the sitter in the chair, the general outline of the composition was arranged, the curtain being placed so as to fall in folds in some degree repeating those of the dress, and the folds of the table-cloth in front were also arranged so as to form similar lines with slight variation. The table was a small square one, and we noticed that the corner was generally placed opposite the camera, and the cover arranged in a massive fold at that corner. It will be seen by those familiar with artistic composition that the angular form here pre vailed, all the lines running diagonally across the plate from top to bottom, the balancing line consisting of tho white edge of the book, which was leaning against a pile of other books on the table. At the commencement of the sitting he asked the friends who were present to continue to converse with the sitter upon any topic but the coming por trait, which the sitter was requested to forget, leaving entirely all responsibility in M. Salomon’s hands. He also seemed to forget the presence of any animate being, becoming ab sorbed in the treatment of his subject, which seemed in his hands like the modelling clay, and almost as submissive and plastic. A fold here is arranged, and a lock of hair there ; the hands are gently manipulated, the position of each finger being gently but certainly modified. A quiet, low- toned commentary is kept up by the artist, half-suggestive instruction or encouragement to the sitter, and half soliloquy, “ La, la! Bien ! Bestez-vous tranquille,” &c., delivered in a quiet, reassuring tone. In every instance of several sitters we saw, the trust in the artist’s skill ensured by hisreputa- tion, and the magnetic influence of his manner, which ex pressed perfect confidence in his own operations, had a most beneficial influence on the sitter, tending at once to case and steadiness. Of this young lady four portraits were taken, with slightly different views of the face, each plate receiving fifteen seconds’ exposure; each negative being good, and evidently very fully exposed. The lens was used with full aperture ; it was, indeed, one of the old character, not supplied with any stops at all. These negatives exhibited numbers of small spaces of bare glass in the deepest shadows, the white cuffs being the only dense points in which the deposit was abso lutely opaque ; the densest lights in the face readily showing the interposition of any object placed at tho back of the plate when it was held up to the light. The negatives wero.