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610 THE PHOTOGRAPHIC NEWS. [December 18, 1863. ception of the right effect when they saw the model lighted. In illustration, he might point to the very charming studies by Mr. Cooper, then on the table, which were admirably lighted, and yet these were produced in a small ordinary conservatory. He was reminded, in discussing a question of this kind, of the story of a certain celebrated painter, who, being asked by a pupil, with what he mixed his colours to secure such beautiful results, the painter’s answer was, “ With brains !” Mr. Cooper described the position of his room, and his mode of using it. His light was chiefly from the south, and the chief olind he used was one over the head of the sitter. After some further conversation, in which Mr. Simpson referred to the charming and perfectly lighted pictures Mr. Blanchard had recently exhibited in that room, Mr. Blanchard described the method he had adopted to utilize a conservatory for the purposes of a photographic studio (see Photographic News, p. 255). He remarked, that if his room were wider, and allowed him to place the sitter diagonally, would be much more convenient. So far as his judgment and experience went, he protested emphatically against the use of a front light, as altogether an error. A conversation followed as to the precise meaning of the term front light. Mr. Wall defined it as any light in advance of the sitter, whether in the shape of a side window or not. Messrs. Simpson and Blanchard defined a front light as that from a window in front of the sitter ; that from a side window a side light, sometimes from its position becoming a side-front light. Mr. Simpson remarked, that if the light at the side ceased to be a side light because it was in advance of the sitter, a side light could not be more than a foot in extent—in fact, the breadth of a man’s body. Popularly understood, a side light was that from a side window. Mr. Evans, referring to the use of tissue paper, said, if put on with starch, it stood well. He had 500 or 600 square feet of it. Mr. Cole referred to the use of tracing linen as much su perior to tissue paper, being very transparent and efficient for the purpose. It was to be had twelve yards long, and one yard wide. He also recommended the use of spring rollers for blinds, used without the catch. He would have the blinds for the roof to pull up instead of down, and those for the sides to pull laterally. After some further conversation, Mr. Hart exhibited a model of a small glass house. It was constructed on a plan in general principle similar to that of Mr. Rejlander, Mr. Mattheson, and others, the chief modifi cation consisting in the front part of what may be termed the studio, sloping both at sides and top, towards the narrow, un illuminated part. Mr. Simpson, referring to the model as excellent in plan, remarked the principle upon which it was designed was now becoming almost universal. He then briefly described the construction of Col. Stuart Wortley’s glass room (see p. 603), which cost £113. Mr. Habt said a house constructed after his model, 24 feet long, the studio portion being 10 feet by 10 feet, and the narrow dark part 14 feet by 6 feet, the height of the studio 9 feet to the eaves, made of glass and iron, would cost £30. Mr. Howard said a glass house was necessary to protect the sitter from wind and weather; but very fine portraits could be taken in the open air. For his own part, he would have as much glass as possible, and make the studio like a handsome conservatory, well supplied with drapery for shutting off un necessary light. Drapery had many advantages over blinds, in permitting a variety of arrangements. The Chairman referred to the lighting of models in the new series of rooms at South Kensington, and recommended photographers to inspect it. After some further conversation, the Chairman announced that at the next meeting Mr. Cooper would read papers on “ Weak Printing Baths,” and on “ Formic Acid in the Deve loper.” The proceedings then terminated. Reelecting Screens.—A correspondent has sent us a speci men of silvered paper sold by the fancy stationers which he has found very valuable for covering a reflecting screen and securing, when it is necessary, a large amount of reflected light. Oorxespondente. CHROMO-PHOTOGRAPHY. Sir,—In reply to the letter of Lieutenant-Colonel C. Baratti, I beg to say that I have not carefully examined the process which the above gentleman has invented, nor will any one who knows the toning process and the colour it yields in its several stages of exposure say I was wrong in thinking it impossible to produce by the new invention tints so beautiful and so true to nature as may be applied by the artist’s brush. With regard to the art of “producing pictures in the natural colours of the objects by the agency of light,” the invention not only does not look like a step in advance, but is no step in advance neither, because light has not more to do with the production of the various tints obtained by the application of chloride of gold to the prints than it has to do with the toning process in general. The invention is certainly an ingenious application of the variety of tints which various times of exposure to the gold solution yield, and as such it no doubt deserves appreciation, and will be appreciated according to its merits, but when such an invention is brought forward as belonging to an art with which it has nothing to do, it is liable to be men tioned in the manner which seems to have roused the in dignation of the gallant Lieutenant-Colonel. I do not feel inclined to answer to the remainder of the letter, only the passage where it says of photographs coloured by hand that they are “ nothing but an abortion not worthy the name of a picture or a photograph," reminds me of the lovely coloured portraits I have seen in Mr. T. R. Williams’s room, and seems to prove that the gallant Lieutenant- Colonel cannot have seen anything like them or else he would certainly not stigmatise them like that unless he had put all his taste into his chloride of gold solution.—I re main, dear sir, yours respectfully, August Busch. THE DISCOVERER OF THE PHOTOGRAPHIC USE OF BROMINE. Sib,—I am certain the photographers over the country will make a handsome response to the appeal in behalf of Mr. Goddard. I don’t think all was done that might have been for the Archer Fund, not from unwillingness on the part of photographers to give, but neglected in the hurry of business. To obviate this occurring, in Mr. Goddard’s case, I would suggest that a person be appointed in every town to call upon his fellow photographers, and there are none, I hope, but would put their hand in their pockets, and give their mite, but who would put off, and perhaps altogether neglect to send their subscription. If it is true, that many are making splendid fortunes, let them think and act gratefully to the man to whom they are so much indebted, and the many who are making a comfortable living will surely not grudge to give the price of one dozen “cartes.”—Yours truly, John Henderson. Perth, 14th December, 1863. 9hotographir Hutts and Queries. Nitrate of Soda in the Printing Bath. Sib,—Will you allow me to inform your correspondent “ Another Photographer’s Assistant ” that the phenomena ho complains of in his sensitizing bath of nitrate of silver and nitrate of soda are easily explained and easily remedied, thus The nitrate of soda was bad, being decidedly alkaline, and an excess of soda or carbonate of soda would, of course, dissolve the albumen; if he adds a little nitric acid the reaction of the bath is, of course, acid at first, but it takes a long time before all the free soda in the bulk of the solution has taken up the nitric acid, therefore the reaction, being at first acid, will become alkaline again after a certain time, if not sufticient nitric acid