The eye accustoms itself to accept many a convention in art known to be in violation of the facts of nature. But, as the writer of this bright little pamphlet points out, some things are tolerated in photography, such as no one would overlook in a painter. What would be thought of the latter, for instance, " who represented his sky as being grass green, his trees and meadows sky blue, and his human beings, lemon yellow or dark chocolate. It is equally wrong, and equally unsatisfactory to a trained eye, to represent fresh green grass, brilliant scarlet geraniums and dark yew trees all in one sombre tone of shade, and contrasted with a sky in which flat white paper takes the place of the blue depth, with infinite gradation of white and grey, and even ' black ' cloud." In portraiture, we all know how falsely tones are rendered, not only in clothing, when " a fairly dark blue tie with bright yellow spots, will appear as a light tie with dark spots," but particularly in the matter of eyes and hair - blue eyes will be pale and lifeless, golden hair will appear dark, and innocent freckles will come out as coarse blotches. All these points are illustrated as convincingly as in the case of the daffodils and petunias shown herewith. Inasmuch as the Ilford chromatic plate, by means of which the whole trouble may be obviated, is by no means a new invention or an experiment, but something long since tried and proved, it would seem to be almost incredible that "at least ninety per cent.

of all the devotees of the camera continue to use the old and imperfect, rather than the new and nearly perfect plate." (Dawbarn & Ward, Ltd., 6, Farringdon Avenue, London - Price 2d. including postage.)

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