Study No. 19, "Street Scene - Winter," by J. S. Neary. For delicacy of tone value and a broad arrangement of light and shade this picture is a photographic gem. Its strength lies in the subtle rendering and accentuation of the lighter tone. These with the transparent shadows in the roadway give a suggestion of delicacy and scattered light to the snow that is very pleasing. The chief difficulty the photographer has to contend with in snow scenes like this is the translation of color from a monochrome. The soft whites, the tender grays and russet browns have all been remarkably well rendered. (See Page 190.)

Study No. 23, "All Aboard," by William T. Knox. Here is a marine study of excellent quality. The point of view is distinctly original and the spacing of the picture is good. A sailboat at its moorings with canvas idly flapping in the wind is something of a novelty even in picture making. The tall mast of the sloop is emphasized by contrast with the horizontal lines of the pier. Two thirds of the picture space is devoted to sky and water, making one realize the quiet but tremendous power locked up in these silent forces of nature. Our first impression as we look at the print is one of vast spaces through which the wind hushed for the moment, will soon be blowing; the great soft clouds rolling across the sky, we feel instinctively, hold a pent up force that will soon break. The picture is full of suggestive-ness and strength. (See Page 206.)

Study No. 24, "The Oyster Boat," by Dr. A. R. Benedict. A marine study made in deep shadow. The sloop with its dingy sail and the steamboat just visible on the horizon line of the picture suggests a strange contrast and marks a great transformation that has taken place in the modern commercial world. The emphatic note here is the upright mast of the boat, which rises to the sky and holds the water and sky space together, giving a pleasant effect of unity to the picture. The oblique lines of the sail combine with the vertical lines of the mast to make a pyramid shape attractive to the eye and significant to the imagination. The repetition of these lines and shapes in the topsail, mainsail and jib is very pleasing and increases the beauty of the picture. The level line of the far horizon is repeated by the hull and bowsprit of the oyster boat and both with the upright masts show variety of line that gratifies the eye and makes the picture interesting. (See Page 209.)

Study No. 26, "Marine," by S. I. Carpenter. This is a happy study of surf that shows taste and feeling for the pictorial side of this work. Note the direction of the principal lines in this picture. They do not merely happen. The photographer selected these lines with the utmost care. He chose a point of view where the general lines of the shore presented a series of curves like the letter S. The white crest of the waves breaking at this point would necessarily follow the curvature of the shore line. The gently rounding masses of rock upon the shore are repeated on the distant point of land jutting into the sea, faintly suggested by the rolling white masses of surf, making this picture more and more admirable the better we know it. (See Page 213.)

Study No. 27, "Boats near Venice," by William H. Phillips. Here is a picture that has all the qualities of a painting, minus perhaps the color. Composition, drawing, balance, tone, texture, all are here, so that it is difficult to appreciate it rightly as a photograph. The buoy, the black hulls, and white side of the ships, all at different distances, strengthen the effect of breadth in the water spaces. The sky and water fill nearly three-fourths of the picture. The two ships in the foreground attract our attention the most and divide interest with the fisher boy. Indeed a line drawn through the center of the plate would show two distinct pictures with each of these as a central point of interest. The vertical and oblique lines of the sails repeated over and over again convince us that our eyes like variety of line just as the muscles of the body like variety of exercise. The very haziness of the horizon line gives distance to the fartherest ships and suggests atmosphere and perspective. The whole effect is most grateful to the eye and would be beautiful to look at even if we had never heard of the beauties of Venice. It illustrates in a special way what artists call harmony of proportion in composition. (See Page 214.)

Study No. 49, "The Dreamy Susquehanna," by Karl M. Ebert. This is an instance where the charm of the picture is perhaps largely due to the sentiment of the subject itself. The combination of sky and waterway is simple enough, but it is the fine distribution of light and shade that gives the effect of breadth to this picture. The light of the evening sky reflected in the water gives a poetical touch to the whole scene. (See Page 319.)

Study No. 29, "Blossoms - Cherokee Rose," by Marion Shark Gaines. This picture is an example of what may be accomplished in flower photography by careful treatment both as regards arrangement and lighting. The arrangement here is decorative and the lighting is such that one gets a good idea of the true shape of the flower photographed. In photographing white flowers with green foliage the color screen has been used to good advantage in correcting color values on the sensitive plate, while the white background is a decided improvement over black as lessening the contrast of light and shade in the picture. (See Page 241.)

Study No. 32, "Chrysanthemums," by Dr. A. R. Benedict. A fine picture, in which the composer has caught with his sensitive plate the subtle qualities of the flower. The delicate stem, the leaves, the texture of the petals, the grace, and all the tender beauties of the flower are here. Even the color values can be felt, thus demonstrating the usefulness of orthochromatic plates and a light filter in all work of this kind. (See Page 248.)

Study No. 33, "Water Lilies," by Marion Stark Gaines. This is an exceedingly interesting photograph of plant life reproducing the water lily as it actually appears upon the lily pond when blossoming. The charm of this print lies in the true rendering of form and tone values by repetition and suggestion. The plant is growing under normal conditions and in surroundings common to its species. The general effect of the photograph is remarkably true to nature. (See Page 251.)