Lenses and cameras, like birds and flowers, reappear in spring, and, as the season advances and the sun attains a higher altitude, amateurs and professionals are quickened into a surprising activity. Renewed life is imparted to them, and the gregarious habits of man are developed in another form, and somewhat in the manner that the swallows return to their old haunts. At first, a solitary scout or reconnoitering party makes his appearance, then another, and another, until a complete flock of amateur and professional photographers are abroad, seeking what food they can devour: some preferring the first green "bits of foliage" that begin to gem the woods with emeralds, others waiting till the leaf is fully out, and the trees are thickly clothed in their early summer loveliness: while others prefer a more advanced state of beauty, and like to depict nature in her russet hues, when the trees "are in their yellow leaf." Some are contented with the old-fashioned homesteads and sweet green lanes of England for their subjects; others prefer the ruined abbeys and castles of the feudal ages, with their deeply interesting associations; others choose the more mythical monuments of superstition and the dark ages, such as King Arthur's round tables, druidical circles, and remains of their rude temples of stone. Some delight in pictorializing the lakes and mountains of the north, while others are not satisfied with anything short of the sublime beauty and terrific grandeur of the Alps and Pyrenees. Truly, sir, I think it may be safely stated that photographers are lovers of nature, and, I think, they are also lovers of art. If some of them do not possess that art knowledge which is so necessary for them to pursue advantageously either branch of their profession, it is much to be regretted; but there is now no reason why they should continue in darkness any longer. I know that it requires years of study and practice to become an artist, but it does not require a very great amount of mental labour or sacrifice of time to become an artistic photographer. A little hard study of the subject as it appears in the columns of your journal and those of your contemporaries--for I notice that they have _all_ suddenly become alive to the necessity of imparting to photographers a knowledge of art principles--will soon take the scales off the eyes of a man that is blind in art, and enable him to comprehend the mysteries of lines, unity, and light and shade, and give him the power to compose his subject as readily as he could give a composing draught to an infant, and teach him to determine at a glance the light, shade, and atmospheric effects that would most harmonize with the scene to be represented. Supposing that he is master of the mechanical manipulations of photography, he has acquired half the skill of the artist; and by studying and applying the rules of composition and light and shade to his mechanical skill, he is then equal to the artist in the treatment of