Visiting all the leading Daguerreotypists on Broadway, I was somewhat astonished at their splendid reception rooms, and the vast number of large and excellent specimens exhibited. Their plain Daguerreotypes were all of fine quality, and free from the "buff lines" so noticeable in English work at that period; but all their attempts at colouring were miserable failures, and when I showed one of my coloured specimens to Mr. Gurney, he said, "Well, if you can colour one of my pictures like that I'll believe you;" which I soon did, and very much to his astonishment. In those days I prepared my own colours, and Mr. Gurney bought a box immediately. The principal Daguerreotypists in New York at that time were Messrs. Brady, Gurney, Kent, Lawrence, Mead Brothers, and Samuel Root, and I called upon them all before I entered into any business arrangements, finally engaging myself to Messrs. Mead Brothers as a colourist and teacher of colouring for six months, and while fulfilling that engagement I gave lessons to several "Daguerreans," and made the acquaintance of men from all parts of the Union, for I soon obtained some notoriety throughout the States in consequence of a man named Humphrey attacking me and my colouring process in a photographic journal which bore his name, as well as in the _New York Tribune_. I replied to his attack in the columns of the _Tribune_, but I saw that he had a friend on the staff, and I did not feel inclined to continue the controversy. Mr. Humphrey knew nothing about my process, but began and continued the discussion on his knowledge of what was known as the "Isinglass Process," which was not mine. After completing my engagements with Messrs. Mead Brothers, I made arrangements to supply the stock dealers with my prepared colours, and travel the States myself to introduce them to all the Daguerreans residing in the towns and cities I should visit.