The "cabinet" form of portrait was introduced this year by Mr. F. R. Window, and it eventually became the fashionable size, and almost wiped out the carte-de-visite. The latter, however, had held its position for about nine years, and the time for change had arrived. Beyond the introduction of the cabinet portrait, nothing very novel or ingenious had been introduced, but a very good review of photography up to date appeared in the October issue of the _British Quarterly Review_. This was a very ably written article from the pen of my old friend, Mr. George Wharton Simpson. No radical improvement or advance in photography was made in 1867, but M. Adam-Salomon created a little sensation by exhibiting some very fine samples of his work in the Paris Exhibition. They were remarkable chiefly for their pose, lighting, retouching, and tone. A few of them were afterwards seen in London, and that of Dr. Diamond was probably the most satisfactory. M. Salomon was a sculptor in Paris, and his art training and feeling in that branch of the Fine Arts naturally assisted him in photography. The Duc de Luynes's prize of 8,000 francs for the best mechanical printing process was this year awarded to M. Poitevin. In making the award, the Commission gave a very excellent résumé of all that had previously been done in that direction, and endeavoured to show why they thought M. Poitevin entitled to the prize; but for all that I think it will be difficult to prove that any of M. Poitevin's mechanical processes ever came into use. On June 13th, in the absence of Mr. Jabez Hughes, I read his paper, "About Leptographic Printing," before the South London Photographic Society. This Leptographic paper was claimed to be the invention of two photographers in Madrid, but it was evidently only a modification of Mr. Simpson's collodio-chloride of silver process. About this period I got into a controversy--on very different subjects, it is true--but it made me determine to abandon for the future the practice of writing critical notices under the cover of a _nom de plume_. I had, under the _nom de plume_ of "Union Jack," written in favour of a union of _all_ the photographic societies then in London. This brought Mr. A. H. Wall down on me, but that did not affect me very much, nor was I personally distressed about the other, but I thought it best to abandon a dangerous practice. Under the _nom de plume_ of "Lux Graphicus" I had contributed a great many articles to the _Photographic News_, and, in a review of the Society's exhibition, published Nov. 22nd, 1867, I expressed an honest opinion on Mr. Robinson's picture entitled "Sleep." It was not so favourable and flattering, perhaps, as he would have liked, but it was an honest criticism, and written without any intention of giving pain or offence.