It is a very remarkable circumstance that none of the contributors to that historical collection could include among their interesting exhibits portraits of either Nicéphore Niépce or Frederick Scott Archer. Among my "Fathers of Photography" were portraits of Daguerre, Rev. J. B. Reade, Fox Talbot, Dr. Alfred Swaine Taylor, and Sir John Herschel. It was suggested that those historical exhibits should be left at the close of the exhibition to form a nucleus to a permanent photographic exhibition in Kensington Museum. I readily contributed my exhibits towards such a laudable object. They were accepted, and these exhibits may be seen at any time in the West Gallery of the Science Department of the South Kensington Museum. At the exhibition of the Photographic Society of Great Britain this year, I exhibited "Wollaston's Diaphragmatic Shutter," in my opinion the best snap shutter that ever was invented, but it had two very serious drawbacks, for it was both _heavy_ and _expensive_. In 1886 more than usual interest was exhibited by photographers in what was misnamed as the isochromatic, or orthochromatic process, and this interest was probably created by the papers read and discussions that followed at the meetings of the Photographic Society in the previous year. Messrs. Dixon and Gray--the latter a young man in the employ of Messrs. Dixon and Son--commenced a series of experiments with certain dyes with the hope of obtaining a truer translation of colour when copying oil paintings or water-colour drawings, a class of work in which they were largely interested, and had obtained a considerable reputation for such reproductions as photography was then capable of rendering, and one of the results of these experiments was exhibited, and obtained a medal, at the exhibition of the Photographic Society in October. Messrs. Dixon and Sons' exhibit was a very surprising one, and created quite a sensation, as nothing equal to it had ever been shown before. The subject was a drawing of a yellow flower and green leaves against a blue ground--the yellow the most luminous, the green next, and the blue the darkest. In ordinary wet or dry plate photography these effects would have been reversed, but by Dixon and Gray's process the relative luminosities of these three colours were almost perfectly translated. Messrs. Dixon and Gray did not publish their process, but prepared existing gelatine dry plates by their method, and sold them at an enhanced price. They were not, however, permitted to supply anyone long, for B. J. Edwards, who had obtained a monopoly of Tailfer and Clayton's patent rights in England, served them with an injunction, or threatened them with legal proceedings, so they discontinued preparing their orthochromatic plates for sale. By some special arrangement they were allowed to prepare plates for their own use, provided they used Edwards' XL dry plates.