Inside, the operator has the light more at his control, with his shutters, blinds, tissue-paper fans, and other contrivances to throw the shadow over what portion of the picture he wishes; and yet, with all the softening of harsh lines and gentle mergings of shadows, he has not nearly reached the inner circle of light and shade yet. There are lenses still to be manufactured which will penetrate to a deeper shadow than he has yet attained, deep although he may have gone in that direction; lenses which will wait and not over expose the highest lights until the deepest depth has been gained. With remodelling, it is now easy to make light; and what the photographer ought to aim at are the greys, or half-tones, and the blacks, leaving all dead lights and subtle gradations towards light for the remodeller. Grey is a very precious as well as a plentiful quality in nature; beyond the point where light streams from, we seldom, in fact never, see white, and even the point of light is blended with gradations of prismatic flashes. There are also throughout nature great spaces; in spite of the multiplicity of detail, to me nature seems to delight in isolation. Take what you please, as an example,--a street scene crowded with people,--what is it to the looker out of a window? Simply dark masses (black always predominates in an English crowd), with here and there intersections of space; if you look for it, you will find detail enough, but you must look for it. The general appearances are simple masses of shadow under you, drifting out to the grey, with gradations of grey isolation all round. Take landscape, the ocean in turmoil--grey stretches, gradating from deeper to lighter tones. A mountain and lake scene: the sea-gull coming inland from the stormy North Sea is the only speck of white we trace throughout it, with the vulture or crow looking jet-black as it intercepts the mellow light. Space and half-tones seem to me the two great qualities to be sought after by the artist; in focussing, avoid sharp or high lights, but seek to pierce and collect as large and full masses of shadow as your tricks and appliances can give you. A clear and sunless day outside for landscape work, that sort of lustre which drifts soft shadows under trees, and causes the distance to float away indefinitely, where detail is brought out by under-tones, and high lights are left to the remodeller.