July 20, 1896.

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THE AUSTRALIAN PHOTOGRAPHIC JOURNAL.

of these Enlargements were made at “Falk’s” Studios, from negatives by this firm, the artistic character of which greatly adds to the charm of the exhibits as pictures. The Opal Enlargements shown by this firm, illustrative of the quality of Fuller’s Opal Plates, are also good samples of work.

The most attractive exhibit in this collection is, however, a large frame containing 27 whole plate Portraits on “Invicta” Sensitized Albumenized Paper. The prints, which are from “Falk’s” Studios in Sydney, are of a highly artistic character, the superior finish of the pictures attracted general attention, and conclusively proved the superiority of this popular brand of paper.

Baker and Rouse have a very extensive exhibit of material and apparatus, and occupy a large amount of wall space, the latter being filled principally by enlargements on the various papers prepared by the firm.

W. Watson and Sons show a collection of apparatus and material, and

J. W. Small and Co. are also to the fore with an exhibit of similar character, in addition to which they occupy a good amount of the walls, on which a large collection of enlargements and direct prints on the Eastman Company’s papers are hung.

Mr. B. Cowderoy sends early talbotypes, and Mr. L. L. Smith exhibits Daguerreotypes and collodion positives of considerable age. These two exhibits are interesting as illustrating a phase of photography long since past.

Messrs. Freeman and Co., Sydney, have a collection of high-class portrait work, including portraits of several N.S.W. celebrities; and some of Mr. J. W. Lindt’s immense enlargements of New Guinea subjects are again noticed.

A modest display of coloured photographs, very well executed, is made by Madame Patinie, of Melbourne, and these complete the principal items in the loan collections.

With the work hung in the extreme west gallery we have no right to interfere, that portion of the building being sacred to the productions of the members of the Melbourne Art Club and the Victorian Sketching Club, but the study of much of it will not be unattended with advantage by earnest students of photography, as those who aim at producing photographic pictures will find that a close inspection of some of the works of contemporary painters will afford them many valuable hints in the treatment of pictorial subjects.



PAPERS RE^D THE INTERCOLONIAL CONGRESS OF PHOTOGRAPHY, 1896.

PHOTOGRAPHY IN THE LECTURE ROOM.

(Paper by Professor D. McAlpine).

Among the varied applications of Photography to the numerous necessities and requirements of our modern life, not only to perpetuate ourselves and our works, but to charm us with nature in her varying moods and to bring us into contact with the beautiful and the true, I know of no application more worthy of attention or more likely to benefit the rising generation than its utilization as a handmaiden of education. It is capable of rousing the interest of the young and fixing it, because its productions are pleasant to the eye, and may be made to convey a world of meaning by well chosen and apt illustrations. And it is in these pictorial representations, which appeal both to the eye of sense and to the mind’s eye, that the power of photography as an educator is made manifest. Indeed, photography had hardly seen the light before it became evident that here was the means of illustration of almost boundless applicability. In every department of knowledge, in the sciences, arts and manufactures, it was seen to be capable of being turned to useful account. And from the illustration of a book or a magazine, of a traveller or explorer’s discoveries, or a war correspondent's adventures, it was but a step for it to become a recognised means of lecture illustration and lantern demonstration. And this brings me to the special subject of this short paper—“ Photography in the lecture room.” When I say the lecture room, I mean not only its use to the popular

educator, who wishes to give an agreeable and pleasant account of his subject, but to the scientific man who wishes to convey to earnest students methodical information on his special department of knowledge. I do not mean to dwell on the advantages of photography for this particular purpose, as I take it for granted that every lecturer on certain subjects, who has considered the matter at all, acknowledges its utility ; and the only question at issue is how best to use it and how to make the most of it in our educational work. The pictorial idea in photography constitutes, to my mind, its great value in the teaching of the natural sciences. To get clear ideas on the subjects taught there must be pictorial representations framed in the mind, and according to their definiteness so will the knowledge be definite. And on this formation of clear images greatly depends the success or want of success on the part of the student, and to impart these ought to be the main object of a lecturer. Now, if photography does, as I believe it does, greatly help a student in seeing clearly and forming a definite idea of the subject-matter of the lecture, then it is a powerful educator, and will tend to lessen the great disparity which at present exists among the students, by enabling these who are deficient in the faculty of scientific imagination (and there are many such) to have this deficiency minimised by the aid which photography offers. I will, therefore, now direct my attention mainly to the uses which might be made of photography in the lecture room. I have used it both in Edinburgh and Melbourne to illustrate my scientific lectures, and will speak from a certain amount of practical experience. Of course, the subjects in which it might be profitably used are numerous.

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