Of all the photographic sizes that have been introduced to the public, the cabinet is the most artistic in its proportions. As nearly as possible it falls under that art rule of producing an oblong or parallelogram of the most agreeable proportions, which is as the diagonal is to the square. The size of the cabinet is 5-1/2 by 4, and if you measure the diagonal of the square of 4 inches, you will find that the length of the cabinet, 5-1/2 inches, is as near that as possible. Doubtless Mr. Window had this in view when he introduced the size, and whether for upright or horizontal pictures, such proportions are decidedly the best. Many of the sizes already in use are too long, others are too short and square. In addition to the beautiful proportions of the cabinet size, it gives the portrait photographer more room and opportunities to introduce harmonious forms and effects in the posing and arrangements of portraits and groups; and I have seen some very charming views on the cabinet size, 5-1/2 by 4 inches horizontally; as well as some very beautiful interiors of Westminster Abbey, by Mr. V. Blanchard, on the cabinet cards vertical, which proves pretty conclusively that the proportions of the diagonal to the square of any size will suit both vertical and horizontal pictures. I have not the least doubt but a much greater demand for those cabinet pictures, both portrait and landscape, could be created, if photographers would set about introducing them with a will: depend upon it if they will but put their heart into the matter, they would put money into their pockets. I know how much has been done by launching them fearlessly on the sea of public patronage in several localities, and I feel certain the demand would be much more general if the cabinet picture were judiciously introduced. Mr. H. P. Robinson and Mr. Nelson K. Cherrill, having entered into partnership, are on the point of opening a photographic establishment at Tunbridge Wells, where they intend to incur considerable expense to introduce the cabinet portrait, and give it that prominence it so justly merits.
Since writing you last, I learn from a friend who is intimate with Mr. McLachlan that there is every possibility of his secret being revealed ere long. That this secret formula will be an immense boon to all photographers, there can be little doubt. If an absolute immunity from streaks in the direction of the dip, brain-markings, and pinholes--which are the advantages said to be derived from the process--can be guaranteed, then will the manipulatory part of photography be at once made easy; and Mr. McLachlan will have conferred a personal obligation on every photographic manipulator. Not only will photographers be benefitted by Mr. McLachlan's generous conduct, the whole world will participate in the advantages he intends to place as a gift in the hands of photographers; and even _art_, that is so afraid of a photographic amalgamation, will be _honoured_ by the revelation. But once let the mind of the operator be for ever free from the cares and anxieties of his negative being clean, spotless, and excellent in quality, he will then have more time and inclination to put his art knowledge, if he have any, into practice, by paying more attention to the pose of his sitters and the artistic choice and arrangement of accessories. If he be without art knowledge he will be obliged to acquire it and put it into practice, or be driven out of his field of operations. For, if the chemical difficulties and uncertainties are to be so summarily disposed of, and all the manipulations reduced to a certainty and dead level, a pre-eminence in the profession can only be maintained by him who exhibits a taste, feeling, and love for his labours superior to the desire to palm upon the public, for mere gain, works that are a disgrace and a scandal to the profession of which he is a member. That such a condition of things photographic may be quickly brought about is much to be desired, and if such be the result of Mr. McLachlan's very noble willingness to give to the photographic community experiences that have cost him much time and money in acquiring by close observation and experiment, he will, at the least, be entitled to the sincere and hearty acknowledgments of all well-wishers and lovers of our art-science.