To the EDITOR.

DEAR SIR-Will you allow me to correct an error into which the writer of the article on "Photographic Papers," in the Photographic Journal of the 1st instant, has, doubtless unwittingly, fallen?

In his rather sweeping condemnation of "highly albumenised paper," he says, that "it is to be regarded with suspicion, as the very high glaze is not due to pure albumen, but to an admixture or adulteration, either dextrine or gelatine;" and that "the presence of the latter is to be recognised by the chocolate colour of the proofs when removed front the pressure frame, and if the wet proofs are allowed to dry in contact, they adhere together and, are spoiled."

Although it is possible that some makers may use an admixture of gelatine or dextrine, I have never found it necessary or advisable to do so to obtain the highest glaze.

I send you, herewith, some specimens of different kinds of (foreign) papers, albumenised with pure white of egg, and I think you will find the glaze to be as much as it is possible to desire. Moreover, prints on these papers will, for the most part, come out of the printing frame of a somewhat chocolate colour, and will if dried in contact, adhere together, showing that these latter conditions do not necessarily prove the presence of gelatine.

One thing you will doubtless remark on seeing these papers together, viz.--the great difference that exists in the tint as well as the texture of the papers themselves, as although they are all prepared in the same way, the tints will vary from the comparatively rather dingy Canson (which by the way has lately fallen off very much in quality) to the brilliant pearly white of that marked "New French," a difference that must have considerable effect on the tone of the finished proof.

[illegible] JOHN A. SPENCER.