Correspondence.

S. D. Humphrey, Esq.,

Dear Sir:—I would fain give my testimony in favor of your excellent Journal, which is to the Daguerreian, as a guide to the traveller, and pilot to the untaught mariner. It needs but to meet his eye for him to appreciate its value and secure its aid, while following in his misty pathway.

I have long since learned that "experience is the best teacher," but now since the advent of the Journal, all who would be relieved of difficulties incident to Daguerreian life, may find the cause of atmospheric troubles—bad light—poor subjects—clouded results, &c., reflected on its pages, and thus, by close application, prevent the many evils which so frequently attend them, and thereby learn that "an ounce of prevention is better than a pound of cure."

But there are those in the business who do not seem to discover any difference between the profile on the school-boy's slate, and the best "aqua-tinta" engraving. They never have any trouble in producing perfect results at every sitting, and that for the sum of one dollar or fifty cents. No wonder the writer of the article on Daguerreotypes in No. 5 of the Journal, says "Daguerreians are not artists, nor Daguerreotypes works of Art, but mere wonders of Nature."

When Daguerreians adopt the motto—"Good pictures and fair prices," they may lay claim to the enviable name of Artist, and not before. The Daguerreian art is the most difficult art to practise with perfect success, that has ever yet been discovered. A perfect Daguerreotype is the result of a series of the most careful, delicate and complicated experiments ever conceived of by the human mind.

I have been considerably amused in perusing the Journal, in reading communications from sources where I am acquainted. They remind me of the old adage—"All is not gold that glitters," for they appear to far better advantage in print, than as Artists. But enough of this. In conclusion, permit me to speak of a method of copying pictures, which, if new to any of your readers, they will find it well worthy of the trial. I find, by placing the picture to be copied where the rays of the sun may fall obliquely upon the plate, all reflection is thrown off, and the image appears in the camera, clear and distinct, even if the original be very faint. It also shortens the time of exposure to from one to five seconds.

Respectfully yours, Jas. Bennett Sykes.

Owego, March 4, 1851.

Note.—We think this is rather sharp firing, but, as it is already met by the "Artists" referred to, we give it. We do like spice, and well seasoned articles, but don't get too personal. A man may have been born in a stable, but it is no sign he is a horse. We hope the above from Mr. S. was not prompted by "a spirit of rivalry and animosity," but rather for the good of all, as no doubt it will so prove. Give us a pop from the other side. [Ed.

Daguerreian Journals Lost.—The following Telegraph Dispatch was received at the Daguerreian Journal Office on the 13th.

"What is the reason of your not sending me my Journals? W. S Gear."

The following was our answer forwarded per mail on the same day.

Daguerreian Journal Office, New York, March 13th, 1851.

Dear Sir:—Your Telegraph Dispatch came to hand. In answer,—I do send a Journal directed to you as often as published. The last was mailed last Friday, i.e. the February 15th number, that being the last out. I find it takes nearly as many to furnish the Post Offices as my subscribers; however, I try it again and send one to-day.

Respectfully, S. D. Humphrey.

W. S. Gear.

We wish that the persons, wishing the Daguerreian Journal would furnish us with their names—("no questions asked") and they can have a copy forwarded,—thereby our honest subscribers would receive their Journal regularly. We do know that we put the Journal in the Post Office—but we don't know why so many of our subscribers do not receive them. There is no doubt but that our Journal is valuable, and should be in the hands of all, yet it is with us as with most brother editors, we are unable to furnish copies gratuitously.