34 THE WOMBAT. 



Ten miles from Barren Island Albatross Island is situated, 

 and although several attempts to land on its rugged shores 

 have been made, few have succeeded. It is very much exposed 

 to the southern swell, and has no anchorage, but once landed 

 on it there is much to interest one, especially the rookeries of 

 the White-capped Albatross (Diomedea cauta): these in them- 

 selves are a most interesting sight, and it is difficult to tear 

 oneself away from watching the birds as they sit on their nests,, 

 and watch over their young, and the difficulties in landing are 

 more than compensated by the sight. The island has been 

 fully described in the Victorian Naturalist. Besides the 

 Albatross, other birds nest on the island, such as the White- 

 bellied Sea Eagle, Black-cheeked Falcon, Crows, Pacific and 

 Silver Gulls, Dove-like Prions, White-breasted Cormorants, 

 and Penguins. There is no fresh water, and visitors have to 

 take theirs with them, but otherwise there is good camping 

 ground. 



In visiting these various islands, a camera is essential, as 

 many of the photographs that can be secured are very 

 beautiful and interesting, especially the nesting places of the 

 Gannets and Albatross, and it is in the hope that more will 

 visit these interesting islands that these few notes have been 

 written. 



PHOTOGRAPHY IN ART, AND ART IN 

 PHOTOGRAPHY. 



By H. Dentry. 



The main purpose of this article is to submit, not dogmat- 

 ically, but suggestively, to my fellow amateur photographers 

 a few considerations and principles which appear to me of the 

 first importance in connection with photography as a branch 

 of pictorial art, and to be either not sufficiently known in so far 

 as they consist of established rules of art, or in some instances 

 as yet unformulated (as far as I know), or, it may be, lost sight 

 of or subordinated to less important considerations and ideals. 

 I do not propose to deal with " processes " unless casually, 

 but shall confine myself chiefly at least to the artistic ends in 

 view. 



To me a purely photographic picture is seldom if ever 

 entirely satisfactory as a picture no matter what the subject or 

 skill in treatment, though as a photograph only it may be 

 exquisite and beyond technical criticism, and I venture to con- 

 tend (not dogmatise) that a photograph pure and simple, 

 whatever its merits as such, "is not in the same street," to use 

 an expressive colloquialism, with even an artistically executed 



