Page:The Eyes of Max Carrados.pdf/165

Rh in a corner of the photographic world that a great revolution in colour photography was on the point of realisation by the use of bhurine in one of the processes. I, among others, at once took it up. Unfortunately it was another instance of a discovery that is correct in theory breaking down in practice. Nothing came of it."

"Dear, dear me," said Carrados softly, with sympathetic understanding in his voice; "what a pity. You are interested in photography, Mr Lightcraft?"

"It is the hobby of my life, sir. Of course most chemists dabble in it as a part of their business, but I devote all my spare time to experimenting. Colour photography in particular."

"Colour photography; yes. It has a great future. This bhurine process—I suppose it would have been of considerable financial value if it had worked?"

Mr Lightcraft laughed quietly and rubbed his hands together. For the moment he had forgotten Loudham and the annoying case and lived in his enthusiasm.

"I should rather say it would, Mr Carrados," he replied. "It would have been the most epoch-marking thing since Gaudin produced the first dry plate in '54. Consider it—the elaborate processes of Dyndale, Eiloff and Jupp reduced to the simplicity of a single contact print giving the entire range of chromatic variation. Financially it will scarcely bear thinking about by artificial light."

"Was it widely taken up?" asked Carrados.

"The bhurine idea?"

"Yes. You spoke of the secret leaking out. Were many in the know?"

"Not at all. The group of initiates was only a small one and I should imagine that, on reflection, every man kept it to himself. It certainly never became public.