a rival in seeking public applause for genre photography, calls the foregoing 'wonderful pictures of nude children.'" Rejlander participated in the Paris Exhibition of 1855. In 1856 he made his best-known allegorical work, The Two Ways of Life. This was a seamlessly montaged combination print made of thirty-two images (akin to the use of Photoshop today, but then far more difficult to achieve) in about six weeks. First exhibited at the Manchester Art Treasures Exhibition of 1857, the work shows a man being lured to paths of vice or virtue by good and bad angels. The image's partial nudity, which showed real women as they actually appeared and not the idealised forms then common in Victorian art, was deemed 'indecent' by some. Rejlander was also accused of using prostitutes as models, although Rejlander categorically denied this and no proof was ever offered. Reservations about the work subsided when Queen Victoria ordered a 10-guinea copy to give to Prince Albert. Victoria and Albert would go on to purchase three copies of the work, all of which are now lost. Despite this royal patronage, controversy about The Two Ways of Life in Scotland in 1858 led to a secession of a large group from the Photographic Society of Scotland, the secessionists founding the Edinburgh Photographic Society in 1861. They objected to the picture being shown with one half of it concealed by drapes. The picture was also shown at the Birmingham Photographic Society with no such furor or censorship. However the Photographic Society of Scotland later made amends and invited Rejlander to a grand dinner in his honour in 1866, held to open an exhibition that included many of his pictures. Rejlander moved his studio to Malden Road, London around 1862 and largely abandoned his early experiments with double exposure, photomontage, photographic manipulation and retouching. Instead, he became one of Britain's leading portraitists, creating pictures with psychological charge. He became a leading expert in photographic techniques, lecturing and publishing widely, and sold work through bookshops and art dealers. He also found subject-matter in London, photographing homeless London street children to produce popular 'social-protest' pictures such as "Poor Joe," also known as "Homeless". Charles Lutwidge Dodgson visited Rejlander's Malden Road studio in 1863. Carroll was in the process of relocating his studio and sought Rejlander's advice regarding its design. Around 1863 Rejlander visited the Isle of Wight at the request of Julia Margaret