WHILE the floodlit Castle at night remains the big picture for tourists on Princes Street with their cameras, this past winter has seen a significant amount of its thunder stolen by a comparatively cheeky little counter-attraction on Edinburgh's renowned skyline.
The Camera Obscura, just yards away from the Esplanade, has introduced architectural floodlights and filters so computerised, so colourful that visiting snappers find the virtual kaleidoscopic effect irresistible.
Manager Andrew Johnson says: "It's nice to know we have become so magnetic for camera-toting visitors after nightfall.
A lot of them come the next day to see exactly what the colours are about. It brings in additional business for us."
And business for the Obscura - established on Calton Hill in 1835, closed 1850 and reopened on its present site in 1853 - is booming and set to grow significantly.
"Our principal function, of course, isn't just to bring vivid splashes of colour to the Old Town's skyline," stresses Mr Johnson. "We use an optical device to provide panoramic views of the city.
"People really have to get up here to see for themselves how it works; there's no other experience quite like it in town.
The Americans say to us 'it's awesome.'"
He added: "Considering there are so many other attractions in the city, we are more than holding our own.
"We attracted a record 110,000 visitors last year and we are confident we can top that this year.
"Admission is £7.50 for adults, £5 for children and £6 concessions - overall just seven per cent up on last year.
"Our visitors say that's still excellent value for money.
Twenty-five per cent of admissions are children."
Yes, and have you noticed how much it costs to get into the Castle or, say, the Zoo?
Evidently the Obscura is a big hit with visitors from England.
In the latest breakdown they comprised 34 per cent of "customers across the door".
Scotland was 16 per cent and Americans and Germans each were seven per cent.
Johnson, who has been running the show these last 20 years, has been looking for room to expand and has found it on his doorstep.
He says: "We have acquired what used to be known as 'Dr Guthrie's ragged school' for old Edinburgh's poor children in the 1850s up to 1920.
"Since then it has been derelict and I rate it a major coup.
"It's on three floors and on two of those we'll develop our illusions theme, including a topsy-turvy room and a mirror maze.
"As it is, we have bendy mirrors on the outside of the building and they're hugely popular with passers-by.
"The school will see us expand by two-thirds, with a projected £2 million spend.
"Work is expected to start by the end of this year and should take between nine and 18 months to complete.
People won't recognise the place."
Which means that the high-profile people who have frequented the premises over the years may well want to come back and see it in its new clothes, so to speak.
Those celebs have included Charlton Heston, Billy Connolly, Jon Bon Jovi, Rory Bremner, Ian McKellen, Tom Conti, Prince Edward, and Andy Marr.
Even Norah Batty.
Alex Salmond held a press conference on the roof and MSP Brian Monteith a champagne breakfast up there at the 1999 election.
From 1622 to 1850 the building was a tenement, typical of the seedier side of the city.
Then Maria Short, a local entrepreneurial scientist, reopened it, relying on public subscription, and renamed it Shorts Observatory Museum of Science and Art.
Yet another change of ownership occurred in 1892 when Patrick Geddes took over and named it the Outlook Tower, regenerating the operation.
He set up his base there as an internationally-acclaimed town planner until his death in 1932.
Since 1977 the site has been run by a company who operate Landmark Forest theme park at Carrbridge, Invernesshire.
They also own and operate Inveraray Jail in Argyll.
Andrew Johnson, who has a staff of 18, arrived as a guide in 1986 and was an odd-job man, painting and decorating for a year before becoming manager.
"I was hooked on the whole Camera Obscura concept from day one," he says, "and hooked more than ever when I envisage how everything will look a couple of years hence.
"Things can only get infinitely better, and that's no illusion.
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