heir Pictures May Be Found on the Pages Indicated_

DR. CHAFFEE TELLS HOW HE MAKES BROMOILS--WITH RESERVATIONS

_See __Weissthurm_

Rothenburg o. Tauber, today a mediaeval town surrounded by its ancient
walls and towers, possesses relics of yet earlier fortifications within
the present ones. One of these relics is the so-called Weissthurm, still
dominating the narrow streets that lead to it and the old houses that have
attached themselves to its base.

The print is a bromoil transfer upon English crayon paper from Wellington
smooth ordinary (pre-war variety). The negative was made with a Goerz
Dagor lens in a Lancaster reflex upon a Seed Ortho L plate. The further
data which all careful workers are supposed to keep were not made and can
there fore unfortunately not be furnished.

A. D. CHAFFEE.

EVADED THE STATUTE, BUT MADE A PICTURE

_See __Cables_

"Cables" is the pictorial result of several months' study of the Brooklyn
Bridge towers. When I found the composition I wanted, the rest was easy.
Except for the police. To a Bridge policeman anything on a tripod is a
movie camera, and that means: "Some guy's gonna jump! Where's he at?" I
evaded, not the law, but the majesty thereof--and with an 8x10 view camera.

The light was bad. (My lens would give an optical savant brain fever; I
designed it myself.) I used the rising front to the limit, and stopped
down to F:11 to cover the plate. Result, under-exposure, at one-sixtieth.
I developed first in Rodinal, 1:120; then finished in Rodinal 1:30.
Stanley plates can endure much cruelty. The print for reproduction is
made on matte Azo, soft, using strong M.-Q. developer.

ARTHUR D. CHAPMAN.

A FEW BELIEFS OF A NEGATIVE TENDENCY

_See __The Bugle Call_

I believe that the data of camera, plate, lens, exposure, paper, etc.,
have no essential value as aids in pictorial photography.

That pictures are made with the camera by feeling alone. The selection of
the subject, the lighting, the composition, the exposure and development,
and the after-treatment and selection of the printing medium, are all a
matter of feeling.

That the rules of technique once learned are all practically violated in
the making of the plate and in the production of a print, according as the
artist feels his sub