Hasselblad camera for newspaper assignments. He found it easy to carry, an important factor when illness sapped his strength. His favorite large format camera was a 5 by 7 Linhof. He used this for pictorial work. Its large negative was ideal for the detailed retouching he did. He kept his equipment in the trunk of his car. In addition to cameras and tripods, he had a machete, shovel, child's white parasol, bee smoker, compass, toilet paper, and galoshes and old shoes for swamp jobs. The machete and shovel were used to cut down or remove anything from weeds to saplings that got in the way of his camera angle. The parasol, spotted and stained, replaced the usual flashgun reflector when he needed a softer light. The compass helped him figure his lighting when he was caught in strange territory without sunlight. The bee smoker provided wisps of smoke to create mood or hide a distracting element. Toilet paper was wrapped around flash bulbs to get a diffused light. Bodine preferred early morning light. He got special effects by aiming his camera at the early morning sun. He said that on a hazy morning with the sun just over the horizon it was possible to shoot into it (the sun) without ruining the picture with glare. He went out at night, particularly if it was snowing or raining. To the editor of "Minicam Photography" magazine Bodine wrote: “Only an experienced photographer would know how to make a decent night picture, and get the lines straight, exposure correct, sufficient imagination to make it on a rainy night, and likewise protect his camera from the rain, and be skillful enough to watch the automobile traffic, especially from side streets." What Bodine did in his darkroom he taught himself by experimentation; much of what he did was unorthodox. He mixed chemicals by intuition that came from experience, not by following directions on the container. Chemicals recommended by the manufacturer for certain conditions he used in other ways. Bodine used a variety of processes. At one time the PSA circulated a one-man Bodine show that included eleven different photographic processes. Among them were carbros, gum bromides, multiple gums, the bromoil process, paper negatives and carbon prints. Finished exhibition prints from his early period are predominantly in non-silver processes, particularly carbro, bromoil, and gum bichromate, and on a variety of paper surfaces. Heavy manipulation of the