negative and final print is evident in his work. Photographic Enhancements Bodine improved his pictures by dubbing in clouds. He kept files of cloud negatives to be added to his prints of landscapes and water scenes. He developed this technique out of an established nineteenth century pictorialist tradition. To compensate for the limitations of their materials, pictorialists exposed negatives containing only clouds and then double printing the final image, first for the landscape and then for the cloud detail. Bodine made no secret of his use of cloud negatives. He wrote: "For years I have been successfully printing in clouds and think nothing of printing clouds on regular routine assignments." With such a technique he could also change the mood or even the time of day in an image. A water scene printed with heavy clouds would appear to be from a negative taken late in the day. The same negative could be printed with lighter clouds and give the appearance of morning or early afternoon. Clouds were not the only elements Bodine added to his photographs. Silhouettes of birds, particularly seagulls, were added to water scenes. To create a well-defined moon or sun, Bodine placed an appropriate size coin on the paper during the darkroom exposure. He added specks of white to simulate snow or rain in his photographs, frequently on the overall image, or, in many instances, simply on certain areas. The snow piled on the ironwork in "Fells Point, Baltimore" was totally added in the darkroom. He used paintbrush and dye to paint details onto the negative for more moonlight reflecting on the water or when he felt additional white highlights would be an improvement. To create a window or frame, he would add fish nets to the final image. Personal life Bodine was married to Evelyn Lefevre from 1932 until they divorced in 1942. Bodine married Nancy Tait in 1944. He fathered one daughter, Jennifer Beatty Bodine, who since 2000 has curated, edited and exhibited much of her father's work and continues his legacy. After several years of ill health, Bodine suffered a fatal stroke at only age 64 - in his darkroom at the Baltimore "Sunpapers" at North Calvert Street and Centre Streets and died on October 28, 1970. His work documented the passing of an older, now almost forgotten, era in the history of Maryland and Baltimore and their people, and began to document