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my friend, this talk about high priced 



lenses is foolishness. 1 have one which 

 cost not more than $5.00 or $6.00 that I 

 bought from Jones and is worth the 

 whole kit and caboodle of Dagors and 

 Celors, or other even higher priced 

 anastigmats. I tell you it's the best 

 lens I've ever seen in my life and 1 

 wouldn't take $50.00 for it if I couldn't 

 get another like it." You were think- 

 ing all that and more in the same key. 

 And you were determined to teach the 

 fellow something. But to your sur- 

 prise, when you arrive in Brown's den. 

 Brown says not a word that gives you 

 an opportunity to argue. He gives you 

 an easy chair and he brings out the pic- 

 tures. When you have looked at about 

 three, you begin to think that it may 

 not be good policy to be too boastful 

 of your own possessions. Brown 

 brings out another box filled with pho- 

 tographs, and you feel glad that you 

 have not committed yourself. 



You examine a few more and, tremb- 

 ling, when you think what you in- 

 tended to say, meekly inquire : 



"Do most of your work with a 

 Dagor?" 



You hope he will say, "Yes, most of 

 it, except where I need especial depth 

 and definition; then I stick to my old 

 stand-by, the rectilinear that I've had 

 for years." 



You are prepared to acquiesce. "Yes, 



THE CAREFUL INSPECTION OF THE WORK. 



for steady, all round work, outside of 

 fancy stunts, there's nothing like a rec- 

 tilinear — and once in a while you get 

 one that is a regular jimcrack of a lens. 

 I have such a one — one of a hundred." 



But to your surprise, Brown gives 

 you no such opportunity. He replies : 

 "Yes. Dagor is my stand-by, except 

 that once in a while I like to put on 



THE LONG, TEDIOUS GRINDING AND CAREI-TT. I'< >! .1 SI 1 1 XG. 



