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108 W. R. McGEE Vol 42, No. 2 rated with the Distinguished Flying Cross, pinned on him by Lt. Col. Mantz at ceremonies in Culver City. The DFC was awarded Lt. Bray by the War Department for "meritorious action in battle." While accompanying a bomber crew on their mission, he manned a machine gun and shot down two German Messerschmitts, one over Messina and the other over Naples. The war has provided cinematographers with excellent fields for experimentation. The Alaskan and Aleutian theater offered locales for overcoming extreme cold difficulties. More important, this theater provided an excellent base of experimentation against fog. By fog, I don't mean ground haze that can be cut with filters, but mist as thick as pea soup which blankets the ship and blocks vision beyond a few feet. The problem of shooting pictures from great heights through thick fog has puzzled our technicians for a long time. When, and if, the answer is found, it will be a contribution which the cinema industry will certainly welcome after the war. Vitally important in reconnaissance is the use of color photography. Color films show up camouflage which blends into black-and-white film. The shadow deception on which camouflage is based is ferreted by the motion picture camera when color film is used. Painted spots are isolated from the deep shadows which they are supposed to cover. Films that show up the enemy's camouflage are of such obvious im- portance that I need not describe their value here. The training of combat cinematographers for the Army Air Forces takes place in Culver City, where the First Motion Picture Unit maintains a combat camera training pool. From this pool are organized the combat camera units that go overseas to do the work I have just described. Many of these men are former cameramen and technicians from the motion picture industry; others are former newsreel and newspaper photographers. Still others are men with wide experience in commercial and amateur photography. We train them for the duties they will face. There are no punches pulled. Besides spending many hours in studying and operating cameras, practicing the loading of film magazines in change bags, and learning how to care for their equipment in the desert and tundra, the cinematographer also learns to soldier. He puts in long hours on the firing range. He learns to field-strip and assemble the weapons he will use in combat. He learns, too, how to care for himself in the field, how to utilize thick foliage and the ground for cover, and how