ert Chambers is vice-president of Bart let t -Aldus
Press, in charge of all its creative work. He's the
man you've heard about who finds the "sensible answer
to every printing problem." His answers don't always
sound sensible at first, however. A furrier client, for
example, sent in a picture the other day of a be-sabled
young lady done in water-color which he had labeled
4-color. Hush. Mr. Chambers' answer was: "We
can do this particular job better, quicker and cheaper
m five colors.' Better because the extra color was a
very particular brown (since it was primarily a picture
of a sable coat) which could never have been obtained
with the conventional combination of red, yellow and
blue plates. Quick and cheaper because those final in
escapable adjustments had to be made on only one
plate instead of on three.
Not content with solving such problems as they come
up, Mr. Chambers has begun to anticipate them, and at
present he is conducting experiments in every depart
ment of the business. For "simplification of the applica
tion of the printing technique," he will tell you with
an apologetic little shrug, is his ideal.
Mr. Chambers' voice is just audible, his smile is
barely perceptible and his gestures are restricted. But
lus desk is enormous, his office is huge and he's study
ing the 'cello.
rthur Gerlach, the photographer, isn't very happy
a! cocktail parties because the people who go to them
don't seem able to talk about anything—love, life or
photography- without mentioning several French paint
ers. W hat this town needs, he believes, is a Café Life. Not
cocktail parties. Lest America's artistic arteries harden,
let young Americans whine and dine 011 the sidewalk.
Young men, though. What this country needs is a
Youth Movement. His hat is off to the older men, but
the knee does not bend. Once they were young, once
great. They take their pictures sitting down these days.
Nevertheless, Mr. Gerlach admires and envies an aging
Picasso. Admires him because his has been the most fertile
fancy 111 artistic circles for at least twenty years; envies
him because the French applaud his many-moodiness.
for Arthur Oerlach is an experimenter. There have
been few developments in modern photography which
have not received a certain quiet impetus from this
man's talented camera.
But we in America don't appreciate experimenters, it
seems. For one thing they have a habit of turning down
routine (albeit profitable) commissions while in the
first flush of an experiment. What's more, we like to
put our artists into pigeon-holes and we expect them to
stay there. Arthur Gerlach, the experimenter, is resolved
that he will not be pigeon-holed. And anywayhis
notebooks are filled with plans.