Let's move on now. Here we see clean Catalogue Views of British cameras, which, bought and in the possession of users, can be used to take pictures of dark sad faces; rephotographing one photographed face with out of date film, and allowing this new film to be developed by lab hands who wish to Express Themselves by adding dust and strange shadows to their customer's film, will at the end of the day or week of this total process bring home to you one such strange picture as we have here. So, this being the material in front of us, let's use it as a moving picture, and get on with the story. Here, as we watch, the gears pass this picture (and us, which it acts as proxy for, here in the gears) from one sprocket to the other, through the dark passages of the dark, inside the camera, outside the planet, generally taking us on to whatever will happen next. We are in sympathy with the projector, and though we are not moved by it, allow it to take us to these places; we are allowed no luggage, but then we are assured that nothing of ourselves will be lost in this travel.     The Spring of 1915 found James Hive-Maker in France, where gas warfare had begun at the Battle of Ypres.