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before; easy because there wasn't anybody to criticize you because it hadn't been done, or to make comparative statements about your story versus somebody else's story. Gradually I got the knack of it, and I also found that the subjects were very cooperative. Occasionally I would do a story, have it photographed; and once I saw the photographs I couldn't figure out what the hell the story was about. But you could usually go back to the scientist, and he'd help you lay it out. I remember at one occasion I was rushed into laying out a story before I even understood how to do it. So I just laid it out, showed the stance[?] to the Managing Editor, John Billings. He said: “that's fine”; then I rushed up to Roschester to talk to the scientist involved, who was a Nobel prize winner, and he helped me rearrange the pictures. Then I came back, and I got the whole thing photostated, showed it all to John Billings, and he never noticed that there was any difference [laughters].

So there was a degree of fakery, but actually I did know something about science; very little about medicine. But as I said, the people, the subjects, generally were much more cooperative than I would have ever thought, and it was in a sense an easy thing to do just because it was all so new. All of it were revelation. People had read about operations and this and that, but they hadn't seen them. So here, for the first time, you were showing, whether it was a splitting of the atom--the first picture of the atom actually being split--or for that matter, the birth of a baby, which had never been photographed, at least for popular consumption.