American cinematographer (Jan-Dec 1926)

August, 1926 AMERICAN CINEMATOGRAPHER Eleven IDhat It Takes to Be Daniel B. Clark, A Cmematoqrapher AS.c. Pre-requisites of Cinematographic Calling Outlined by A.S.C. President {Editor's Note— The following story was written by Daniel B. Clark, president of the American Society of Cinematographers, for the HOLLYWOOD MAGAZINE, by special permission of which it is reprinted here:) Hollywood is not only the mecca for thousands who would achieve fame as players on the screen but, records of the American Society of Cinematographers show, this community is becoming the magnet for scores of others who aspire success as cinematographers — or cameramen — with the various motion picture studios. Photographic triumphs in releases of the past two years have engendered interest in the cinematographer to a remarkable degree with the result that there has arisen a countless number throughout the world that would emulate the accomplishments of filmdom's most celebrated cinematographers. Every week brings its quota of inquiries to the American Society of Cinematographers, seeking information as to how and where to learn to be a cinematographer. Without going into the situation that the supply of even the recognized cinematographers— with years of experience and successful productions to their credit — greatly exceeds the demand, it might be said that the ace cinematographer stands as a combination of diversified qualities, including those of the artist, the chemist, the mechanic and the student of human nature. The artistic is probably the dominant note in the success of the cinematographer. In the artistic lies the basis of presenting the subject in a visually pleasing manner. The cinematographer with artistic ability does not worry if a subject lacks beautiful qualities. The experience that is peculiar to him teaches him that after all "art" is not "what" but "how." As proof of this, the homliest sandpile, the flatest landscape, or, on the other hand, the most irregular features can be made, by thoughtful treatment, beautiful to look upon. However, that which we term as artistic ability has no value at all unless the possessor has a balance of judgment of how, when and where to use it. This brings us to the all-important matter of composition which in itself is of sufficient proportions to cover a cinematographic treat ise. By composition, it is possible to express a definite thought, or designate a certain spot to which the path of the eye is to travel, there to halt for the action that is to take place. In fact, by being a master of composition, the cinematographer, in the proper use of lights which is his forte, often can make what is a negligible piece of acting appear as a master performance, to the agreeable surprise of director, actor and all concerned. Because he must be familiar with the exposure and development of motion picture film, the cinematographer must have, briefly, a working knowledge of chemistry, so that he may intelligently correct his lens exposures and arrive at the point of perfection. His mechanical ability asserts itself in the actual manipulation of the delicate instrument called the camera. The slightest vibration or mechanical imperfection in the camera might well make the finished film display figures who jumped instead of walked across the screen, since each fallacy in the negative picture, which is little more than an inch square, is magnified many times when it is thrown on the screen. In short, he must conquer all the intricate ramifications of the camera mechanism before he can lay the most elementary claim to being a cinematographer. Being a student of human nature is a very important factor in the calling of the cinematographer. All human beings have certain characteristics, and these must be portrayed on the screen. Some of these characteristics are visible on the countenance and in human actions, and some are invisible. In the portrayal of a character, cinematographically, it often is necessary to eliminate the visible and reveal the invisible, either by adaptation of light or by any other of the things which are a part of the cinematographer's stock in trade. It is only by knowing his subject thoroughly from a human interest standpoint that the cinematographer can decide upon just what treatment to use in a given case. So it is that many intangible matters go in making up the profession of the cinematographer. He must be equipped with a sort of sixth sense as to how to make a certain scene superior, photographically, but his decision must at the same time be based on sound judg (Continued on Page 18)