International photographer (Jan-Dec 1941)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

"cIieers For miss bishop' By WILLIAM WALLACE In running these pictures of Martha Scott, the editor offers the prediction that she is the great I est exponent of histrionic art that Hollywood has found in the last five years. She is the person ' who would he most comparable to Helen Hayes ! and eventually will be accorded such status by the stage and screen of this country. (Editor's Note) Richard A. Rowland's production, "Cheers for Miss Bishop," is perhaps the most outstanding example of a perfect welding of the art of photography and the art of make-up. For the finished work of art in the welding of these two essentials considerable credit goes to the director of photography, Hal Mohr, and to the make-up director, Don Cash. As one sees this picture unreel and witnesses the gradual aging of the players as the story progresses one cannot but be strikingly impressed by the advances that have been made in both these arts in the last few years. These stills of Martha Scott, taken dur The stills of Martha Scott as Miss Bishop, shown on pages 14 and 15, are evidence of the cooperation that existed between the publicity director, the still cameraman and the make-up artist. ing the production of the picture by the author, exemplifies the task that was ahead of all concerned when Producer Rowland set out to film a story which called for his characters to age gradually in the story over a period of sixty years. So natural are each of the characters during the transition that it is not until one leaves the theatre that he is conscious of the illusion that has been wrought. Not only are those in the profession singing the praises of the fine artistic photography and make-up manifest in the picture, but the laymen who have seen the film are finding the fine work a subject for enthusiastic praise. This itself is truly unusual for the average theatregoer seems generally to be indifferent to the artistic and technical efforts that go into the making of a film production. In photographing these stills of Miss Scott, and the same was true of the stills of William Gargan and others in the cast, the still man had to do a right about face. Instead of working for those so-called beautiful effects in portraiture from the standpoint of lighting and composition, I had to do just the opposite. As Miss Bishop aged in the picture I had to work for reality, flattening the lighting to emphasize the wrinkles that the make-up produced but which in ordinary photography one would try to hide. Here was one of the cases where the stilbnan had to keep the retoucher under control. Before the picture started Murphy McHenry, publicity director, and I had numerous conversations as to the value of depicting the aging character at the expense of quality in portraiture, and we agreed as to the importance of adhering to this principle. After working on seven pictures with McHenry as publicity director, I realize and appreciate what the cooperation of the publicity director means to the still cameraman. He was always willing to listen to my problems with the utmost understanding and his help meant a great deal in enabling me to produce the desired results. %attIe of seattIe" As a part of one of the first demonstrations of West Coast metropolitan air raid defenses the 'Battle of Seattle" recently took place in which Battery "D," 205th Coast Artillery (A. A. ) set up the Army's most modern anti-aircraft guns in downtown Seattle, while in another part of the city citizens tried out the West Coast's first air raid shelter. It was a realistic show, with attack planes diving on troops, warning sirens wailing, and men, women and children dashing for the sandbagged bomb shelter. Photo shows: Newsreel cameramen who covered the "Battle" : Earl Nelson, Universal Newsreel ( left ) and C. L. Edwards, Paramount News ( right ) equipped with gas masks, film planes overhead as local citizens peer from Seattle's first air raid shelter. The shelter, conceived by Hilmer Benson I wearing white shirt), a Seattle merchant, is an old wine cellar, made of steel reinforced concrete and banked with sand bags. Benson believes his shelter would afford protection from anything but a direct hit, in the event of an attack. — (Photo by Grant Macdonald, Wide World Photos.) International Photographer for February, 1941 13