American cinematographer (Jan-Dec 1924)

.March. 1924 AMERICAN CINEMATOGRAPHER Thirteen g!!lllll!llllll!ll!llll!!l!!!l!llllllllllll!«!l!!l!M which it is -written. Wonder if such men ;is yourself have ever given a thought to the man behind the camera, have yon ever stopped to think of the number of years that it takes to get to that position back of the camera, and after all is said and done that there is considerably more than just being able to turn a crank at so many turns per second? For a number of years back in the old one and two reelers time, we were denied screen credit, but finally we were granted the privilege of that little line, "PHOTOGRAPHED BY;" not only did this act as an incentive to better photography all around but it meant considerable to the man behind the camera. You certainly must realize that screen credit to a cameraman means more to him than merely the thought that he is getting credit for his work. The little clipping wliicli I enclose and which was cut from today's N. Y. World, bears the caption. "DIRECTION OF JOSEPH PLUNKETT," also all programs of the Strand Theatre bear a similar inscription. You would not think of cutting your own name from the Strand advertisements; why treat us in the way you would not think of treating yourself? Certainly, Mr. Plunkett, the few seconds that it takes to Hash the name of the cameraman on the screen is not going to lengthen your program to a point where it is harmful, these titles as a rule do not exceed more than 10 feet at the most, which if you give six presentations a day, means seven minutes per week. Don't von think that von are treating us a little unfair in this matter? A director may be considered the Czar of the motion picture studio. He can rehearse his scene, and then photograph it, and he can photograph it ayain, and once more, in fact, he can take it as many times as he desires, and then retire to the projection room the next day and run all of these "takes." If after seeing them on the screen he does not like them, be can re-take them again until he is satisfied, and that's that. Nothing is said or nothing is thought of it. But hereby hangs a tale, let there be a re-take through some fault of the cameraman, viz. — bad focusing, bad lighting, under-exposure, static, underspeeding. What happens nine times out of ten — you looking for another job. Some time Mr. Plunkett, inst give a little thought to the responsibilities that are carried by the man back of the camera in order that the production eventually may be projected on the screen of the Strand and other theatres throughout the country. jj Coming; to facts of the matter it takes co-operation all around to turn out a finished production, but with all the co-operation possible, if THE CAMERAMAN'S EXPOSURE TS WRONG no one in the whole industry can put it there, so on behalf of all cameramen of the IT. S. don't destroy the credit, that the producer srives us, by cutting our names from the productions that are shown at the Strand Theatre. ■ The Capitol Theatre, the Rivoli. the Rialto and the Cameo all give us this courtesy, surely the Strand can do the same. Tt's a small matter and costs yon nothing, and you must certainly realize that of all the cities in the United States, the name of the photographer is of most value when it is flashed on the screen in New York and Los Angeles and Hollywood, where pictures are made. mr~ *,m* = 'ii I ho]ie, Mr. Plunkett. you can see your way clear to grant ns this little courtesy, and that you will see it from the angle of the cameraman. Trusting T have not bored yon. T beg to remain, ■ B Sincerely yours, (Signed) NED VAN BUREN. jj iiiiiiiiiiiiiiiiiiMiia x