The international photographer (Jan-Dec 1930)

March, 1930 The INTERNATIONAL PHOTOGRAPHER Forty-seven ^tf ^wfnfw .|.|-l-l-l-l-l-l-t-l-»-l-l-IHH-l-l-t-M-l^-l-l-l-l-l-l-l-l-l-l-l-l-l -I-I-I ■l-l-l-l-l-l-l-l-l-l OFFICERS International Photographers of the Motion Picture Industries, Local 659 Alvin Wyckoff President Jackson B. Rose 1st Vice President H. Lyman Broening 2d Vice President Ira B. Hoke 3d Vice President Arthur Reeves Recording Secretary Roy H. Klaffki Financial Secretary Chas. P. Boyle Treasurer VVm. H. Tuers Serijeant-at-Arms Howard E. Hurd Business Representative BOARD OF EXECUTIVES International Photographers of the Motion Picture Industries, Local 659 Alvin Wyckoff Paul P. Perry J ackson J. Rose L. Guy Wilky H. Lyman Broeninc J. O. Taylor Ira B. Hoke Archie J. Stout Arthur Reeves Harry Zech Roy H. Klaffki Jean C. Smith Chas. P. Boyle S. C. Manatt Wm. H. Tuers R. B. Hooper Faxon M. Dean Sol Polito Ira Morgan Paul Hill TO THE MEMBERS OF LOCAL 659 The Officers, Business Representative and Editors: Please accept my heartfelt thanks for the beautiful floral offering sent to the memorial services for my husband, George Eastman, and for the many courtesies extended me by the Local. Ruth Eastman. o While in the east recently Jackson Rose, chief cinematographer at Tiffany studios, visited the plant of the DuPontPathe Corporation at Parlin, New Jersey. He was tremendously impressed with the big plant covering four square miles as it does and giving employment to 1500 men. Among others Mr. Rose met Dr. Seass, chief of Ridpath Research Laboratories; Dr. E. B. Middleton, plant manager; Dr. H. Kinloch, assistant manager; J. H. Theiss, vice president and Messrs. Briggs and Moyes of the technical staff. Business Representative Howard Hurd and Executives Rose and Klaffki have returned from the east. Executive Roy Klaffki has signed up with Technicolor and both signatories are to be congratulated upon the alliance. Mr. Klaffki is one of the pioneers of the industry and he knows photography from pin-hole to sound track. Agreement With Producers Business Representative Howard Hurd, Local 659, reports that as a result of negotiations recently carried on between the special committee of the Local and representatives of the producers, in New York and Hollywood, the following amendments were aqreed upon and have been written into the contract. Other important changes under discussion will be announced as soon as agreements have been reached. Amendment to Paragraph 4 under RULES GOVERNING ALL CLASSES As a general policy, no cameraman shall be required to work for a greater period than 16 consecutive hours without a rest period of 8 consecutive hours. If, however, the period of 16 conrecutive hours is exceeded then the excess time over and above such 16 consecutive hours shall be paid for in accordance with the following scale: First Hour or Less — All Classes: First Cameraman $12.50 Second Cameraman .... 6.25 Still Cameraman 6.25 Assistant Cameraman 3.25 Additional consecutive time beyond the first hour shall be computed in half hour periods with 5 minutes leeway pro rata of the above scale. Such excess time shall be separate and distinct from all other time and shall not be included in any cumulative hour period or periods, and shall be paid for in cash at the time that the cameraman's regular compensation is payable. Men receiving in excess of the scale do not have excess applied to this period, but instead receive in cash the compensation provided in this amendment. INSERT IN CLASSES 2 AND 3 All holiday work shall be computed on double time basis. Such double time may be applied to the cumulative hour period. Executive Alvin Wyckoff has signed a contract with Universal and is on the job as chief cinematographer of the unit filming "The Storm." This amendment is retro-active as of February 25, 1930. Qheap Clothes Those who buy what they can buy the cheapest, do not know the price they may afterwards pay when they clothe their children or themselves in sweat shop or prison made apparel. The Label of the Garment Workers is a sign of safety — their only sign of safety, for the members of the craft refuse to work in any but well lighted and sanitary quarters. The wonderful improvement in surroundings and conditions of work to be noted in these Union controlled factories and workshops are results of the energy and insistence of the organized workers. Look for this label before you spend your money for clothing. ■■& m THE CAMERAMAN" A worthwhile comment gleaned from the New York World: "He's an artist and a skilled technician, is the modern motion picture cameraman, and he's often by way of being a bit of an adventurer to boot. His work is not only one of the most important factors in the making of a picture — it is vital. Were it not for the fact that he possesses both daring and initiative you would be debarred from the pleasure of viewing many of the "new shots" which have made you sit up on the edge of your chair in vicorious excitement. . . . "And yet, so far as the average fan is concerned, he might as well be nonexistent ! "Utterly aside from the romance, the advenutre, and the peculi ar physical problems which beset the cameraman there is that other vastly important feaartistic. In your good cameraman — and when he's not good he doesn't last very long these days — technic and artistry are more perfectly blended, perhaps, than in any other profession. "The cameraman is an artist. Unlike other artists, he works in a fluid medium. His is a picture produced other artists produce pictures through the through the medium of a lens, just as mediu mof paint, or ink, or crayon. But their pictures remain static, while his is constantly moving necessitating rapid changes in composition and in lighting. "While the work of the cameraman is by no means accorded the popular recognition which it should have, there have been instances in which the artistic ingenuity of a member of the guild has enabled the producer to obtain a higher price for his product from the exhibitor. "The next time you go to the movies, think occasionally of the cameraman. View the film as a picture, as well as a story. As a fluid painting which tells its story by means of light and shadow,"