International photographer (Jan-Dec 1935)

October. 1935 T 1 1 INTERNATIONAL PHOT OG RAP H E R Three Motion Picture Cameramen's Organizations in America (Written for the International Educational Cinematographic Institute ) By The Editor |HE first organization of cameramen in the United States was the Static Club of America, at Los Angeles, California. When it came on the stage Hollywood was rapidly growing into the cinema center it was destined to be. Many cameramen had left New York to take up jobs on the Pacific Coast and there was beginning to be talk of the formation of the Hollywood group into an active organization. The original proponents were made up of Leonard Smith, James Crosby, William Alder, Dal Clawson, Harry McGuire, William Foster and Edward Ullman. Just about this time the cameramen were being greatly annoyed by that awful thing called static, and it was in the nature of a jest that the new organization was named "The Static Club of America," and each of the organizers named herewith contributed one penny each to the constitution of a treasury. The Static Club of America received its charter as a California corporation on April 25, 1913, and continued under its corporate title until December 11, 1917, when by decree of the Superior Court of Los Angeles this title was changed to "Cinema Camera Club of California," and still is in good standing on the records of the Department of the State of California. This organization was primarily and essentially a social club for the advancement of ideas. Its interests were devoted to the improvement and development of technical features of cinematography. While organized primarily for the improvement of personal relations, it assumed the status of a large and serious-minded body of able and capable men whose work was devoted to the advancement of camera art as applied to motion picture production. The second organization of cameramen in the United States was perfected at New York, also, in April, 1913, at the Heine Bund Hall, 267 West 34th Street. Thirteen men were present and the names of four others were submitted for membership. The title chosen for this organization was "The Cinema Camera Club," and the initiative to bring about the meeting was taken by Mr. Lewis W. Physioc of New York, at that time an associate of Thomas A. Edison and probably the pioneer cinematographer of America. At that time Mr. Edison was the most prominent researcher in the field of cinema. The idea of consolidating all professional motion picture photographers arose because of peculiar conditions obtaining in the industry. The cinema was in its primary stages and. therefore, practically in a state of chaos, for there was a constant inflow and outflow of promters, exhibitors, cinematographers, financiers, technical operatives, etc., and it was impossible to know where to turn to secure the personnel and the material that was needed. On April 18, 1913, at the third meeting of the Cinema Camera Club of New York City, there was adopted the following admirable preamble to its constitution: "We, the members of the Cinema Camera Club, have resolved to organize an association for the development of an artistic and skillful profession, namely, the operating of cinematographic cameras; it being our purpose to maintain for the members of said profession the dignified standing justly merited, among the rest of that industry of which it forms a most important branch." By February 15, 1917, Cinema Camera Club of New York boasted one hundred and eleven members, and many of them are still in active service in Hollywood and other cinema centers of the world. At the meeting of April 18, 1913, the first election of officers resulted as follows: President, Mr. Oliver; first vice president, Mr. Armitage; second vice president, Mr. Maxwell Held; recording secretary, Mr. Herbert Siddons; corresponding secretary, Mr. Rubenstein; financial secretary, Mr. William Zollinger; treasurer, Mr. Lewis W. Physioc; sergeant-at-arms, Mr. Jules Cronjager; guide, Mr. Lawrence Williams. By 1918 the Static Club of America ceased to function as an autonomous body and was consolidated with the American Society of Cinematographers of Hollywood, an aggressive organization of cameramen which, under the leadership of Phil Rosen, but recently of New York, was coming rapidly into the limelight. The original incorporators and directors were: Percy Hilburn, J. D. Jennings, Charles Rosher, Fred LeRoy Granville, Joe August, Roy Klaffki, Billy Foster, Homer A. Scott, Robert Newhard, L. Guy Wilky, Philip E. Rosen, L. D. Clawson, Eugene Gaudio, W. L. Griffin, Victor Milner. This organization has persisted through the years and with the slogan, "Loyalty, Progress and Art," has developed many ace cinematographers. The American Cinematographer magazine is owned and published by this group of cinematographers in the interests of both the motion picture studies and the amateur. The fourth and last organization of cinematographers to bo made in America was that of the International Photographers, professional cinematographers whose purpose for organization was organized labor as being the one thing needful to procure just and fair treatment from the motion picture producers. The International Photographers received their charter as a trades union local on August 1, 1928, and within a short time had a membership of 800 cinematographers, assistants, still men, newsreelers and special process operators enlisted under the banner of Local 659, which has become affiliated with Los Angeles Amusement Federation, California State Theatrical Federation, California State Federation of Labor, American Federation of Labor, International Alliance of Theatrical Stage Employees; the 34,000 members of Moving Picture Machine Operators of America; Local 666 at Chicago; Local 644 of New York City, and the local at Toronto, Ontario, Canada. Local 659 owns and publishes the International Photographer magazine, which began publication in February, 1929, and which has become internationally known as an authority on motion picture arts and crafts. Both the American Cinematographer and The International Photographer were made into magazines from house organs of the respective cinematographic organizations by Silas Edgar Snyder, at present editor of the International Photographer. The American Cinematographer is edited by Charles J. Ver Halen. Other editors of these publications were Foster Goss and Hal Hall, on The American Cinematographer, and George Blaisdell on The International Photographer. In 1915 the Static Club roster of members included: W. F. Alder, Sterling Motion Picture Co.; R. D. Armstrong, Keystone Film Co.; J. H. August, New York Motion Picture Co.; Lee Bartholomew, Universal Film Manufacturing Co.; W. J. Beckway, with Balboa Motion Picture Co.; H. L. Broening, the Famous Players Co.; R. Carson, Selig Polyscope Co.; A. E. Cawood, Universal Film Manufacturing Co.; Dal Clawson, Bosworth, Inc.; J. A. Crosby, New York Motion Picture Co.; Allen M. Davey, L-KO Motion Picture Co.; H. Davis, Lubin; F. M. Dean, American Film Manufacturing Co.; R. V. Doerer, New York Motion Picture Co.; William C. Foster, Universal Film Manufacturing Co.; Harry A. Gant, Santa Barbara Motion Picture Co.; H. Gerstad, Selig Polyscope Co.; Otis M. Gove, New York Motion Picture Co.; K. D. Gray, L-KO Motion Picture Co.; Fred L. Granville, Navajo Film Co.; Walter L. Griffin, Universal Film Manufacturing Co.; H. B. Harris, Sterling Motion Picture Co.; George Hill, Bosworth, Inc.; I. G. Hill, Universal Film Manufacturing Co.; Al Heimerl, American Film Manufacturing Co.; J. D. Jennings, New York Motion Picture Co.; E. Leslie, Keystone Film Co.; J. W. Leezer, Reliance and Majestic Studios; Bert Longnecker, United States Motion Picture Co., Oroville; G. W. MacKenzie, Selig Polyscope Co.; John MacKenzie, Sawyer, Inc.; K. G. McLean, Keystone Film Co.; Ralph Merrello, Universal Film Manufacturing Co.; Thomas Middleton, American Film Manufacturing Co., Santa Barbara; M. Moore, Universal Film Manufacturing Co.; A. Nagy, Universal Film Manufacturing Co.; H. C. Neuman, Selig Polyscope Co.; R. S. Newhard, New York Motion Picture Co.; John M. Nickolaus, Universal Film Manufacturing Co., New York City; S. S. Norton, Universal Film Manufacturing Co.; L. G. Osland. Selig Polyscope Co.; H. M. Oswald, Kalem Co.; Roy Overbaugh, Universal Film Manufacturing Co.; S. Rounds, Universal Film Manufacturing Co.; G. Rizard, Masterpiece Film Co.; G. Scott, New York Motion Picture Co.; H. A. Scott, The Favorite Players Co.; Al Seigler, Universal Film Manufacturing Co.; Leonard M. Smith, Balboa Amusement Producing Co.; Walter Stradling, Jesse L. Lasky Feature Play Co.; E. G. Ullman, Universal Film Manufacturing Co.; E. J. Vallejo, Paramount tWilford Lucas Co.); Walter Wright, Keystone Film Co.; Frank Williams, Sterling Motion Picture Co.; Gilbert Warrenton, Universal Film Manufacturing Co.; Alvin Wyckoff, Lasky Feature Film Co.; Al Ansbacher. J. H. Buffum, B. P. Fraser, Ed Gehler, Ira H. Morgan, A. J. Morrow, Harry Maguire, W. Piltz, Walter Pritchard, R. V. Phelan, H. Reimers, Carl Widen. Hease mention The International Photographer when corresponding with advertisers.