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.
Maurice Chevalier, on shipboard, turns the
tables on the boys and gives them some of
their own medicine.
: "
i
'ewS.7.
THE STARS
The trigger-fast news cameramen who snap
the stars for the papers catch them in poses you
and I will never see — but what they have to go
through, to get them!
By GEORGE SHUTE
HIS chunky legs grasped firmly by his colleagues, the stocky fellow with the camera snakes along Indian-fashion on the topmost ledge of the Empire State Building. Hundreds of feet below, a steady stream of traffic flows onward. A few seconds later, the stocky fellow calls out, "Okay, boys! I got it," and is hauled to safety.
Sounds like movies being made, doesn't it? But you're wrong. It's only a news photographer taking a picture of one of your screen favorites. This photographer has just taken his life in his hands. Ask him how he felt and he'd reply, "It's all in a day's work."
In this particular instance, RKO-Radio Pictures' publicity department had decided upon a shot of its visiting star Wera Engels against a background of New York skyscrapers. The picture, photographers discovered, could be taken only if someone climbed onto the lofty ledge. And because they were assigned to the job, one of them took the picture.
NO two days are alike in the news photographing business. The men who meet the stars you see in pictures haven't the comparatively simple positions of studio photographers. They must take their pictures without lighting and often under great difficulty, especially when some of the stars refuse to pose.
Sometimes the job of snapping a celebrity is simple. More often than not it proves difficult.
Let us consider as experience number one the reluctance of Katharine Hepburn to pose, just after her sensational success in "Morning Glory" stamped her as the next First Lady of the Screen.
It is no longer a major secret that La Hepburn's countenance is generously sprinkled with those sun spots known as "freckles"; consequently, she frequently refuses to face a newspaper camera.
On her return to America following a quick vacation in Europe, alert city editors assigned their crack photographers to shipboard with definite orders to return with a Hepburn picture. {Please turn to page 54)
ft -isPfe
t •
Right: And another of the boys practically climbed up the mast, aimed his trusty lens, yelled "Hey, Connie!" and shot Constance Bennett when she looked up.
Above: A camera lad couldn't get the shot of Miriam Hopkins he wanted, so he followed her right into the theater and exploded his flash bulb there.
Left: Also aboard a ship, Katharine Hepburn dropped into novelist Ernest Hemingway's cabin for his autograph — and a cameraman was hiding in the corridor.
16
The New Movie Magazine, July, 1935