Pictorial films (:13) presents “Master of the Camera” — a vintage film from the 1940s on one of the most prolific figures in the history of photography, Edward Steichen. Steichen was born in Luxembourg and later became a naturalized US citizen in 1900. He was attributed with turning photography into an art form. His work was featured in the notable magazine ‘Camera Work’ more often than others in his field during its entire publication. Steichen also served as the chief photographer for Conde Nast magazines Vogue and Vanity Fair from 1923 to 1938. From 1947 to 1961, Steichen served as Director of the Department of Photography at New York’s Museum of Modern Art. While there, he curated and assembled exhibits including The Family of Man, which was seen by nine million people.
The film is narrated by a prominent British narrator, Hal Baumstone (:23) active from the 1930’s through the 1960’s. Steichen first appears smoking a cigar, reading a paper and talking on a telephone at (:39). Images follow of Steichen’s portrait studio in New York (:51). His name is etched in stone outside the building (:54). Edward and electricians move camera and lighting equipment within the large workshop (1:00). A woman in an elegant evening gown sways for the photographer (1:18) as he chews on a tobacco cigar (1:21). The dancer works to demonstrate what Steichen wanted from her as a model (1:37). Lights are adjusted (1:46) in a final touch up prior to the shoot. His model lifts her skirt, toeing up the steps onto the stage (2:05). An electric ocelot fan lifts the white gown creating the illusion of motion for the image (2:17). She sways as the group works to captures the images in the photographer’s mind (2:47). Edward takes a look into the ground glass of his lens (2:54) on the large portrait camera. He throws the hood over his head (2:57). He changes the shutter plate (3:26). Film is inserted and removed rapidly (3:33). The trim blonde model takes a smoke break (3:45). Edward takes the butt and throws it to the ground (3:49) as the new set is ready. A white veil blows against her form (4:36). Edward trips over cords at his feet (4:48). He moves back under the hood (5:17). Steichen examines the shots which he will sell for commercial profit (5:41). Lighting is again adjusted (6:00). The model reappears in a dark and heavy dress (6:06). She bends her body to the camera man’s direction (6:23). Negatives pulled are examined (6:44) to capture the perfect image displaying the diligence of the artist. Edward was also a painter and horticulturist (7:10). Prior to 1902 he was already an established painter (7:23). The model bends again within the studio at 291 Fifth Avenue (7:38). This became the headquarters for the photo-secession movement known as 291. Many questioned whether or not photography was art during this time period; though Steichen and his work would prove it to be. He flicks through captured images (8:49). The mounted photographs follow (9:01) as the film concludes.
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