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Graphic Records of History Made by War Cameramen Page 4 MINNEAPOLIS SUNDAY TRIBUNE MAGAZINE October 28, 1945 i 8 zfc tf i American cameramen worked under fire in the war mst ended, their only "weapons" being their cameras. 7 1 'ft a v. a ii': tt n.n i 5 jmnnn-" Mathew the first war photographer, followed the Union armies deep into the south and made this captured Confederate roundhouse near Atlanta, Ga. Experts say Brady's pictures pre the equal of remarkable picture of a any made today. Memorable for its stark realism, this picture of gaunt and battle-worn Gen.
U. S. Grant was made by Mat hew Brady, first and sometimes called greatest of all war photographers. i VrCfc 9 Tte -n Qc4 7 ifiCiy I' ViV -fe $mong fhe most interesting pictures in Uncle Sam's collection is this This historic photograph shows Gen. George A.
Custer I white coat, center), his wife, and others on a hunting trip in Dakota territory shortly before the Battle of the Little Big Horn, in which Custer and his entire command were killed by Indians. A Brady photograph of a vanished institution, the slave dealer's establishment. Note the armed guard I standing) and the three others, two on the bench and one barely visible in the right door. one showing Gen. John J.
Pershing I right I and his staff when Ameri- used so extensively as by American lensmen during the past three years." These war photographs, by the press associations, newsreel companies, individual newspapers and magazines, and by thousands of service cameramen who dertaken in the recent war is found in the pictures taken in France during 1917-18. But the coverage then, by still and motion pictures, is scarcely comparable. In fact, never before in any country has the camera been have been on the spot literally every minute of every action, have put the jcapstone to the great collection of war pictures which has been growing in Washington for more than eight decades. At the National Archives, the war, navy and other federal de for the of Goblins Night in 1916. tics and supplies during the war just ended.
Moving onward to the strenuous days of Indian fighting in the glamorous days of Custer, Buffalo Bill, Sitting Bull, one finds excellent pictures. A foretaste of the kind of complete photographic coverage un Treats By MARY HART Minneapolis Tribune Food Editor HALLOWEEN is the magical night when witches rule, riding their breomsticks through the skies and stirring their seething caldrons as they brew love potions. It's the night of many superstitions. Beware if a black cat crosses your path. If you fail to see your best beloved in a mirror lighted by a candle held frying equipment before you start preparing the doughnuts.
HALLOWEEN DOUGHNUTS 2 eggs c. sugar 3 tbsp. shortening c. flour tsp. salt 2 tsp.
baking powder Vi tsp. nutmeg Vi tsp. cinnamon c. milk Fat for frying Beat eggs until light. Gradually beat in the sugar.
Add melted shortening. Sift flour. Measure and sift together with over your shoulder, you mlht as well know you have lost him. Whether you answer the door to children's "tricks' or treats, money or eats" or find your gang there ready for a party, this holiday necessitates a well-stocked pantry. You can't beat traditional doughnuts and cider for a Halloween treat.
And especially if you serve the refreshments buffet style with gay decorations on the table. Check up on your deep fat can troops chased Pancho By HERBERT HOLLANDER ON EVERY flaming bat-tlefront of the recent war, in the air, on the ground, and upon the seven seas, photographers risked their lives to make graphic records of the action. Many of these cameramen were killed or wounded and the annals of the war are filled with stories of tlie courage and daring of those who, armed only with the tools of their craft. Invariably went where the fire was hottest. Millions of pictures of every phase of war were made, forming the most complete photographic record ever achieved.
Progeniior of these interpid cameramen was Mathew B. Brady, the world's first war photographer, whose remarkable pictures of the Civil war now are a priceless possession of the United States government. Although three or four daguerreotype were made during th3 Mexican war of 1846. a few pictures of the Crimean war, and the Franco-Austrian war of 1859, the art of war photography was the creation of Brady, a real genius. Experts affirm that despite the crudity of his equipment, no better pictures are being made today.
He could not take action pictures because his camera was not fast enough, but in all other respects the work Brady did 80 years ago is not excelled now. The negatives were made on large glass plates, exceedingly susceptible to breakage, and Brady had to mix his own emulsion with which to coat lhem. He carried his own dark room Into the field. The little canvas-covered wagon in which he and his equipment traveled became a familiar sight. The government's collection of original glass Brady negatives now reposes in the National Archives and the Library of Congress.
Most of the former's negatives are eight by ten inches Villa on the Mexican border and larger, the largest measuring 20 by 24. Each of these places of safekeeping has about 5,000 negatives. Brady used three cameras and usually made three exposures of each scene. For portaits he used a four-tube and an eight-tube camera so that several images were made simultaneously. At the close of the war Brady found himself in money difficulties.
His pioneer daring had cost him much. The collection was put at auction for payment of the storage bill. William W. Belknap, secretary of war in 1874, paid the charges and for $2,840 the gov- ernment got the priceless lot of negatives. However, Gen.
James A. Garfield, later president, was aware of Brady's sacrifices and of the conditions under which the government acquired the collection. He emphatically demanded that something be done about it. Gen. Benjamin Butler, house mamber from Massachusetts, also saw the injustice of the pro-.
ceedings, and a paragraph was inserted in the sundry appropriation bill "to enable the secretary of war to acquire a full and perfect title to the Brady collection of photographs of the war." Brady finally received $25,000 for his collection, which Garfield and Butler declared to have a commercial value then -of $150,000. Today its value i would be 'in the millions; it is in fact, priceless. No prints are made from the original glass plates today, except under very unusual circumstances. For a fine illustration, the exception is sometimes made. Prints are regularly made from the duplicate negatives prepared several years ago by the signal corps.
No other single series of photographs at the National Archives is more active than the Civil war scenes. They were used extensively for training film and history of military tac partments, millions of negatives and prints of wars present a graphic record which forms a priceless legacy for posterity. This record is the finest pos-" sible memorial to Mathew B. Brady, the pioneer whose vision, steadfastness and technical genius blazed the trail. thin strip of ripe olive for a mouth, two small triangles and a still smaller one for the eyes and nose arranged on the cracker result in a jack-o-lantern that's both attractive and tasty.
A witch's hat is made by forming cones of pimiento cheese spread and placing them in the center of a round cracker. A ring of ripe olive around the base of the cone adds eye appeal. For a witch's broom, spread a saltine with cream cheese, pile together strips of rpe olives for the handle, and cut a jagged edge on one side of a square of ripe olive to place on the end of the handle. Spread an ordinary soda square with cream cheese, and and place a cat's head cut of pimiento in the center with a long strip of ripe olive for the whiskers. Two small chunks of olive make the eyes.
A mixture of peanut butter and mustard pickles on crackers makes a delicious canape that can be used any time regardless of theme of the party. You'll find that it's easy to create many other amusing canapes once you are started. A little witchery, this good food, frolic and friends are bound to make your evening successful. Follow Mary Hart's column regularly in the Minneapolis Morning Tribune. the salt, baking powder and spices.
Add dry ingredients alternately with the milk to the first mixture and mix lightly. Roll out dough on a floured board to about one-fourth inch thickness. Cut doughnut shape. Fry. turning once, in the fat until golden brown on both sides.
Serve plain or roll in powdered or granulated sugar while still warm. And save some for decorating the table with doughnut men. DOUGHNUT MEN Fry a few centers from the doughnuts for the heads. Then take small strips of dougn, wind them around wooden meat skewers and fry, stick and all. A little more flour may have to be worked into the soft dough for this purpose.
Cool slightly and slip them off the sticks. Attach to a whole doughnut with toothpicks to form the arms and legs. Little paper pumpkin stickers may be used for faces, or paint features on with white frosting. CANAPES And to complete the theme and the buffet meal, prepare canapes decorated as jack-o-lanterns, witch's hats and brooms, cats and what not. Three kinds of crackers, three flavors of cheese, some pimiento, ripe olives, peanut butter and pickles will make four dozen eye-catching canapes.
Here's how it's done. Use American cheese spread on round, toasty crackers. Then a 1 i ii iiji )i i iii mnh, ij 'npw Grinning jack-o-lanterns and peaked witches' hats will, 'delight Quests no maffer how "young" they are. Cheese and crackers form the" base for these canapes..
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