American Cinematographer - December 1960 - 36
IS THERE A FUTURE
IN FREE-LANCING?
It's paid off for Charlie See who parlayed
a $40 second-hand camera and $200 worth
of film to a lucrative global business.
Today he7s official photographer for the
International Beauty Congress.
By
CHARLIE SEE has traveled around the world
twice and shot money-making stills and movies
in more than fifty countries. Here he pauses
during shooting of a native ceremony in
Guatemala.
C
assignments for
for Charlie See, Hollywood free¬
lance still and movie photographer,
rarely look for him in his home office.
Instead they flash overseas telegrams
to such places as London, England;
Durban, South Africa; Lima, Peru; or
Istanbul, Turkey-with better chances
of finding him.
His list of movie credits reads much
like a Cook's tour of the world. Isle of
Bali, Venetian Holiday, Beautiful
Rhine, and Guatemala: The Land
Where Rainbows Begin are only a few
examples.
See is always on the go. In fact, he
has set for himself the ambitious goal
LIENTS WITH MOVIE
CLIFFORD
V.
HARRINGTON
of photographing every country on the
globe. He may just come close to suc¬
ceeding, because he already has made
color films in 53 countries after only
eleven years in the business.
Charlie See is a double-duty man.
He is living proof that movies and stills
do mix, if the right man is behind both
cameras. For three years, 1957 to 1959,
See was under contract to Max Factor
for the express purpose of recording
the Miss Universe contest in both stills
and movies. He also accompanied Miss
Universe on her world travels. Today,
See is official cinematographer for the
International Beauty Congress which
takes place annually in Long Beach,
Calif.
He has filmed the annual event since
its inception. Many of his pictures of
the pageant have been used officially.
It was the Miss Universe contest
which gave See his big break. When
this contest first was inaugurated, he
had been trying to make ends meet in
Los Angeles by going from door to
door shooting baby pictures.
In filming the Miss Universe contest,
he realized that he would be up against
some of the toughest competition in the
business. He figured he would have to
focus his camera on new and different
angles of the event - on phases other
cameramen were missing. His first dis¬
covery was that no cameraman was
covering the important preliminary
events of the contest in 16mm color-
such things as arrival of the various
contestants, etc.
See invested $40 in a second-hand
Keystone 16mm single-lens camera and
ATHENS - Tzeny Loucea - "Miss Greece" -
poses against Acropolis for See's movie camera.
ITALY-See films important sequence depicting
school activities for a documentary.
Continued on Page 750
V-
HONG KONG-Native movie stars are willing
subjects for See's battery of cameras.
742
AMERICAN CINEMATOGRAPHER
American Cinematographer - December 1960
Table of Contents for the Digital Edition of American Cinematographer - December 1960
American Cinematographer - December 1960 - 1
American Cinematographer - December 1960 - 2
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American Cinematographer - December 1960 - 5
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American Cinematographer - December 1960 - 21
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American Cinematographer - December 1960 - 28
American Cinematographer - December 1960 - 29
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American Cinematographer - December 1960 - 42
American Cinematographer - December 1960 - 43
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American Cinematographer - December 1960 - 45
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American Cinematographer - December 1960 - 53
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American Cinematographer - December 1960 - 60
American Cinematographer - December 1960 - 61
American Cinematographer - December 1960 - 62
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