Ned Scott

[[File:Ann Miller by Ned Scott, May 1946.jpg|thumb|[[Ann Miller]] (1946)]]

[[File:Ann Miller by Ned Scott, May 1946.jpg|thumb|[[Ann Miller]] (1946)]]

[[File:Rita Hayworth and Larry Parks by Ned Scott. 1947.jpg|thumb|[[Rita Hayworth]] and [[Larry Parks]] (1947)]]

[[File:Rita Hayworth and Larry Parks by Ned Scott. 1947.jpg|thumb|[[Rita Hayworth]] and [[Larry Parks]] (1947)]]

'''Ned Scott''' (April 16, 1907 – November 24, 1964) was an American photographer who worked in the [[Hollywood film industry]] as a still photographer from 1935 to 1948.{{IMDb name|0779612}} As a member of [[The Camera Club of New York]] from 1930 to 1934, he was heavily influenced by fellow members [[Paul Strand]] and [[Henwar Rodakiewicz]].[http://www.thenedscottarchive.com/ned-scott/associates/henwar-rodakiewicz/7-a-letter-from-henwar-rodakiewicz.html A letter from Henwar Rodakiewicz], Buzzards Bay, Massachusetts to Ned Scott, New York, New York, November 7, 1932

'''Ned Scott''' (April 16, 1907 – November 24, 1964) was an American [[photographer]] who worked in the [[Hollywood film industry]] as a [[Unit still photographer|still photographer]] from 1935 to 1948.{{IMDb name|0779612}} As a member of [[The Camera Club of New York]] from 1930 to 1934, he was heavily influenced by fellow members [[Paul Strand]] and [[Henwar Rodakiewicz]].[http://www.thenedscottarchive.com/ned-scott/associates/henwar-rodakiewicz/7-a-letter-from-henwar-rodakiewicz.html A letter from Henwar Rodakiewicz], Buzzards Bay, Massachusetts to Ned Scott, New York, New York, November 7, 1932

== Early commercial work ==

== Early commercial work ==

While living in New York and visiting the Camera Club, Ned Scott began commercial work with still lifes and x-ray tubes. He experimented with light and form during this period. Unfortunately little survives except that which he saved for his own personal collection. His other photographic efforts during this time included a study of [[San Francisco de Asis Mission Church|La Iglesia de San Francisco]] in [[Ranchos de Taos]], [[New Mexico]].

While living in New York and visiting the Camera Club, Ned Scott began commercial work with still-lifes and [[X-ray tube|x-ray tubes]]. He experimented with light and form during this period. Unfortunately, little survives, except that which he saved for his own personal collection. His other photographic efforts during this time included a study of [[San Francisco de Asis Mission Church|La Iglesia de San Francisco]] in [[Ranchos de Taos]], [[New Mexico]].

== Mexico ==

== Mexico ==

Scott spent the latter half of 1934 working for Paul Strand on location in Alvarado, Mexico to produce the Mexican funded propaganda film, ''[[Redes (film)|Redes]]''.{{IMDb title|0028165|Redes}} [[Fred Zinnemann]], who also worked on this film in his directorial debut, referred to Scott's stills as "classics" in his autobiography.{{sfn|Zinnemann|1992|page=36}} Two months following Strand's return to the US from Mexico, he referred to these stills as "the finest set of still photographs I have ever seen for any film".{{sfn|Krippner|2010|page=70}}

Scott spent the latter half of 1934 working for Paul Strand on location in [[Alvarado, Veracruz|Alvarado, Mexico]] to produce the Mexican funded [[propaganda film]], ''[[Redes (film)|Redes]]''.{{IMDb title|0028165|Redes}} [[Fred Zinnemann]], who also worked on this film in his directorial debut, referred to Scott's stills as "classics" in his autobiography.{{sfn|Zinnemann|1992|page=36}}

His assignment was the creation of film stills during the production of the film. He used a 5 x 7 Graflex camera throughout production. He masked the back plate of the camera to a 5 x 6 size at the suggestion of [[Paul Strand]], thus producing exposed film which was a little smaller than usual. Because the sun was so intense at the midday period, filming of ''Redes'' took place in the early morning and late afternoon. Zinnemann made this filming schedule due to the fact that most of the participants wore large straw hats, characteristic of the culture and area, and these hats created very dark shadows over the actors' facial features. So it was that during this midday time, Scott had the opportunity to make photographic forays into the community of Alvarado to document the town. He also used this time to make character portraits.{{sfn|Elkins|2000}}

His assignment was the creation of film stills during the production of the film. He used a 5 x 7 [[Graflex]] camera throughout production. He masked the back plate of the camera to a 5 x 6 size at the suggestion of [[Paul Strand]], thus producing exposed film which was a little smaller than usual. Because the sun was so intense at the midday period, filming of ''Redes'' took place in the early morning and late afternoon. Zinnemann made this filming schedule due to the fact that most of the participants wore large straw hats, characteristic of the culture and area, and these hats created very dark shadows over the actors' facial features. So it was, that during this midday time, Scott had the opportunity to make photographic forays into the community of Alvarado to document the town. He also used this time to make character portraits.{{sfn|Elkins|2000}}

Two months following Strand's return to the US from Mexico, he referred to these stills as "the finest set of still photographs I have ever seen for any film".{{sfn|Krippner|2010|page=70}}

Conditions in Alvarado were spartan, and travel took time. Crossing the Mexican border was problematic because of sensitivities of the Mexican government to immigrant labor, often causing delays of days for telegrams to be transmitted back and forth with officials in the government. Overall Alvarado was a very shabby place. There was dirt everywhere. Facial qualities of the local population were strong, perhaps due to the African American genetic strain within the group{{sfn|Rivera|1992}} but there was "an appalling amount of toothlessness". Known as Jarochos, members of the local population laughed, sang and drank (aguardiente) as a normal course of things. Throughout Mexico Alvarado was known as the most foul-mouthed village anywhere.{{sfn|Zinnemann|1992}} Despite the local color, both Strand and Rodakiewicz found the town and its people terribly depressing. Underlying this feature, however, was a vitality and a specialness which lent possibilities for a good film. But at the end of 1933, when Henwar arrived to assist in the film's production, he found the scenario ragged and incoherent.Letter, Henwar Rodakiewicz to Ned Scott, October 21, 1933:http://www.thenedscottarchive.com/redesfilm/redes-film-letters.html {{Webarchive|url=https://web.archive.org/web/20211109095401/https://www.thenedscottarchive.com/redesfilm/redes-film-letters.html |date=2021-11-09 }}

Conditions in Alvarado were spartan, and travel took time. Crossing the Mexican border was problematic because of sensitivities of the Mexican government to immigrant labor, often causing delays of days for telegrams to be transmitted back and forth with officials in the government. Overall Alvarado was a very shabby place. There was dirt everywhere. Facial qualities of the local population were strong, perhaps due to the African American genetic strain within the group{{sfn|Rivera|1992}} but there was "an appalling amount of toothlessness". Known as Jarochos, members of the local population laughed, sang and drank (aguardiente) as a normal course of things. Throughout Mexico Alvarado was known as the most foul-mouthed village anywhere.{{sfn|Zinnemann|1992}} Despite the local color, both Strand and Rodakiewicz found the town and its people terribly depressing. Underlying this feature, however, was a vitality and a specialness which lent possibilities for a good film. But at the end of 1933, when Henwar arrived to assist in the film's production, he found the scenario ragged and incoherent.Letter, Henwar Rodakiewicz to Ned Scott, October 21, 1933:http://www.thenedscottarchive.com/redesfilm/redes-film-letters.html {{Webarchive|url=https://web.archive.org/web/20211109095401/https://www.thenedscottarchive.com/redesfilm/redes-film-letters.html |date=2021-11-09 }}

Scott arrived in Alvarado in June 1934. Zinnemann was already there, having arrived in January at the request of Henwar to take over the role of film director after Henwar left to complete a prior commitment on a Stirner film about American Pueblo Indians.Henwar Rodakiewicz Santa Fe, New Mexico to Georgia O'Keeffe, New York, January 30, 1934 Prior to his departure, Henwar had also completed the shooting script for Strand because he did not feel right about leaving Strand alone in the production of the film. There was no one else on hand in Alvarado who grasped the enormous possibilities of cinema or who knew anything about making a film. By June, the production team was finally assembled, Henwar having returned from the Pueblo job, and filming could commence.Henwar Rodakiewicz, Mexico D.F, to Ned Scott, New York, December 17, 1933:http://www.thenedscottarchive.com/redesfilm/redes-film-letters.html {{Webarchive|url=https://web.archive.org/web/20211109095401/https://www.thenedscottarchive.com/redesfilm/redes-film-letters.html |date=2021-11-09 }} Scott began his first [[film still]] assignment with a rookie director, a rookie producer and a group of rookie actors in a foreign town whose inhabitants were renowned for their drinking and swearing. And he worked for free.

Scott arrived in Alvarado in June 1934. Zinnemann was already there, having arrived in January at the request of Henwar to take over the role of film director after Henwar left to complete a prior commitment on a Stirner film about American Pueblo Indians.Henwar Rodakiewicz Santa Fe, New Mexico to Georgia O'Keeffe, New York, January 30, 1934 Prior to his departure, Henwar had also completed the shooting script for Strand because he did not feel right about leaving Strand alone in the production of the film. There was no one else on hand in Alvarado who grasped the enormous possibilities of cinema or who knew anything about making a film. By June, the production team was finally assembled, Henwar having returned from the Pueblo job, and filming could commence.Henwar Rodakiewicz, Mexico D.F, to Ned Scott, New York, December 17, 1933:http://www.thenedscottarchive.com/redesfilm/redes-film-letters.html {{Webarchive|url=https://web.archive.org/web/20211109095401/https://www.thenedscottarchive.com/redesfilm/redes-film-letters.html |date=2021-11-09 }} Scott began his first [[film still]] assignment with a rookie director, a rookie producer and a group of rookie actors in a foreign town whose inhabitants were renowned for their drinking and swearing. And he worked for free.