An Interview With Pete Turner
Excerpt From Article by Chris
Maher and Larry Berman
In the 2001 Issue of Shutterbug Magazine
Photographer Pete Turner remembers duty at Army Pictorial Center
like this. (This is an excerpt from "An Interview with
Pete Turner" by Chris Maher and Larry Berman, scheduled for the
November 2001 issue of Shutterbug Magazine. To read the
complete interview, click here.)
Chris/Larry: After
school you had other opportunities. You went into the military
after RIT, is that correct?
Pete: It was compulsory.
Back then we got drafted and they didn’t waste much time. I
remember graduating, and soon after getting my notice from the
President of the United States. Having a degree, I could have
become an officer but I decided to be an enlisted man, a
private, because you got out in two years. If you elected to go
the other route then you had to keep going to meetings forever
and you could get yourself shot at more frequently. I was lucky
because I didn’t have any wars to fight.
Chris/Larry: We read
somewhere that there were some famous people in your Corp in the
military.
Pete: In the Army
Pictorial Center, yes. There were some celebrity types because
they got into pictorial center. I was lucky. I was stationed in
Indianapolis as a photographer on the base. One of my
assignments was to photograph a General over there next to a
sculpture. And he really loved the shot, called me over to his
office, and said you should meet this Major Briarley over at the
pictorial center in Long Island City. In fact, you should be
working over there, not out of here. He picks up the phone and
calls his buddy in the Marines and the next thing I know, I’m on
a train going to New York. The Army Pictorial Center was unique.
We were in the Second Signal Combat Team, which was joint
services. That meant we could work with the Marines or the Army.
They could use us on an as needed basis. I got to run a type C
color lab when it had just got invented. So I’m making all these
prints and its part of my on the job training. My assignments
would be to take a subway ride into New York, shoot a lot of
pictures, come back and print them to keep the mechanism going.
Meanwhile I’m building a heck of a portfolio.
Chris/Larry: That sounds
like a tremendous opportunity to work in color when color was
very expensive and pretty rare really.
Pete: Incredibly rare at
agencies. They only got to deal with dye transfers. Here comes a
kid who walks into an advertising agency with 120 color prints
under his arm. That got some attention.
Updated January 22, 2019.
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