Excerpt from Get That Picture: The Story of the News Cameraman
The picture editor was typing his nightly memorandum for the day editor - a summary of stories which broke during his shift (watch for the return of the dirigible Akron to its hangar at Lakehurst, he specifically underlined), and others of lesser importance which needed watching for picture possibilities.
The caption writer had cleaned his desk top and was carefully filing the night"s clippings.
"What a night," he muttered, as he glanced toward the side windows as a heavy rain beat against the panes, and wondering how he was to reach home without rubbers and umbrella.
He glanced at the clock. It was 1.45 a.m.
The mail clerk had finished wrapping the batch of envelopes stuffed with photographs while the motorcyclist who was to take them to the train mail slot and then deliver his customary evening papers (this time, by subway as he had left his motorcycle at a garage), lolled at a nearby table waiting impatiently for the last trip of the night.
The darkroom printer stood in the doorway of the darkroom exchanging light banter with one of the "squeegee" boys placing a few odd prints on the ferrotype machine to be dried and glossed.
From the other end of the long room came the steady click of the teletype machines - the endless stream of stones coming in and going out to the world"s four corners.
A few more minutes, and there would be an exodus of the night staff to the elevators, followed by a dash through the rain to the subways for the homeward rides.
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