article_snippet.sent: "Working on film sets was really important to Magnum, and all of the photographers working with Magnum in the '50s did films," says Jacob, now the McEvoy Family Curator for Photography at the Smithsonian American Art Museum.
article_snippet.sent: Not only did the work pay off financially, but the photographers working with Magnum in the '50s also established relationships with members of the industry, Jacob, now the McEvoy Family Curator for Photography at the Smithsonian American Art Museum said.
article_snippet.sent: And the stars and directors knew what they were getting: some of the best in the field.
article_snippet.sent: There's a striking picture of Orson Welles in 1949's "The Third Man," hemmed in by the darkness in a way that suggests the shadowy themes of the classic film.
article_snippet.sent: Another, of Gregory Peck and Chuck Connors in 1958's "The Big Country," is as dramatic as any full-scale movie duel.
article_snippet.sent: (Westerns were a specialty.)