Archie Stout

From an early age, Archie Stout knew he wanted to travel, and so he sought work that catered to this desires.

He worked in hotel management in Japan and Honolulu, and in 1909, he was chosen to be "secretary to the commission in charge of the Hawaiian exhibit at the American Yukon Expedition".

[2] However, the state law in California required that a representative of the fish and game committee be present at all times when handling the pelican.

[2] However, several days after the scene with the pelican, Stout continued to observe and speak to Mack Sennett and his lead cameraman, Fred Jackman, throughout the rest of the shoot.

[2] Bert Glennon, Cecil B. DeMille's cameraman, allowed Archie to do experimental shots with his Akeley camera with a 17-inch telephoto lens.

[3][6] Stout eventually became a part of director John Ford's camera crew, working on Fort Apache (1948), She Wore a Yellow Ribbon (1949), Rio Grande (1950), Wagon Master (1950) and The Quiet Man (1952).

[2] Unfortunately, The High and the Mighty (Wellman, 1954) would be Stout's last film as a heart attack in 1955 would prevent him from returning to filmmaking before his death in 1973.

[3] Archie Stout was nominated and won his only Academy Award in 1952, for Best Color Cinematography, with Winton C. Hoch for their work on John Ford's The Quiet Man.

[3] During World War II, Archie's son, Junius Job Stout, at the age of 31 enlisted with the U.S. Navy to be a photographer's mate, first class.

[2] While this assessment is not proven, it is undeniable that Stout's exterior shots and Westerns will surely continue to impact the way filmmakers tell stories, specifically ones located in the great outdoors.