History
GUIDELINES FOR PORTRAYAL OF A.F.P.U. CAMERAMEN
The following guidelines are intended to help anyone wishing to portray an A.F.P.U. cameraman within a World War Two living history context; because you owe it to these guys to get it right.General
Unlike the official War Correspondents, A.F.P.U. personnel were recruited from the ranks of the British army and thus not civilians but trained soldiers. Therefore, they were trained and skilled in field craft and equipped much as their infantry counterparts. Upon graduating from their training at Pinewood they attained the rank of Sergeant.
Cameramen were generally assigned to units in pairs, one ‘stills’ and one ‘cine’, and were party to ‘O’ group meetings and other discussions amongst officers as part of their briefing on what to expect. Whilst on attachment to a particular unit they were relatively free to cover the units activities as they saw fit.
Cameras
One of the most challenging aspects is both acquiring the correct type of camera and then getting used to using a camera that is entirely manual and has no light meter. Therefore, shutter speed and aperture must be judged to suit the light conditions. For stills use we would recommend either a Super Ikonta 532/16 or 531/2 and these should have the black surround to the lens and not the post war chrome surround.
Getting hold of a suitable working cine camera is a little more challenging, as 35mm versions of the De Vry and Bell & Howell Eyemo are rare and expensive.
Insignia
The only insignia worn by the A.F.P.U. was the shoulder flash and was worn in the same location as the Divisional or formation badges.
The flashes that we wear are reproductions based upon an example held by the Imperial War Museum and reproduced by the company in London that made the originals over 50 years earlier.
With the shoulder flash as the only form of insignia, A.F.P.U. personnel retained the badge of their former regiment on their headgear, be it GS cap, beret or Glengarry etc.
Uniform
In terms of uniform, A.F.P.U. cameramen wore the same standard issue 37 or 40 pattern BD (Battle-Dress) as the infantryman. Light combat order usually comprised waist belt, holster and ammunition pouch. Full combat order would resemble that of the standard infantryman; i.e. 37 pattern basic pouches, water bottle & carrier, entrenching tool & carrier and gas mask & case. Because of their increased film load (up to ten rolls of 100ft film) we have reason to believe that on occasions instead of the small pack (Webbing Haversack) they carried the Bergen (as carried by the Commandos) to provide greater capacity.
Equipment
As noted previously A.F.P.U. cameramen were armed with a .38 calibre Webley Mark IV revolver which was carried in the later shorter drop version of the 37 pattern RAC holster issued to armoured forces personnel (i.e. with external ammunition loops and sleeve for cleaning rod).
Headgear
The A.F.P.U. cameramen were equipped with the RAC Mark I (Royal Armoured Corps Pattern Steel Helmet) helmet, as issued to armoured fighting vehicle crews. The helmet had the same manganese steel shell as the airborne helmet and the Mark I despatch riders helmet. The difference being that the RAC 1 had the same liners as the standard infantry Mark I and Mark II steel helmet plus the chin strap was a simpler elasticated band.
Paperwork
The most important piece of paperwork carried by all A.F.P.U. cameramen post D Day was their special SHAEF (Supreme Headquarters Allied Expeditionary Force) War Photographers pass, which had a copy of Eisenhower’s signature and instructions that "He will not be interfered with in the performance of his duty by the Military Police or any other Military organisation".
Jeff and I both have reproductions of these based upon an original held by the Imperial War Museum in London.
In addition each cameraman, either 'cine' or 'stills' carried an A5 format pad of 'Dope Sheets' usually contained within a 'Cover for Army Book 153'. This fits comfortably in the left leg patch pocket of the BD trousers; and was used to record the details of the scenes shot. As these were attached to the exposed film for shipping back to Kays in London for processing, they were the only way of informing Pinewood what the subject matter was. A large collection of these is now held by the Film Archive department of the Imperial War Museum in London.