
Overshadowed by the work of 1920s Paramount colleagues Donald Biddle Keyes and Eugene Robert Richee, stillsman George P. Hommel crafted thoughtful portraits highlighting both the beauty and sorrow of those he photographed. Like Keyes, the peripatetic Hommel always looked for new challenges, new opportunities, keeping him on the move. Unobstrusive and elegant, Hommel’s work reveals hidden depths in those he shot.
Little is known about his early life. Born George Peter Hommel in New York City, May 8, 1901, Hommel turned to photography at a young age. Trades list him as an assistant cameraman working with Edwin Carewe in 1919. At the time, Pathe director Carewe had established his own unit to produce “The Girl of the Moulin Rouge” with Dolores Cassinelli in Europe. Young Hommel gained early film experience serving as an assistant cameraman, studying the importance of lighting, angles, and setting a mood.
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