{"id":107491,"date":"2017-08-09T09:29:49","date_gmt":"2017-08-09T08:29:49","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=107491"},"modified":"2017-08-09T09:30:38","modified_gmt":"2017-08-09T08:30:38","slug":"fighting-for-rights-steve-schapiro-interview","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/fighting-for-rights-steve-schapiro-interview\/","title":{"rendered":"Fighting for rights: Steve Schapiro"},"content":{"rendered":"

Steve Schapiro picked up his first camera when he was nine years old. It was a 127 Kodak, and he was at summer camp. However, what influenced his career most was Henri Cartier-Bresson\u2019s Decisive Moment<\/em>. He explains, \u2018I would go out and try to photograph that way \u2013 capturing the exact moment that was the height of action or emotion.\u2019<\/p>\n\t\t

\n\t\t\t\"Steve\t\t\t

Ralph Abernathy (rear) and Dr Martin Luther King (centre) lead the way on the road to Montgomery, Alabama, 1965<\/p>\n\t\t<\/div>\n\t\t\n

From these beginnings, Steve went on to study with the legendary US photojournalist W Eugene Smith. He recalls, \u2018I stayed with Eugene Smith in 1961 and he really taught you how to make prints in terms of getting intense blacks and intense whites. Sometimes he used up to 250 sheets of paper to make one master print.\u2019<\/p>\n

Printing wasn\u2019t the only thing he mastered from working with Eugene Smith. \u2018I also learned a feeling for humanity from him, as well as tricks of the trade \u2013 for example, a picture works best if there are two points of interest in it. So it won\u2019t be just a portrait of someone \u2013 there will be something else that reveals more about them, and your eye will go back and forth between the two. It becomes a more satisfying experience and you stay with the photograph longer.\u2019<\/p>\n

Unsurprisingly, given his tutelage under a photographer such as Eugene Smith, Steve developed an ongoing interest in journalistic photography. He reveals, \u2018As I was growing up, the most important magazine you could be a photographer for was Life<\/em>. I did my own projects \u2013 I went to Arkansas on my own and did a story on migrant workers there.\u2019 That story was picked up and published, without a fee, by a small Catholic magazine called Jubilee<\/em> and subsequently The New York Times Magazine<\/em>.<\/p>\n

Steve admits, \u2018I would just keep going to Life<\/em>. I did a story on narcotics addiction in East Harlem and took it to them. Finally, they gave me an assignment, and I started working regularly for them.\u2019<\/p>\n\t\t

\n\t\t\t\"Steve\t\t\t

Steve Schapiro pictured while travelling with Robert Kennedy in 1966<\/p>\n\t\t<\/div>\n\t\t\n

The civil rights movement<\/h2>\n

Steve\u2019s rise to prominence as a photojournalist came through his coverage of the US civil rights movement. It started with a 1962 essay by James Baldwin, which appeared in The New Yorker<\/em> and went on to become the book The Fire Next Time<\/em>.<\/p>\n

\u2018I read the essay and I was taken by it and taken by Baldwin,\u2019 Steve recalls. \u2018I asked Life<\/em> if I could do an essay on him, which they and he agreed to. The next month, I travelled with him from Harlem to Durham, North Carolina, then on to Mississippi and New Orleans.<\/p>\n

In the course of it, I met a lot of civil rights leaders and also became much more involved in photographing civil rights.\u2019 Between 1963 and 1968, he continued to photograph the movement, including riots in Brooklyn, the march on Washington and, in particular, the Selma to Montgomery marches. He also frequently photographed the figurehead of the civil rights movement, Dr Martin Luther King.<\/p>\n

\u2018When Dr King was shot, I was in New York, and Life<\/em> had me fly immediately to Memphis,\u2019 Steve explains. \u2018When I got there, I found out the shots had been fired from a rooming house, so I went there \u2013 and there was really no security whatsoever. The shots were fired from a second-floor bathroom, where the assailant stood in the bathtub and levelled his gun on the windowsill. I saw a dirty handprint on the wall that could only have been made by someone standing in the bathtub. I photographed it and Life<\/em> used it over a full page the following week.\u2019<\/p>\n

After this, Steve went to the room at the Lorraine Motel where King had been staying. \u2018I saw his attach\u00e9 case,\u2019 he says. \u2018Inside were his books and hairspray, and a magazine called Soul Force<\/em>. There were worn shirts and old Styrofoam cups lying around. Then his image came on the television behind an announcer, and I photographed this all together. It became symbolic to me, in the sense that the physical man was gone forever, his material things remained, and yet he still hovered above us.\u2019<\/p>\n\t\t

\n\t\t\t\"Steve\t\t\t

Dr Martin Luther King’s room in the Lorraine Motel, Memphis, after he was shot<\/p>\n\t\t<\/div>\n\t\t\n

The haunting shot of Dr King\u2019s empty motel room and more than 100 other images by Steve Schapiro feature in the revised edition of The Fire Next Time<\/em>. For the book, Steve went through his contact sheets and uncovered some previously unpublished photographs. \u2018I found four or five pictures that are particularly good and which had somehow escaped everyone\u2019s attention. Even the picture of Martin Luther King\u2019s motel room had never been clipped [on the contact sheet] by Life<\/em> to be printed.\u2019<\/p>\n

Of Dr King, he notes, \u2018In a lot of pictures I see him looking into the crowd \u2013 I mean, he had so many death threats and here he was, this incredible leader who really inspired and was important to so many people… yet I find his eyes searching the crowd, and I can only think that all these death threats were in the back of his mind. There was just something in his eyes that was continuous in a lot of the pictures.\u2019<\/p>\n

With regards to his best image from this time, Steve says, \u2018The picture that probably is the most successful is of Dr King with the American flag right behind him. It\u2019s symbolic. When you photograph someone, if there\u2019s another element, it makes it a better picture. If there\u2019s something that confirms who that person is in some way, it becomes interesting. As a photographer, you want as much as possible to tell who that person is.\u2019<\/p>\n

Steve admits that he never actually spoke to Dr King. \u2018Although I did many, many photographs of him, I don\u2019t think I had a conversation with him and, really, I only photographed him in public situations. Usually I work as a \u201cfly on the wall\u201d. I try to be very quiet, so I don\u2019t interfere with who they are. If we\u2019re having a conversation, they\u2019re very aware of me and half the pictures will be of them with their mouth open… it becomes much more important for me to be at a distance.\u2019<\/p>\n\t\t

\n\t\t\t\"Steve\t\t\t

Schapiro barely noticed Dr Martin Luther King in the background when capturing this image of Reverend Ralph Abernathy, Dr King’s best friend and advisor, in Mississipi, 1963<\/p>\n\t\t<\/div>\n\t\t\n

Three-finger cameras<\/h2>\n

In the 1960s, Steve predominantly shot with Nikon S, S2 and S3 range finder cameras. \u2018They were \u201cthree-finger cameras\u201d, which is to say that with my right hand I could focus, take my picture and then advance the film, and with my other hand I could bounce strobe. Bounced strobe allowed you to do a picture that kept the whole feeling of the scene; you were aware of what was being photographed but you weren\u2019t aware of a photographer taking the picture. I just got in the tradition of that [working one-handed] and probably have used every kind of Nikon camera as they developed into single lens reflexes. Right now, I use a D800E.\u2019<\/p>\n

He often carried five or six cameras at one time loaded with either Kodachrome or Ektachrome 64 colour films or his \u2018go-to\u2019 Tri-X black & white film. Each camera would have a different lens attached, including a 24mm, a 35mm, a 105mm as \u2018an ideal portrait lens\u2019 on two of the cameras and then a 180mm long lens on another.<\/p>\n

Steve explains, \u2018When you\u2019re working at a documentary event, there\u2019s really no time to change lenses. If you\u2019re working in a situation that\u2019s a very wideangle scene, and there\u2019s something happening in it, you don\u2019t have time to change lens when you suddenly see that there\u2019s a close-up moment or when you want to get a very tight shot of someone. So you really have to have that extra camera.\u2019<\/p>\n\t\t

\n\t\t\t\"Steve\t\t\t

A court order allowed only 300 people to march to Montgomery. President Lyndon B Johnson provided security for the five-day march in 1965, which included 2,000 army troops and 1,000 military police<\/p>\n\t\t<\/div>\n\t\t\n

He adds, \u2018At the end of every day, your film would go on American Airlines baggage to Life<\/em>. They would get it in the morning, and they would process the film and edit it immediately. Because you were travelling, you really never saw your contact sheets before they had made all their choices for what would go in the magazine.\u2019<\/p>\n

When asked if he found it difficult to detach himself emotionally from certain situations, Steve replies, \u2018If you\u2019re a journalist, you feel you really have to concentrate. It\u2019s funny, but very often if I\u2019m on the street and there\u2019s someone I want to photograph, I become very shy. But at the same time, if I\u2019m in an event, like the Selma march, I have no apprehension about photographing everything and trying very hard to find good pictures out of it.\u2019<\/p>\n

He goes on to recall, \u2018You never really realised the signifiance of what you were photographing. You might shoot six or seven rolls of film at an event such as the Selma march, and you were never sure what everyone would then decide was an important photograph. You didn\u2019t think what you were doing was part of history… you thought you were simply photographing a news event. I didn\u2019t realise when I first photographed Dr King that he was one of the most important people that would ever come out of this movement and period of history.\u2019<\/p>\n\t\t

\n\t\t\t\"Steve\t\t\t

A standoff between protestors and Alabama state troopers before the third Selma march<\/p>\n\t\t<\/div>\n\t\t\n

\n\"The\n

Steve Schapiro\u2019s work has been on the covers of major magazines such as Life<\/em>, Vanity Fair<\/em>, Sports Illustrated<\/em> and Time<\/em>. Visit www.steveschapiro.com<\/a>.<\/p>\n\n

The Fire Next Time<\/em> was originally published in 1963 but is now available in a revised edition published by Taschen (ISBN 978-3-8365-5103-8) in a limited edition of 1,963 copies, with an RRP of \u00a3175.<\/p>\n","protected":false},"excerpt":{"rendered":"

In his 55-year career, Steve Schapiro has witnessed many key events in modern US history, and made some of the most enduring images of the civil rights movement. Steve Fairclough finds out more<\/p>\n","protected":false},"author":323,"featured_media":107503,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[374],"tags":[484],"product-category":[],"class_list":["post-107491","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-homepage"],"yoast_head":"\nFighting for rights: Steve Schapiro - Amateur Photographer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/fighting-for-rights-steve-schapiro-interview\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fighting for rights: Steve Schapiro\" \/>\n<meta property=\"og:description\" content=\"In his 55-year career, Steve Schapiro has witnessed many key events in modern US history, and made some of the most enduring images of the civil rights movement. 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