Gee. I think I first got interested in photography when I was traveling
with the Marine Corps here and there. I couldn't afford a decent camera.
My wife gave me a camera that her family had had, and I carried it
around with me until it literally fell apart. It fell into pieces one
day while I was aboard a ship. I knew that it couldn't be fixed. I knew
that I couldn't afford to have it fixed. So, I took the film out of it
and dumped it in the ocean. But I still had the interest.
When I was in school—. When I came back from the Marine Corps and my wife
and I decided it would be a good idea for me to finish college. I had
completed one year before going in. We had one child by then, and we
literally couldn't find a place to live in Chapel Hill because this
place was flooded with Korean War veterans. We couldn't find housing.
So, I decided to move to Greensboro and go to Guilford College for a
quarter. They were on a quarter system then. And so I did. We did. While
I was in Greensboro, I really got the photo bug. I managed to buy a
little camera. It was really a hard camera mechanically but it had very
good optics. I went to the Greensboro Library and I read every book they
had—which was a lot—I read every book and magazine that they had on the
subject. When I got to Chapel Hill, I didn't have quite as much time
when I was here because I had three part-time jobs. But I continued my
interest in photography and read the stuff at the library every chance I
got.
So when I finished school and went to work for McGraw-Hill Publishing
Company as a magazine writer, I had an incredible amount of head
knowledge. I just didn't have a camera that was a professional level
camera. So one day I had an assignment out in New Jersey. I don't
remember exactly what the assignment was. I said to my editor, "Look, I
know the magazine owns a really nice [unknown] camera. I
want you to
Page 3 give me some film and the camera and let
me see whether I can illustrate this story. Then you won't have to hire
a photographer to go out and do the pictures. If my pictures stink, then
all you've lost is the cost of a roll of film." He said, "Well, sure."
So, I went out there with all this head knowledge and no experience and
shot that assignment. The pictures—they were not wonderful—but they were
useable. So, the magazine used them. From then on, I illustrated all my
own stuff almost always.
Then, a year later when I left New York and was transferred to Atlanta to
work for the same company in their news bureau, we were their eyes and
ears—we were McGraw-Hill magazines's eyes and ears in the Southeast. We
covered seven states, I think it was. I bought some photographic gear of
my own and started shooting all of my own stuff. I was very popular with
the editor because my writing was fine but.the fact that they didn't
have to hire a photographer to go with me everywhere I went was very
appealing to the editor of these magazines because every three or four
hundred dollars you can save is three or four hundred dollars profit.
So, I got a lot of experience during that five years in Atlanta and one
year in New York.
So, in '64, when I moved here to Chapel Hill from Atlanta, I said to
George Esser, when I came up for an interview, "One of the things that
I'm interested in doing should you hire me or should I want to be
hired—if we're able to make a deal. One of the things I am really
interested in doing is some documentary photography of what are the
problems and what is this organization trying to do about them. So, as I
told you earlier, George fully agreed that I would be able to do that
and that I would be able to do that on the North Carolina Fund's nickel.
Now, they never bought me any equipment. I did buy with my budget a
camera for some members of my staff to use when they were going
Page 4 places that I didn't have time to go. But, I used
all my own equipment during that time. George Esser never complained
about the time or the money I spent for film and lab work and all that.
He not only never complained, he highly approved of the fact that I was
building a photo library. We had journalists come in early in the quote
War on Poverty years. We had journalists come in especially from places
on the East Coast. We had a guy come in from the Wall
Street Journal. The Ford Foundation frequently sent journalists
down to—. Because we were their grantee, they sent journalists down to
see what was going on in the War on Poverty in North Carolina. We got a
lot of attention from the Charlotte newspapers because their editor was
on our board, a guy named Pete McKnight. When they would come to do a
piece, I would always have more photography in the file than they
needed. [Barnes points to a folder of newspaper clippings on the North
Carolina Fund.] If you look through these clippings and my personal
library of Fund stuff in the Southern Historical Collection, you'll see
that those pictures used over and over again. I won't say because they
were magnificent pictures. Part of it was because they were there. They
were there, and they did the job that was needed by publications. So,
they came to be published very widely during that period.
I think I told you about the guy from the Library of Congress [who]
called me. By the way, I remembered—. The last time we talked, we talked
about—. I told you what amuses me about what a big deal I—. It didn't
make me feel like a big deal. Really, it made me feel very humble to be
included when the Smithsonian put together an exhibit on the War on
Poverty. They used one or two or three of my photographs. They printed a
little guide to the exhibit. They printed zillions of them and sent me
half a dozen. My
Page 5 name was right under Margaret
Bourke-White who is one of the half dozen most famous American
photographers in all of history. Because the photographers were listed
alphabetically, my name came just
before Margaret
Bourke-White's, which tickled me and made me feel very humble to be in
such company. And a guy from the Library of Congress called and asked
whether I would send a selection of my photographs for possible
inclusion in a permanent portfolio. So, I kept shooting and amassed this
incredible 30 to 40,000 [unknown] bunch of photographs
which are now in the North Carolina Collection.
Since the Fund went out of business, I have sold those photographs—which
are now copyrighted in my name—from time to time but the older they get
the more in demand they seem to be. Actually, the first ten or fifteen
years, there really was very little interest in them. I think that was
partly because the media was so focused on the Vietnam War. The War on
Poverty was ancient history, and something that went out of vogue when
Lyndon Johnson said he wasn't going to run again. So, that's a long
answer to the way I kind of metamorphosed into having photography be
just as important to me both income-wise and aesthetic-wise as writing
was. Actually, I was first hired out of college as a magazine writer.
I've done an enormous amount of writing since then, some of which went
along with my photography and some of which didn't. I've done a good bit
of photography that didn't go with a story I had written. But, probably
half of the time, it was a package of photographs and words.