So I went to Chicago in 1940, I think, '41, and the photographs that I made there, aside from fashion, were things that I was trying to express in a social conscious way.
The photographer begins to feel big and bloated and so big he can't walk through one of these doors because he gets a good byline; he gets notices all over the world and so forth; but they're really - the important people are the people he photographs.
And I think that after nearly 85 years upon this planet that I have a right after working so hard at showing the desolation and the poverty, to show something beautiful for somebody as well.
At first I wasn't sure that I had the talent, but I did know I had a fear of failure, and that fear compelled me to fight off anything that might abet it.
There's another horizon out there, one more horizon that you have to make for yourself and let other people discover it, and someone else will take it further on, you know.
But I was very disappointed that I didn't get a chance to go overseas with that group, might not have gotten back but I wanted very much to go because there's not much of a record of the exploits of the first Negro fighter group.
I've been with Life now for seventeen years and I have written several articles for them and will be doing more writing and do at least two assignments a year besides my writing.
I was there less than a year before I was assigned to the Paris bureau. I spent two years there and, in fact, before I even went on the staff I was sent to Europe to do assignments which they wouldn't normally do for a young photographer just starting out.
