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Don West

Photographer Don West was born November 15, 1937 in Boston, Massachusetts, to Elise and Claude West. West attended Brookline High School, graduating in 1955, before going on to study math at Morgan State University in Baltimore, Maryland. In the 1960s, West studied with Maharishi Mahesh Yogi, and was a professional bass guitarist. He taught transcendental meditation in Detroit, Michigan throughout the 1970s.

In the early 1980s, West became a staff photographer for the Bay State Banner in Boston, Massachusetts, documenting the movements, struggles, and successes of Boston’s African American community. During this period, West worked as a press photographer for United Press International. In 1983, West was the official photographer for Melvin King’s “Rainbow Coalition” mayoral campaign. Also in the 1980s, West regularly documented performers, including B. B. King, Whitney Houston, and Diana Ross, at Boston’s Concerts on the Common. In 1990, West served as official photographer for Nelson Mandela during the South African anti-apartheid leader’s visit to Boston on June 23, 1990. The Museum of African American History on Beacon Hill exhibited his work in the exhibit Portraits of Purpose, which was well-received and featured prominent social leaders of Boston’s African American community. West photographed Governor Deval Patrick’s inauguration in 2007; and in 2009, was a Resident Artist in the African American Master Artists-in-Residence Program at Northeastern University in Boston. In 2012, West founded Blackwire News Service, a wire service for people of color worldwide. The Urban League commissioned an updated version of Portraits of Purpose in 2012. Then, in 2014, West co-authored Portraits of Purpose: A Tribute to Leadership with Kenneth J. Cooper.

West is the founder and owner of Don West Photography. His editorial and documentary work has taken him all over the world, including to Spain, China, Paris, Jerusalem, and the Caribbean. Prominent subjects photographed by West have included Alice Walker, Angela Davis, J. Keith Motley, and President Barack Obama during his 2012 campaign trail in the Northeast. West is a member of numerous organizations, including: National Press Photographers, Boston Press Photographers and National Association of Black Journalists. He has received multiple awards for his contributions in photojournalism, particularly for the City of Boston.

Don West was interviewed by The HistoryMakers on October 19, 2016.

Accession Number

A2016.078

Sex

Male

Interview Date

10/22/2016

Last Name

West

Maker Category
Schools

Edward Devotion Elementary School

Brookline High School

Morgan State University

First Name

Don

Birth City, State, Country

Boston

HM ID

WES09

Favorite Season

Spring

State

Massachusetts

Favorite Vacation Destination

None

Favorite Quote

Do It Now.

Bio Photo
Speakers Bureau Region State

Massachusetts

Birth Date

11/15/1937

Birth Place Term
Speakers Bureau Region City

Boston

Country

United States

Favorite Food

Sushi

Short Description

Photographer Don West (1937- ) documented Boston’s African American community for over thirty years.

Employment

Fotografiks

Sickle Cell Anemia

Transcendental Meditation

Various Endeavors

Favorite Color

Blue

Timing Pairs
0,0:4161,131:7022,209:7352,215:7682,221:7946,226:18301,425:26463,553:31330,589:32230,603:33130,614:39220,794:45396,849:62210,1118:62900,1129:90420,1582:93842,1635:101908,1794:114490,1932:129269,2140:129664,2146:138527,2262:139537,2274:142668,2313:156412,2448:169508,2631:169898,2637:172472,2696:173018,2704:180924,2806:184929,2944:211256,3298:213570,3378:217753,3420:243000,3737$0,0:11630,223:12730,229:13720,283:25675,483:38230,644:38995,654:49344,745:50174,757:56243,863:58401,976:65110,1042:65913,1055:68896,1093:83384,1300:93898,1436:98624,1523:129820,1966:133804,2042:144040,2165:153965,2470:177828,2831:196750,3028
DAStories

Tape: 1 Story: 1 - Slating of Don West's interview

Tape: 1 Story: 2 - Don West lists his favorites

Tape: 1 Story: 3 - Don West describes his mother's family background

Tape: 1 Story: 4 - Don West talks about his paternal family's move to Boston, Massachusetts

Tape: 1 Story: 5 - Don West describes his father's career

Tape: 1 Story: 6 - Don West talks about his father's siblings

Tape: 1 Story: 7 - Don West talks about his mother's racial identity

Tape: 1 Story: 8 - Don West reflects upon his family's experiences of racial passing

Tape: 1 Story: 9 - Don West describes his likeness to his father

Tape: 1 Story: 10 - Don West remembers his relationship with his parents

Tape: 1 Story: 11 - Don West describes his family's house in Brookline, Massachusetts

Tape: 1 Story: 12 - Don West describes his community in Brookline, Massachusetts

Tape: 2 Story: 1 - Don West talks about William Dawes' ride through Brookline, Massachusetts in 1775

Tape: 2 Story: 2 - Don West remembers his early experiences of social exclusion

Tape: 2 Story: 3 - Don West talks about the Wampanoag community in Mashpee, Massachusetts

Tape: 2 Story: 4 - Don West remembers his childhood activities

Tape: 2 Story: 5 - Don West remembers the Coolidge Corner Theatre in Brookline, Massachusetts

Tape: 2 Story: 6 - Don West remembers rebelling against his parents

Tape: 2 Story: 7 - Don West describes his experiences of segregation in Massachusetts

Tape: 2 Story: 8 - Don West recalls his high school art instruction

Tape: 2 Story: 9 - Don West talks about his paternal uncle's career as a lawyer

Tape: 2 Story: 10 - Don West remembers the Boston Braves, pt. 1

Tape: 3 Story: 1 - Don West remembers the Boston Braves, pt. 2

Tape: 3 Story: 2 - Don West recalls his experiences at Morgan College in Baltimore, Maryland

Tape: 3 Story: 3 - Don West remembers working at the post office in Boston, Massachusetts

Tape: 3 Story: 4 - Don West talks about his Boston accent

Tape: 3 Story: 5 - Don West remembers reconnecting with a college classmate

Tape: 3 Story: 6 - Don West recalls opening the Folklore Center in Cambridge, Massachusetts

Tape: 3 Story: 7 - Don West describes the guitar technique of Reverend Gary Davis

Tape: 3 Story: 8 - Don West remembers the folk music scene of the 1960s

Tape: 3 Story: 9 - Don West talks about the blues musician Taj Mahal

Tape: 3 Story: 10 - Don West describes the development of his artistic interests

Tape: 3 Story: 11 - Don West remembers his early experiences of religion

Tape: 3 Story: 12 - Don West reflects upon his early experiences of social isolation, pt. 1

Tape: 4 Story: 1 - Don West reflects upon his early experiences of social isolation, pt. 2

Tape: 4 Story: 2 - Don West remembers his introduction to transcendental meditation

Tape: 4 Story: 3 - Don West remembers becoming a transcendental meditation teacher

Tape: 4 Story: 4 - Don West talks about the need for transcendental meditation in the African American community

Tape: 4 Story: 5 - Don West describes his experiences as a transcendental meditation teacher in Detroit, Michigan

Tape: 4 Story: 6 - Don West talks about the changes in the transcendental meditation movement

Tape: 4 Story: 7 - Don West remembers teaching transcendental meditation at San Quentin State Prison

Tape: 4 Story: 8 - Don West talks about his work with sickle cell programs

Tape: 4 Story: 9 - Don West recalls his start as a freelance photographer

Tape: 5 Story: 1 - Don West talks about becoming a professional photographer

Tape: 5 Story: 2 - Don West talks about developing his photography skills

Tape: 5 Story: 3 - Don West describes the Portraits of Purpose exhibit

Tape: 5 Story: 4 - Don West talks about his book, 'Portraits of Purpose: A Tribute to Leadership'

Tape: 5 Story: 5 - Don West recalls documenting Nelson Mandela's tour of Boston, Massachusetts

Tape: 5 Story: 6 - Don West talks about his international travels

Tape: 5 Story: 7 - Don West remembers photographing Massachusetts Governor Deval L. Patrick's inauguration

Tape: 5 Story: 8 - Don West talks about his early camera equipment

Tape: 5 Story: 9 - Don West talks about amateur photography

Tape: 6 Story: 1 - Don West describes his photographic process, pt. 1

Tape: 6 Story: 2 - Don West talks about the skills of a professional photographer

Tape: 6 Story: 3 - Don West remembers his transition to digital photography

Tape: 6 Story: 4 - Don West talks about his plans for his career

Tape: 6 Story: 5 - Don West talks about the photography of Sebastiao Salgado

Tape: 6 Story: 6 - Don West describes his philosophy of photography

Tape: 6 Story: 7 - Don West talks about the advancements in digital photography

Tape: 6 Story: 8 - Don West talks the African American Master Artists in Residence Program at Northeastern University

Tape: 6 Story: 9 - Don West talks about the history of African American photography

Tape: 6 Story: 10 - Don West talks about his family

Tape: 6 Story: 11 - Don West reflects upon his legacy and how would he like to be remembered

Tape: 6 Story: 12 - Don West narrates his photographs

DASession

1$1

DATape

2$5

DAStory

4$7

DATitle
Don West remembers his childhood activities
Don West remembers photographing Massachusetts Governor Deval L. Patrick's inauguration
Transcript
Mashpee [Massachusetts] was a place that they used to vacation in the summertime. My father [Claude West] would have two or three weeks' vacation.$$Okay and thi- (simultaneous)--$$(Simultaneous) And it was a place where they could buy land and buy property, and so he bought property down there, and that was his getaway. He fixed up, you know, an old house that was there, and I used to help him do that. I learned a lot from my father though, in the sense of carpentry, bricklaying--I mean all kinds of--he could do it all, you know. He graduated from Hampton Uni- Hampton Institute when it was a vocational school [Hampton Normal and Agricultural Institute; Hampton University, Hampton, Virginia] around the turn of the 20th century. So, he graduated as a brick mason. And what he was good at was building chimneys. So, when my uncle, the lawyer, they both--the two of them were the ones who were really interested in Mashpee. And they built a house for my uncle, my--William [William West], and my father built the chimney. So, I learned how to--I was--I could brick lay, I could do carpentry, I could do electrical work. I could do--because he could do all that stuff. So I learned a lot from him on that side of the--we worked together on--I mean he shared that with me. So, you know, to go to back to what I said before about how we were distant; well, he did connect, we did connect in that area. So he had a house down there, and we would go down there. And I think I was coming to that around the kind of isolation that I experienced. Even though I had the friends around, there was still--I was different. I still had--you know, I knew what color my skin was and what color their skin was, but I didn't pay it a lot of attention. But I knew it was different--that's about, probably the extent of that. So, that made me some degree--you know, because my whole environment is white and I'm brown, I had a natural outlaw feeling, so to speak, if you--? But then going to the Cape [Cape Cod, Massachusetts] and my being an only child, there was nothing, there was nobody for me to really relate to in those two or three weeks, other than I'd helping my father do whatever he was doing. And so that was--so I had a general isolation in growing up, which made me do for myself--you know, create projects on my own and create my own world often. One of the things I did, probably I was nine or ten, eleven years old, I was interested in radio, because TV was just coming along in those days. But radio--and I created a radio station in my room, and I hooked it up by wire to the kitchen, and I used to do radio programs for my mother [Elise Thurston West] while she was cooking dinner. I would do--and the radio show I would do would be kind of a disc jockey show. I would have music and then a little banter. So, I had a record player and I had the microphone. I had a whole little setup in my room.$$So, did you like a Heathkit thing, or what was it (simultaneous)?$$(Simultaneous) Well, it wasn't a--no, it wasn't a Heathkit. But it was just an amplifier, you know, that I bought. And the microphone, set that up to that and hooked the record player into the amplifier and ran the wires downstairs. So, that was sort of the beginning of my interest in media. I also used to draw a lot in my years of, let's say six to twelve years, thirteen years old. Because when I went into high school [Brookline High School, Brookline, Massachusetts], I thought I was going to be an illustrator. I wanted to a cartoonist or something like that, so I had a graphic sense, which I think then served me well as, when I finally became a photographer. I always had that sense of vision and applying it in some way.$One of the most famous photographs, or the one that, that I--when I was reading about you and people talked about the most, was the picture of Deval Patrick [HistoryMaker Deval L. Patrick] when--with the hands on him. You know, describe that (simultaneous)?$$(Simultaneous) Right. Well, that was the night before his inauguration to be the first African American governor in Massachusetts. And he went to a local church [Old South Meeting House, Boston, Massachusetts] for a very traditional ceremony, where many different pastors from around the community come together in a moment and place their hands on him to bless him and to give him spiritual powers and support going forward into the job that he's about to do. And there were many, hundreds of people in this big church that night. And this was up on a stage, and he was standing there. And all of these ministers up--eight or nine or ten of them were around him. And so all of the photographers--I mean there were seven, eight, nine, ten photographers there, and we were all jostling for position and so forth. And there are pictures from that moment where some photographer just got this broad shot. But I felt to get right in tight. And this picture of Deval is a tight shot, right up in his face, and you can see a hand on his shoulder and you can see a cross on the garment of one of the ministers right next to him, and another minister behind--so, it's a very intimate shot. And his eyes were closed, feeling the spirit. So, it was the hands on spirit piece that that picture was about. He then, in his inauguration the next day another unique picture that I don't know how many might have. But he did his inauguration al fresco, outside the front of the state house [Massachusetts State House] in Boston [Massachusetts], which nobody had ever done before. And they had this huge stage set up in front of the--and all the elected officials, everybody you can imagine, you know, in the political life was up on that stage. And I was on a press riser across the street, and I got this wide angle picture that has the state house up (gesture). And the interesting thing is when he was called to speak, it had been rainy--not rainy, but gray and overcast the whole morning, and a little chilly. When he came up to speak the sun came out--literally. I mean, it was just amazing (laughter). And I got that shot, you know. You can see the clouds kind of breaking, and the blue of the sky a little bit, and the light, you know, off the dome, the golden dome, and all of this wide stretch of stage and him speaking. So, that was my wide shot, and then I got a lot of close ups, you know, with the swearing in and all of that. But it was a very unique experience. And that's what I really cherished about being a photographer, is to be at events like that, to be where history is being made, and it's been good.$$Yeah, it places you right in the center of it. Yeah (simultaneous).$$(Simultaneous) Yeah, yeah, and being around those history makers.

Michel du Cille

Photojournalist Michel du Cille was born in 1956 in Kingston, Jamaica. His initial interest in photography is credited to his father, a pastor-minister, who worked as a newspaper reporter both in Jamaica and in the United States. Du Cille began his career in photojournalism while in high school working at The Gainesville (GA) Times. In 1985, he received his B.S. degree in journalism from Indiana University. Du Cille also received his M.S. degree in journalism from Ohio University in 1994.

While studying at Indiana University, du Cille was a photographer and picture editor at the Indiana Daily Student. He then worked as an intern at The Louisville Courier Journal/Times in 1979 and at The Miami Herald in 1980. Du Cille joined The Miami Herald's photography staff in 1981. In 1988, he was hired as a picture editor for The Washington Post. In 2005, du Cille became associate editor, and was named assistant managing editor of photography in 2007. Then, in 2009, when The Washington Post newsroom was re-organized and combined with washingtonpost.com, du Cille's title went from assistant managing editor of photography to director of photography. In 2012, he again became an associate editor for photography.

Du Cille has won three Pulitzer Prizes. He shared the 1986 Pulitzer Prize for Spot News Photography with fellow Miami Herald staff photographer, Carol Guzy, for their coverage of the November 1985 eruption of Colombia's Nevado del Ruiz volcano. Du Cille won the 1988 Feature Photography Pulitzer for a photo essay on crack cocaine addicts in a Miami housing project. In 2008, he shared the Pulitzer Prize for Public Service with Washington Post reporters, Dana Priest and Anne Hull, for exposing mistreatment of wounded veterans at Walter Reed Army Medical Center. In addition, du Cille led a team of editors that assembled the photographs shot by Nikki Kahn, Carol Guzy, and Ricky Carioti into the essay that won the 2011 Pulitzer Prize for Breaking News photography for their coverage of the Haitian earthquake and its aftermath.

Du Cille has been active in the National Press Photographers Association (NPPF) in various committee and leadership roles, including serving as the executive committee board representative in 2000, as well as on the organization's finance committee in the early 2000s. Du Cille served on the Pulitzer Prize jury in the photography categories, and as a University of Missouri School of Journalism Pictures of the Year International judge.

Du Cille passed away on December 11, 2014 at the age of 58. He was married to Washington Post photojournalist Nikki Khan, also a Pulitzer Prize winner.

Michel du Cille was interviewed by The HistoryMakers on January 27, 2014.

Accession Number

A2014.006

Sex

Male

Interview Date

1/27/2014

Last Name

duCille

Maker Category
Marital Status

Married

Middle Name

Everard

Occupation
Schools

Gainesville High School

Indiana University

Ohio University

Valdosta State University

Indiana University Southeast

Search Occupation Category
First Name

Michel

Birth City, State, Country

Kingston

HM ID

DUC01

Favorite Season

Christmas

Favorite Vacation Destination

Jamaica

Favorite Quote

I’m Just A Regular Guy.

Bio Photo
Speakers Bureau Region State

District of Columbia

Birth Date

1/24/1956

Birth Place Term
Speakers Bureau Region City

Washington

Country

Jamaica

Favorite Food

Jamaican Food

Death Date

12/11/2014

Short Description

Photojournalist Michel du Cille (1956 - 2014 ) was the director of photography at The Washington Post and a three-time Pulitzer Prize winner.

Employment

Gainesville Times

Indiana Daily Student

Louisville Courier-Journal

Miami Herald

The Washington Post

Favorite Color

Green

Timing Pairs
0,0:7695,135:8424,169:8991,177:14871,237:16048,251:19579,314:20542,324:22040,366:23110,383:24822,404:30512,471:42443,667:42831,672:43316,679:43801,685:47293,743:48554,759:49136,766:49912,776:50785,788:62060,882:62660,892:63635,910:70110,972:71210,983:74791,1017:76089,1052:76620,1064:76856,1069:77564,1084:77800,1089:81300,1105:84250,1114:89906,1156:92228,1184:92744,1194:93346,1202:96442,1242:96872,1248:104404,1311:104874,1317:116301,1437:116636,1444:127438,1496:129532,1520:131170,1615:133260,1671$0,0:801,12:7298,142:8099,158:9523,174:13085,188:13550,195:17642,266:18386,277:19781,297:20246,303:20618,308:21176,316:22757,332:26291,393:26942,402:29732,521:30383,529:30755,540:31127,545:31499,550:36300,561:36648,566:36996,571:37953,585:39519,605:40737,630:63562,869:64346,878:65032,887:67090,914:69638,950:75243,992:77455,1032:77771,1040:78087,1045:79035,1068:79351,1073:82037,1124:82353,1129:87640,1167:87960,1172:93800,1282:94200,1288:94760,1298:97000,1343:97720,1356:99320,1377:99800,1384:100520,1396:100920,1402:118556,1573:119424,1581:122874,1603:123666,1613:131234,1752:131586,1758:132378,1768:133698,1790:138364,1830:141276,1861:159098,2080:159945,2094:160561,2103:164820,2164:165320,2169:167580,2209
DAStories

Tape: 1 Story: 1 - Slating of Michel du Cille's interview

Tape: 1 Story: 2 - Michel du Cille lists his favorites

Tape: 1 Story: 3 - Michel du Cille describes his mother's family background

Tape: 1 Story: 4 - Michel du Cille talks about his mother's Syrian and Indian ancestry

Tape: 1 Story: 5 - Michel du Cille remembers his mother's chronic illness

Tape: 1 Story: 6 - Michel du Cille describes his father's family background

Tape: 1 Story: 7 - Michel du Cille describes his father's career

Tape: 2 Story: 1 - Michel du Cille remembers his family's immigration to the United States

Tape: 2 Story: 2 - Michel du Cille talks about his parents' elopement

Tape: 2 Story: 3 - Michel du Cille describes his likeness to his parents

Tape: 2 Story: 4 - Michel du Cille lists his siblings

Tape: 2 Story: 5 - Michel du Cille describes his earliest childhood memory

Tape: 2 Story: 6 - Michel du Cille describes the sights, sounds and smells of his childhood

Tape: 2 Story: 7 - Michel du Cille talks about his interest in Rastafarianism

Tape: 2 Story: 8 - Michel du Cille remembers the popular culture of Jamaica

Tape: 2 Story: 9 - Michel du Cille describes his schooling in Jamaica

Tape: 3 Story: 1 - Michel du Cille remembers his early exposure to photography

Tape: 3 Story: 2 - Michel du Cille recalls the start of his photography training

Tape: 3 Story: 3 - Michel du Cille describes his experiences of school integration

Tape: 3 Story: 4 - Michel du Cille describes his favorite subjects in school

Tape: 3 Story: 5 - Michel du Cille remembers his brothers' schooling

Tape: 3 Story: 6 - Michel du Cille talks about his photographic influences

Tape: 3 Story: 7 - Michel du Cille remembers his early photography assignments

Tape: 3 Story: 8 - Michel du Cille recalls his conflicts with the principal at Gainesville High School

Tape: 3 Story: 9 - Michel du Cille recalls his rejection from the University of Georgia

Tape: 3 Story: 10 - Michel du Cille remembers transferring to Indiana University

Tape: 4 Story: 1 - Michel du Cille describes his experiences at the Indiana University School of Journalism in Bloomington, Indiana

Tape: 4 Story: 2 - Michel du Cille remembers developing his photography portfolio

Tape: 4 Story: 3 - Michel du Cille talks about his internship at the Miami Herald

Tape: 4 Story: 4 - Michel du Cille remembers his early cameras

Tape: 4 Story: 5 - Michel du Cille remembers joining the staff of the Miami Herald

Tape: 4 Story: 6 - Michel du Cille talks about the Miami Herald's coverage of the riots in 1980

Tape: 4 Story: 7 - Michel du Cille talks about the African American leadership in Miami, Florida

Tape: 4 Story: 8 - Michel du Cille talks about the Pulitzer Prize winning black photographers

Tape: 4 Story: 9 - Michel du Cille remembers photographing the eruption of Nevado del Ruiz

Tape: 5 Story: 1 - Michel du Cille remembers winning a Pulitzer Prize in Spot News Photography

Tape: 5 Story: 2 - Michel du Cille talks about his Pulitzer Prize in Feature Photography

Tape: 5 Story: 3 - Michel du Cille talks about the prevalence of crack cocaine use

Tape: 5 Story: 4 - Michel du Cille remembers joining The Washington Post

Tape: 5 Story: 5 - Michel du Cille recalls his recognition from the National Association of Black Journalists

Tape: 5 Story: 6 - Michel du Cille talks about the risks of photojournalism

Tape: 5 Story: 7 - Michel du Cille remembers integrating a restaurant in South Africa

Tape: 5 Story: 8 - Michel du Cille talks about the conflict between the African National Congress and the Inkatha Freedom Party

Tape: 5 Story: 9 - Michel du Cille remembers his master's degree from the E.W. Scripps School of Journalism

Tape: 6 Story: 1 - Michel du Cille describes his master's degree thesis

Tape: 6 Story: 2 - Michel du Cille talks about the use of photography in The Washington Post

Tape: 6 Story: 3 - Michel du Cille describes his career at The Washington Post

Tape: 6 Story: 4 - Michel du Cille talks about his second marriage

Tape: 6 Story: 5 - Michel du Cille talks about the photography department at The Washington Post

Tape: 6 Story: 6 - Michel du Cille reflects upon the difference between writers and photojournalists

Tape: 6 Story: 7 - Michel du Cille describes his plans for the future

Tape: 6 Story: 8 - Michel du Cille describes his involvement with the National Press Photographers Foundation

Tape: 6 Story: 9 - Michel du Cille talks about the opportunities for aspiring photojournalists

Tape: 7 Story: 1 - Michel du Cille describes his philosophy of photography

Tape: 7 Story: 2 - Michel du Cille talks about his favorite photographers

Tape: 7 Story: 3 - Michel du Cille describes his hopes and concerns for the African American community

Tape: 7 Story: 4 - Michel du Cille reflects upon his life

Tape: 7 Story: 5 - Michel du Cille talks about his children

Tape: 7 Story: 6 - Michel du Cille reflects upon his legacy

Tape: 7 Story: 7 - Michel du Cille describes how he would like to be remembered

DASession

1$1

DATape

3$5

DAStory

2$1

DATitle
Michel du Cille recalls the start of his photography training
Michel du Cille remembers winning a Pulitzer Prize in Spot News Photography
Transcript
Did he shoot anything for The Gleaner?$$No, he didn't, which, which was part--the part that I missed at that age. I didn't really--so when my dad [Frank du Cille, Sr.] started working for the newspaper in Georgia [The Times], I, again, started to go into the photo department. 'Cause my dad would take me to the newspaper with him, and I would go and ask a lot of questions of the photographer for the staff, and ask him to let me come with him on assignments. And he really did teach me a lot. And, and to this day, I can't remember that guy's name, but he was a very patient man. I remember him telling me one day, 'cause I--he was going to a shoot and he, he said that I could come with him, but I wasn't dressed properly. And he, he took me home to change before we went to the assignment because he wanted me to look presentable (laughter). But the photographer for the paper did teach me a lot of stuff. And then I took--I took a photo course from the local recreation center, and it happened to be the same guy teaching the photo course that was my math teacher at the high school. And he insisted that we learn not from 35mm or 2 1/4, but from 4x5. First we have to build the pinhole camera, then we had to learn to use the large format 4x5 camera, which is a Speed Graphic. He had--he had a Speed Graphic that he taught us to use--taught us to, to, to--he said he felt that composition--you have to learn composition with a large negative. (Pause) And--but I--I--that was my first photo course.$$So this is at, at Gainesville (simultaneous)--$$(Simultaneous) In Gainesville [Georgia]--$$--High School [Gainesville High School]?$$In Gainesville. Yes.$So you were talking off camera maybe about the pictures and the photos and that you shot of the volcano [Nevado del Ruiz]--I mean eruption--$$Yeah. So, I, I called into the office to say that I really wanted to go to this assignment. It was my turn to go. I felt that I was ready to go. And I could tell that my boss wasn't 100 percent, you know, in tune with that. But then they came up with the idea of let's send Michel [HistoryMaker Michel du Cille] and Carol [Carol Guzy]. Let's send the two of those together because they would work well together. They knew that we had a good friendship and that we would, you know, work well together. And so, so Carol and I actually went--we, we, along with two other news organizations, chartered a, a, a jet to fly from Miami [Florida] to Colombia. And we, we didn't land in Bogota [Colombia]. We landed in--at the airstrip that was only like, you know, maybe about eight or nine, ten kilometers from the eruption. So what we did was we kept the jet on the runway and told the guys to stay there so that we could come back and bring film to them so that they could fly back with the film. I mean, back then the only other option would have been to use the AP [Associated Press] to send on the drum, you know. And back then I think color was just beginning for the--to be going over the wire, but it wasn't great. So we really wanted that color film to get back. And we were shooting--we were--we were photographing with slides. We were use--shooting Ektachrome and Fujichrome, so it had to be, you know processed special process. So it was a brilliant move for us to keep the jet on the runway, and, and say, "Okay you're, you're bring it back to Miami." And that's how we were able to get good, brilliant color pictures in the paper [Miami Herald]. You know, and of course they ran the young girl underwater on the front page. And I think later on, you know, that the helicopter picture--I can show them to you on my--on my laptop. But, you know, Carol and I worked very well together, and so to our surprise, our story won the Pulitzer Prize [Pulitzer Prize in Spot News Photography] in 1986 from work that was done in November of '85 [1985].