Click Here for, DANCING WITH THE WILD BEAST, diary among friends of the Mozambique Bush

Hard Nosed Big Game Hounds

Hard Nosed Big Game Hounds
Click the pic for "The hard Nosed Pack"

Luwire Photographic Safaris

Luwire Photographic Safaris
Looking across the Lugenda from one of the camps

Tuesday, March 16, 2010

My friend Charles Moore, I will miss him geatly

Published: March 15, 2010
Charles Moore, a photographer who braved physical peril to capture searing images — including lawmen using dogs and fire hoses against defenseless demonstrators — that many credit with helping to propel landmark civil rights legislation, died on Thursday in Palm Beach Gardens, Fla. He was 79.

Mickey Welsh/The Montgomery Advertiser, via Associated Press
Charles Moore in 2005.

    Charles Moore/Black Star
    James R. Jones, the Grand Dragon of the North Carolina Ku Klux Klan, driving with his Klan robe to a rally in the mid-'60s.

    Charles Moore/Black Star
    Demonstrators huddled in a doorway, seeking shelter from high-pressure fire hoses, in Birmingham, Ala., in 1963.
    His daughter Michelle Moore Peel said he died of natural causes.
    Mr. Moore’s camera snapped the Rev. Dr. Martin Luther King Jr. being arrested in Montgomery, Ala., in 1958, and James Meredith integrating the University of Mississippi in the face of a screaming mob in 1962.
    He photographed Bull Connor using dogs and high-pressure hoses on peaceful civil rights demonstrators in Birmingham, Ala., in 1963, and recorded a black man being viciously beaten by a white lawman during the “Bloody Sunday” march from Selma, Ala., in 1965.
    These crisp, fluid black-and-white photographs appeared most prominently in Life magazine at a time when general-interest picture magazines remained such a powerful force that critics now speak of it as the “golden age of photojournalism.”
    Both Senator Jacob K. Javits and the historian Arthur M. Schlesinger Jr. credited Mr. Moore’s images with building popular support for the passage of major civil rights laws in the mid-1960s. Critics have suggested that the fact that one does not see who is aiming the hose at the demonstrators seems to implicate the whole nation.
    Mr. Moore, who was white, grew up in Alabama as the son of a Baptist minister, who not only denounced racism but who also occasionally preached in black churches. The son said he used his camera to continue the fight. But as a Southerner, he well knew the delicate line he had to walk.
    On the one hand, he said in an interview with The Montgomery Advertiser in 2005, he refused to get on his knees and beg as racists had demanded. On the other, he said, he did everything possible to avoid confrontation, explaining that if he were arrested he couldn’t photograph.
    “I’d let people trip me, jostle me, pull my hair and threaten to smash my camera,” he told The New Orleans Times-Picayune in 1997.
    Hank Klibanoff, who with Gene Roberts wrote “The Race Beat: The Press, the Civil Rights Struggle, and the Awakening of a Nation” (2006), said in an interview Monday that Mr. Moore, almost always using a short lens, would immerse himself in the middle of the action. He often appeared in the pictures of other photographers who were standing back.
    One of Mr. Moore’s images shook the author Paul Hendrickson to the core. The picture showed six Mississippi sheriffs and a deputy, some chortling, waiting to confront Mr. Meredith at Ole Miss. One appears to be showing the others how to swing a riot club.
    Mr. Hendrickson wrote about the seven lawmen in “Sons of Mississippi: A Story of Race and Its Legacy” (2003). The photo is included in Mr. Moore’s 2002 book, “Powerful Days: The Civil Rights Photography of Charles Moore.”
    “It was a two-second grab shot,” Mr. Hendrickson said on Monday. “The greatest photographers see the image before they click it.”
    Charles Lee Moore was born in Hackleburg, Ala., on March 9, 1931, and took his first pictures with a Kodak Brownie. He served three years in the Marines as a photographer and then attended the Brooks Institute of Photography in Santa Barbara, Calif. He next applied for a job as a photographer with the morning and afternoon newspapers in Montgomery: The Montgomery Advertiser and The Montgomery Journal.
    His training in fashion photography at Brooks helped him get the job, Mr. Klibanoff said. When Mr. Moore arrived at the newspapers’ office, Mr. Klibanoff said, he was sent to a country club where the photography editor was taking pictures of bathing beauties. The editor, who hated the job, was having trouble positioning everyone.
    Mr. Moore took over, all went smoothly, and he was hired.
    At the newspapers Mr. Moore quickly proved his versatility. An article in Editor & Publisher in 1961 praised him for “turning pictures of everyday people into dramatic, emotional experiences for readers.”
    In 1962, Mr. Moore left the newspapers to start a freelance career. He worked for the Black Star picture agency, which sold much of his work to Life.
    Mr. Moore is survived by his brother, Jim; his sons, Michael and Gary; his daughters, April Marshall and Michelle Moore Peel; seven grandchildren; and three great-grandchildren.
    Mr. Moore went on to cover the Vietnam War and many other trouble spots. He then decided he wanted to “shoot beauty” and moved on to nature, fashion and travel photography, in addition to corporate work. But he always said his civil rights work was his most important, and in 1989 he received the inaugural Kodak Crystal Eagle Award for Impact in Photojournalism.
    His civil rights success resulted in part from cunning and resourcefulness. After being arrested in Birmingham in 1963, he was desperate to get out of town with his film the next day, he said in a biography prepared by Black Star. But a police car blocked the entrance to the airport.
    He and his colleagues sneaked along the side of the terminal building and boarded the airplane just as the stairs were about to be pulled away.
    “We flew away as fugitives from justice,” Mr. Moore said.

    Where do I begin. My friend Charles Moore moved back to his hometown area and graced all who knew him with his gentleness and warm heart. A Southern Gentleman through and through Charles was an inspiration to me with is unruffled style and complete dedication to those who became his friend. My fondest memory was of Charles while on a Billy Reid shoot down at Nancy Oneal's place. He was on that day cracking jokes and telling those mesmerizing stories of times spent photographing Jackie Gleason, Rachel Welch and a playboy issue in Vietnam. One of my more poignant regrets is to not of spent more time with him recording all those stories that are now lost forever. I will always miss you Charles, your friend Audwin.

     Below, a cherished possession. Charles photographed Sandi and I that day on the hood of my old 46 International, his shadow in the foreground Charles Moore, Rights-Era Photographer, Dies at 79

    No comments:

    Copyright Notice

    COPYRIGHT NOTICE: Audwin McGee and Sons of Savages (www.sonsofsavages.com), 2008-2009-2010-2011,2012,2013,2014. Unauthorized use and/or duplication of this material without express and written permission from this blog's author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Sons of Savages with appropriate and specific direction to the original content.

    About Me

    My photo
    I’m a Southern Boy, just 56 last November, I get around here and there, Central America, Africa, Red Bay. I’m a Father, Grandfather, Husband, Artist and general flunky of sorts. Live in a little historic town in an old building I remodeled. Just wanted to hear myself think I guess, talk about the need of simplification, show some art, express an interest or two, brag on my dogs and see where it goes. That’s it!, That’s the deal, Thanks