“The truth is, I love my job.”
The words, spoken by former Blackberry software engineer Bruce Davidson, have been uttered so often and so often that the question “What a Black photographer does” has become clichéd.
I’m a huge fan of black photographers, so I asked a lot of black-focused photographers what it is about their work that they find so fascinating and challenging.
Black photographers, and the stories they tell, are part of a much larger cultural conversation that has been happening in the US for the last 40 years.
The US, after all, has always been a melting pot of cultures and a melting-pot of interests, so it is no surprise that there are many photographers of color.
Black Americans are more likely to be in their 30s than their white counterparts, according to data from the U.S. Census Bureau, and they are more than twice as likely to attend college.
In some cases, they are even more likely than their non-white peers to be black.
The numbers are not all that different from what you would expect from the number of black people in a country like the United States, which has a larger share of its population in poverty than any other country in the world.
And yet, there is so much more to the stories and the work of black Americans than meets the eye.
Black photographers have been telling their stories in a way that has not always been the norm.
But even though there has been a lot less coverage of black talent in the past 40 years, there have been plenty of stories and perspectives that were rarely considered.
The following is an excerpt from my conversation with Bruce Davidson from the May 2017 issue of Black Photography magazine.
Read more stories from Black America on ourstoryline.
The questions that Bruce Davidson asked me were simple, but the answers he received were very telling:I grew up in a white family.
My father was a successful banker and my mother was a high school teacher.
In high school, I was the youngest person of color to graduate from high school.
The school I went to was called the State University of New York, but it was also known as the State College of New Jersey, and I would describe myself as a middle-class white kid from a good family.
I started taking photography classes, and by the time I graduated I had about six years of experience working as a photojournalist.
I wanted to be a professional, but I also wanted to have fun and be creative.
That’s how I met my wife, who is a photographer herself.
She was like my “lucky charms” and a very creative photographer.
We were very close and she was the first person I dated who was willing to take me on a trip.
I was living in New York at the time, and she had a beautiful home in New Jersey.
I had a dream job, but then I fell in love with the idea of taking photographs.
That was the beginning of my career.
As a child, I would have nightmares about my father, who was the kind of guy who would go crazy if he heard he was about to leave a job, he was going to get fired or something.
I would always say, “Don’t worry, Dad, you’re not going anywhere.”
But I wasn’t always aware of how much I was afraid of him.
I wanted to go to college, but my parents didn’t believe that I would get an education, so my family had to find other ways to support me.
My mother said, “You’ll never get an educate.
If you want a college education, you have to go through the Army.
If your family can’t support you, then you can go to the military.
You can go out there and you can live your life.”
My father said, and we all heard that story.
I was like, “No, I’m not going to go.
If I’m going to do something that’s going to hurt me, I’ll do it myself.”
That was when I decided to take a photography class.
I did that for two years and graduated with honors in May 1980.
My parents were very supportive of my decision, but at the same time I realized that if I didn’t take a class, I wasn