Twenty-Five Stories

6 Shooting from the heart

William Wynne

"Morning Song" by William "Bill" Wynne. Special Collections, Cleveland State University Library.

 

“I saw him on an ash limb by morning’s golden yellow light

 Among shimmering green leaves after winter’s flight”  

~”Morning Song,” photograph and poem by William “Bill” Wynne

 

Once in a while, a peaceful and mundane scene springs to life. That’s the case with “Morning Song,” the picture and couplet above. Our cottage on Charles Mill Lake in Mansfield, Ohio, was the scene of peaceful messages. In the early morning, while photographing daisies from the patio deck, the air was interrupted with the melody of a Song Sparrow. He continued his song so beautifully that I called the family out to hear it. The land drops off the back sharply toward the lake, adding another 10 feet of elevation to the deck height, so I had a 20-foot high vantage point – a bird’s point of view.

The first photo I published was in YANK Magazine during World War II and was taken only two weeks after I got my destined-to-be-famous dog, Smoky, in Nadzab, New Guinea. We were just transferred into the 26th Photo Reconnaissance Squadron of the Fifth Air Force. I borrowed  a Speed Graphic camera from supply and placed her in a helmet inside my tent. (It was important to have a known object in the photo to show the true size of this four-pound dog. What better scale than a GI’s helmet?)

There was no way of knowing at the time that her expression would reflect the epitome of happy anticipation involving what our lives would become during war and peace. Sixty years later, the photo became the model of three bronze memorials of Smoky, two in the United States and one in Australia, created by sculptor Susan Bahary.

Each phase of my photography is based upon what I learned while running the streets and fields in Cleveland, and from my companions before I turned 18.

What makes us who we are?

My wife Margie had two sayings: “Bill describes his photos, get out the violins” and “Bill is going to begin when he was 6 years old.” And that’s where I’ll begin because in life, and in the arts in particular, your view of the world is the summation of life’s experiences that start at a very early age. Those early experiences reflect in many ways your life as a whole. For some, early negative experiences can result in defeatism. For others, such experiences springboard into inspiration.

There are advantages and disadvantages to everything.

There can be influencing factors. For example, whether someone is part of a large or small family, or a family with no children. Each has its advantages and disadvantages. Further, the difference between growing up in a nuclear family or broken family adds to the mix that can affect one’s life. A wealthy or a deprived upbringing, and having siblings or not can make a difference. How you make life choices may be  influenced by the kids you played with, which may be absorbed negatively or positively.

I was from a broken family.

Dad took off when I was 3 years old. I spent two years in the Parmadale Children’s Village of St. Vincent de Paul in Parma, from 1928 to 1930, with 400 other children. There were 40 kids to a cottage each run by one nun.

Coming home to my mother at age eight, I was a poor student who had flunked two years in grammar school as I ran the streets and fields of the West Park neighborhood of Cleveland. This is where I gained my most valuable education; I have drawn upon this my entire life. I cannot emphasize enough the value and sheer pleasure involved in the freedom of running the streets. However, this was not conducive to traditional homework and study (the disadvantage), and thus the failures. The streets were the foundation of who Billy Wynne was and is: the dog trainer, the inventor at the National Advisory Committee for Aeronautics (later, in 1958, theNational Aeronautics and Space Administration), and the photojournalist with unusual views.

At age 20, I graduated from West Technical High School, where I specialized in horticulture, a Cornell University three-year program, along with one year in elective photography. During this period, my high school grades moved from Ds to Cs. Mr. Howard, an accountant neighbor, would say, “Bill is going to amount to something someday,” giving me an unforgettable upward lift in spirits. Meanwhile, my family would ask, “I wonder what will become of Billy?”

Following high school, I was fortunate to be associated with highly educated professionals. The Air Force in WWII required at least a 100 IQ score. My 26th Photo Reconnaissance Squadron had college professors working in photography, not to mention the bright and young “just out of high school” pilots. As top scientist and friend Irving Pinkel said, “Bill learns by osmosis.” (Pinkel worked for the National Aeronautics and Space Administration). My work at NASA Lewis Flight Propulsion Laboratory followed Air Force schooling in laboratory and aerial photography and having served two years overseas in the Pacific Theater with the 26th Photo Reconnaissance Squadron (New Guinea to Okinawa), to the war’s end. I also did a three-month stint in Hollywood as a motion picture dog handler, another continuing story.

I was hired for NASA’s Flight Icing Research Program as an aerial photographer. I learned so much over the seven-year period I was there. At end of the first three years, I became a “photo engineer,” and I invented a camera timer and other photo technology for the Full-Scale Aircraft Crash Fire ProgramThe timer illustrated the true speed of any motion picture camera within 1/10th of a second.

With my large family and low pay, and with much regret on my part (and my supervisors), I had two weeks to decide whether to take a job at the Cleveland Plain Dealer in the photo department. By switching jobs I went from working 25 years into the future to working 25 years into the past. The PD was getting racetrack results in the sports department via Morse Code, using dots and dashes – 19th century technology. I was hired to replace Ed Solotko, a fine photographer, working on The Sunday Magazine.

So what is a SPEAKING photograph that has a message?

Today, most photos are images that are captured by millions of people everyday by smartphones. They are, by and large, merely “let me show you something.” Then, there is photojournalism, a form of communication involving photography and journalism that, unfortunately, often  just “shows something” as well. Few news photos really say something. Digital cameras can shoot multiple frames per second, and the photographer can select the best frames. In my early days, cameras were cumbersome, and required several steps of preparation for each shot, going through the routine again and again. Timing by the photographer in action photos was critical.

So, what can photographs SAY? Oh, so many things. A photograph can record a sacred scene that can generate tears, or deliver an instant smile.

It can be a symbol so profound it says it all.

Photography is so often like music rather than art;  often an event building to a crescendo.

On a slow day for hard news, “weather art,” stand-alone photos or people or nature, would more than likely make Page 1. Photographers  were asked to look out for “weather art.”

Readers are overwhelmed by gloom every day, and always hunger for some good news.

My good friend Bill McVey, a great artist, teacher and the sculptor of the Winston Churchill Statue in Washington, D.C., was a great admirer of photographers. He demonstrated for me how a photographer is similar to a javelin thrower. Leaning in a low backward stance of a javelin thrower and pointing with his arm along an imaginary javelin line up toward the sky, he proclaimed, “You point to an imaginary sky spot, get ready – and then thrust yourself with all your might.” Then he followed through by standing on his left leg with his arm and forefinger still pointing at the spot that followed the imaginary release of the javelin – frozen in midair.

“This is a photographer” exclaimed Bill. He gathers all of his worldly knowledge into a compressed self and suddenly, with his timing, presses the shutter with the forefinger and the mental power of everything he is – and it all comes out in a tiny ‘click.’ That is a photographer.”

Thank you Bill. I never thought of it that way.

As my wife Margie said, “Now you see why Bill explains his photos.”

So there you have it –  shots from the heart, from a sometimes funny guy.

 

~

Photographer William “Bill” Wynne was interviewed by Dave Davis and Bill Barrow on Jan. 27, 2018. The following Q&A was edited for space and clarity. You can listen to the entire, unedited interview below. A transcript of the interview can be found at the end of this piece.

 

 

Davis:  So, for an image, what are you looking for? What’s a Bill Wynne picture?

Editor’s note: Wynne opens a scrap book of photographs, newspaper clippings and note’s about his life and work. He points out a picture from the day President John F. Kennedy was shot.

Students cry as they file out of St. Peters High School on Nov. 22, 1963, after hearing that President John F. Kennedy has been killed. Photograph by William "Bill" Wynne, Special Collections, Cleveland State University Library.
Students cry as they file out of St. Peters High School on Nov. 22, 1963, after hearing that President John F. Kennedy has been killed. Photograph by William “Bill” Wynne, Special Collections, Cleveland State University Library.

Wynne:  What had happened- Gordon Cobbledick was the sports editor. And Cobby came into the photo lab about noon and he says, “Hey Bill, any photographers here?” I said, “No, what’s up?” He said, “Well, the president’s been shot down in Texas and an AP photographer saw blood.” So, the story (was) still coming over the wire at this point. And he says to me, “Will you go out and tell the people in the city room and I’ll go to the brass’ offices and I’ll tell them.”

So, I’m looking around for a picture and there was no picture there. I went out on the street and nobody knew about it yet. I look at St. Peter’s across the street. It’s diagonal from The Plain Dealer. St. Peter’s was a high school. I’m waiting and waiting, and I thought someone’s going to have to know something about this and sure enough, all of a sudden, I hear a lot of sobbing and I look and the kids are filing out through the corridor to go to the church to pray.

There were two white girls and a black girl (who) came out and I got the pictures of the teachers sobbing and the kids sobbing. And so, these two came along and the black girl is crying so much that the white girl turns around and puts her arms around her.

Davis:  Wow.

St. Peters High School students comfort each other after hearing of the death of President John F. Kennedy. Special Collections, Cleveland State University Library.
St. Peters High School students comfort each other after hearing of the death of President John F. Kennedy. Special Collections, Cleveland State University Library.

Wynne:  And so I took a picture of that. So that became “Summation, Nov. 22, 1963.” It was a summation of the way the nation felt. Trying to get it published in The Plain Dealer was something else because no paper would ever publish any of these interracial photos.

Davis:  Did they publish it?

Wynne:  They had to, finally.

Davis:  It sounds like such a powerful image.

Wynne:  I had to go to Ted Vorpe and get Bill Ashbolt to put it in the paper. Ted Princiotto came to me and he had the four pictures. He wanted the sobbing kids and the teachers, and that picture and Bill says, “No we haven’t any room in the paper. There’s too much stuff coming from Texas.” So, OK, then I said to Ted Vorpe, he was the head of photography at the time, “I think this picture is an important picture. It ought to be published.” He said, “I agree with you Bill.”

So, he went over and talked to Bill Ashbolt and they put it in a first edition and killed it after that.

Davis:  Really, are you kidding me?

Editor’s note: The Catholic Universe Bulletin published the picture.

Wynne: But the Catholic Universe Bulletin wire service wouldn’t pick it up.

It was only in- Well, it’s in the (Plain Dealer) first city edition. Only the city edition had it, which goes down state. We had 84,000 circulation down (state) at that time.

And so that’s the story of “Summation.” (In the print), the girls even accidentally came out where their uniforms looked like one jacket they’re both in and one dress that they’re in, (with) their four legs – black legs and white legs – sticking out the bottom.

Diver at Cleveland State University by William "Bill" Wynne. Special Collections, Cleveland State University Library.
Diver at Cleveland State University by William “Bill” Wynne. Special Collections, Cleveland State University Library.

And so, I have another couple pictures that- This was an accidental picture here. I got up on a diving board at CSU. The NCAA diving championships were played that year, 1975 or ’76, I can’t remember. But anyhow after they had their competition they start practicing. So, I got up on the highest diving board. And I take the picture of this guy doing a swan dive. See it? But it was taken on Holy Thursday and here look at the cross in the water.

So (sports editor) Hal Lebovitz, being an Orthodox Jew, ran this on Good Friday in the sports page. Honest to gosh.

Davis:  Did he get any-

Wynne:  I don’t think so. He didn’t have any flack at all.

Davis:  Did anybody ever complain about the picture of the school girls hugging after the assassination? Did any readers ever call anybody?

Wynne:  No, nobody ever did. If they did, I didn’t hear about it.

Davis:  So, it was just journalists being anxious about what their audiences might think.

Wynne:  That’s right. So, this is the Lima State Hospital story.

There was abuse at the Lima State Hospital, which was (for) the people who didn’t get the death sentence because they were mentally ill. So, they threw them in the Lima State Hospital. And they had these guards there, they used to beat the people up every day. They killed some. There’s unmarked graves there. So, we found out about it through the governor’s office.

Editor’s note: After receiving a complaint, Ohio Gov. John Gilligan asked a lawyer to investigate the claims.

Wynne: So, he calls us. And Ned Whelan, Dick Widman and I go out. Ned and Widman were changing motel rooms every day because these guards will kill you.

Barrow:  Really?

Davis:  This looks like it was in May of 1971, Bill.

Wynne:  Does it? OK.

So anyhow. We ran a series. We ran a Page 1 story on this for 30 days straight and this was a big exposé. And one day one of these guys (at the Lima State Hospital) comes up to me, and I got the camera dangling around my neck and I’ve been taking pictures. And he said, “Who are you with?” And I pointed to (the lawyer) and I says, “I’m with him.” I didn’t tell him I was with The Plain Dealer.

I was a state roving photographer/reporter for four years.

Davis:  You did some reporting too?

This picture of a woman in a stupor under a shower is one of many taken by William "Bill" Wynne, documenting abuse and deplorable conditions at the Lima State Hospital. Special Collections, Cleveland State University Library.
This picture of a woman in a stupor under a shower is one of many taken by William “Bill” Wynne, documenting abuse and deplorable conditions at the Lima State Hospital. Special Collections, Cleveland State University Library.

Wynne:  Oh, yeah.

Anyhow, this woman here was kept like this in a stupor, under a shower. When she’d go to the bathroom, they’d just flush the shower down on top of her.

Editor’s note: News that the governor was sending people to Lima reached the hospital, which cleaned up its act when The PD team first got there.

Wynne:  They got word up there, so they let her get up. You see she’s sober (alert) here. So, they (the governor’s representatives) look, and they couldn’t see anything wrong.

Editor’s note: But Wynne returned the next day, when he wasn’t expected.

Wynne: Here she is in a stupor.

Editor’s note: Wynne flips through his scrapbook.

Wynne: These are Newspaper Guild (awards) – best picture, best photo of the year.

"Three Touches of Freedom" by William "Bill" Wynne. Special Collections, Cleveland State University Library.
“Three Touches of Freedom” by William “Bill” Wynne. Special Collections, Cleveland State University Library.

And this is called, “Three Touches of Freedom.” Freedom of Expression. Freedom of Enterprise. Freedom of Religion. I just happened to get it all into one picture. And so, I was taking (pictures of) the kids… I was waiting outside. I saw the flag on the ground and I was going to see what they did with the flag. All of a sudden there’s four of them together and this little boy jumps up and touches the flag and I snapped the picture.

When I develop it, I find I got the truck in there and I got the church. It was a natural.

This picture here-  I saw this bird.

Editor’s note: See picture “Morning Song” at the top of this page.

Wynne: What happened was. We’re at my cottage and I’m shooting the daisies. And all of a sudden, I hear this songbird. It’s May and (it’s a) beautiful song because this is a song sparrow. So, I go over to see him, and I got a 500 mm lens on there and I thought I’d never get the picture because it’s not particularly the sharpest lens. It’s a mirror lens.

Anyhow, I hear the bird and I go out over there with this long lens and I take one shot. I don’t think I’m going to get it. Two hundred fiftieth of a second because it’s a 500 mm lens, you got to hold that really steady. So, I shot it and I forgot about it and it was in my camera for about three or four more days because I was shooting assignments. Later, and I came back I developed them. I said, “Gee, I’ll try to print that.”

I decided I’d give it to the picture desk. They’re always looking for what they call weather art. They’re gonna run it on Page 1. Something happened with the Pope. So, they bumped it inside to Page 6. And so, all of us got in that morning and the phones were jumping off the hook. Calls from all over the country. They were coming from everywhere.

(Publisher) Tom Vail’s office was getting them. Everybody was getting them. We ended up getting over a thousand. Here are the letters to the editor that were written about it and they published it again. And one woman, a nurse, wrote that this older woman she was taking care of had this beat up clipping in her wallet and she was looking at it all the time. Could she get actually a print? So, we gave her a print.

And somebody else wrote and said, “Thank God that somebody sees some beauty in this world.” It was a shocker. So, then I wrote a couplet for it. It didn’t have the couplet when it went out.

Davis:  They should have moved the Pope inside.

Wynne:  The day when it was going out on the wire. I wrote a couplet and it was something like: “I saw him on an ash limb by morning’s golden yellow light. Among shimmering green leaves after winter’s flight.” AP ran it under this picture. So, the couplet is in there under the picture.

Editor’s note: The Plain Dealer hired Wynne because of his experience in color photography, which was new at the time.

Davis:  And what year was this?

Wynne:  1953.

Davis:  OK, so color was-

Wynne:  Sunday Magazine was using color.

Davis:  So, it was beginning to happen, but it was new.

Wynne:  They were already- Vern Cady was working in it. But they needed a helper and they also needed a photographer.

Davis:  Now how long were you at The Plain Dealer?

Wynne:  Thirty-one years.

My comment is overall photography (is) not very well understood by journalism, journalists. And it became an arm of support (for) an article. They didn’t really know how to hire people (and) so some of the heads of photographers are questionable. I don’t want to name names.

The way you pick photographers- They were (the most) miscast bunch of guys I’d ever seen. Ray Matjasic was really good. He was a combat photographer in the Marines. He was a truck driver for The Plain Dealer and he fought his way into photography. He became chief photographer.

The brass on the upper level doesn’t understand the photography at all. They leave that go the way it’s been going for years and years. And what you end up with is a bunch of photographers that show something. They don’t say something.

The mayor of Parma Heights said, “Bill makes his camera talk.” And that was a good definition. I didn’t realize it at the time. But the camera- it might have a purpose for having a picture. And we have so many pictures that don’t really have a purpose.

You don’t see pictures that say something, like the girls with their arms around each other.

The way they worked photography and photographers in most newspapers. (If) you happen to get somebody who’s really interested in it at the higher level-

They had times where you had good people at the top and then you had better photography because they were more careful how they hired and more discriminating about what they ran in the paper. Most of it was to fill holes. It’s a place to fill a hole so you don’t have to have so much copy.

Davis:  Do you remember what the circulation was at the high point?

Wynne:  It was about 520,000 on Sundays.

Davis:  OK, lots of readers. So, did it serve Cleveland well or not so well?

Wynne:  Yeah, when I came to The Plain Dealer they used to say it was the “Grand Old Lady of the West.” But it was very conservative. The Press did have some good reporters over there too. They were highly competitive and then the News had good people.

Davis:  Well, it sounds like kind of a heyday in journalism in Cleveland because you had three dailies plus the Catholic Universe Bulletin.

Wynne:  Really competitive. Even the Heights paper was pretty good, The Sun.

Davis:  So, when all these people were going after things and you’re competing-

Wynne:  Oh, yeah, you’re competing. You had competition.

Davis:  And what did that fella say, the mayor- “Your camera tells a story.”

Wynne:  My camera talks. Yeah, but that’s what it should be.

It’s so easy now. Brrrrrrr and they can do it. We had to be very selective. When we took the picture, it was very selective, and you missed a lot of pictures. There was 17 ways to miss a picture. You gotta have film exposed, and the shutter has to work, and you have to have the right exposure.

Other than that, the curtain can be down in the back and blind out your picture. You could have no film in the camera, the film could fall out of the whole thing. There’s so many ways to miss the picture, that there’s hardly any ways to get it. And so, we were working with really clumsy equipment, but we made it work. And once in a while you come back to the office saying, “I missed it.”

Barrow:  And then you look at the paper, the rival paper and that guy caught it.

Wynne:  That could happen to you. Now, they can send it back on telephone. They don’t even come in the office.

I was not objective. I was subjective. And I’m editorializing because we’re making a statement.

 

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