Photographer's Note:
Kevin Brooks Shoots Black America
"It was a time when a photographer could get close to his subjects".
The sessions with the Nation of Islam were mostly shot using Kodak Tri-X film, which was my standard black and white film of the day. I decided not to shoot any color most of the time as I believed that black & white would impart a seriousness of purpose to the portraits, giving the Nation of Islam more dignity and gravitas.
The sessions with the Nation of Islam were mostly shot using Kodak Tri-X film, which was my standard black and white film of the day. I decided not to shoot any color most of the time as I believed that black & white would impart a seriousness of purpose to the portraits, giving the Nation of Islam more dignity and gravitas.
Kevin Brooks
Kevin Brooks
As we often think of the word ‘History,’ we think of words documented in text books. However, some of the most powerful stories of our past are told through images. Freelance photographer Kevin Brooks used his cameras to chronicle the world of Elijah Muhammad’s Lost-Found Nation of Islam, both public and private. As his cameras and curiosity helped propel him into the guarded circles in Chicago, it was his friendship with Muhammad Speaks editor Joe Walker that opened doors often shunned to most photographers. The small window of opportunity afforded him a set of newer cameras and memorable friendships with Mr. Muhammad and his top aides.
“From the beginning of my career, I used a Hasselblad as my primary camera--a 500c model that I purchased while in Europe in 1965 and it was one of the best investments I ever made. All my photographer heroes like Gordon Parks, James Van Der Zee and Bob Fitch, used top cameras in the world. I used the Hasselblad for the sessions with the Hon. Elijah Muhammad and his family, shooting most of the frames using a 50mm Distagon lens that became my lens of choice by 1967. I favored this lens because of the slightly odd perspective it gave, but without creating any obvious distortion. It was also incredibly sharp and had fantastic depth of field, which I needed to keep everybody in focus.”
“The sessions with the Nation of Islam were mostly shot using Kodak Tri-X film, which was my standard black and white film of the day. I decided not to shoot any color most of the time as I believed that black and white would impart a seriousness of purpose to the portraits and would give the Nation of Islam more dignity and gravitas.”
“I’ve attended many Nation of Islam events. It was a time when a photographer could still get close to his subjects, before today’s era of handlers, press agents and PR people who seem to see their job as providing endless blockages and interruptions. Those were the days and there is nothing like the real thing when you are taking pictures. I’m grateful for having had the chance to spend that time, with camera in hand and sometimes without.”
“During Saviours’ Day Conventions, I usually got there early. I carried four 35mm cameras around my neck, an equipment case of accessories with enough film for twenty-four hours. My photographic gear weighed thirty-eight pounds. My assignment was to roam the arena taking human-interest shots. Hours later, I’d work my way to the speaker’s platform where Mr. Elijah Muhammad was surrounded by fierce looking army guards of the Fruit of Islam. Sometimes, I would climb a nearby elevated cameraman’s stand. From the top, I’d see thousands who had come from all over the country to see Elijah Muhammad speak--it was always an inspiring site. Knowing the value of a good shot, I’d work my way closer to the guards protecting Mr. Muhammad. Because he wasn’t very tall and was standing in a small space, I used a 24mm wide-angle lens on my 35mm camera and usually got some great shots.”
“In cadence, I’d hear thousands of voices chanting, “Yes sir dear holy apostle...that’s right!” causing the great leader to pause for quiet. In conclusion of his speeches, he lowered his voice. There would be thunderous applauds as Mr. Muhammad gathered up his notes and moved back to his seat. Then, the audience would applaud even louder as he sat down. I remember the first roll of 35mm color film I shot of Elijah Muhammad standing at the podium. I asked Raymond Sharrieff, who I knew personally, if I could make another roll of Mr. Muhammad sitting after he spoke. ‘Go right ahead, do whatever you feel is necessary,’ Mr. Sharrieff replied.”
By 1972, the jewel of the Nation’s holdings was the newly purchased Muhammad Mosque No. 2 / University of Islam valued at five million dollars. The domed structure, purchased from the S.S. Constantine and Helen Greek Orthodox Church, would be topped with a rotating gold star and crescent. For Black Chicagoans who rarely, if ever, seen Black civilians conduct themselves with discipline and confidence, the Nation of Islam served as a meaningful alternative for Black economic survival and recruitment. Just as important, the rituals and symbols of the Nation of Islam impressed upon any new convert to the Mosque that he/she was a significant part of a larger entity destined for a great purpose. The power of Kevin Brook's images convinced many Blacks from various backgrounds that the Nation of Islam was, in fact, their nation and the world outside its borders was indeed, the grave.