It's April 22nd, 2006, and this is the Candid Frame.

Welcome to episode six.

One of the interesting things about doing the show is that I have an opportunity to talk to photographers who've had lengthy careers,

and those careers have often changed.

The photographer has a career that lasts 15, 20 or more years.

They typically don't do exactly the same kind of work throughout that entire span.

Dee Stevens, our guest for today, is just one of those photographers.

He started out as a photojournalist, and know, conflicts in Beirut, Belfast

and kind of the conflict in the very first Gulf War.

Domestically, he did a variety of stories, including work for both Newsweek and time,

including some early stories on the early, the early period

of the crack epidemic in the country.

And as well as a story and an image you produced covering a Ku Klux Klan rally, an interesting

story that you will hear about in the interview.

Then later, he started shooting stills for motion pictures.

He started off with Boys in the Hood, and later on has shot stills for a dozen other

films, including White Men Can't Jump, How Stella Got a Groove Back, and a whole

slew of other films.

And one of the good things about talking to

these is that he's always good for an interesting story, especially about events leading to

some of the images that he's created in his career. So I think you're really going to enjoy the

interview that we have prepared for you. And before we get to that, I'd just like to ask for a little help.

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