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Giving talks to children is something leading photojournalist Flip Schulke does where ever he goes.

His images of Dr. Martin Luther King Jr. have played a major role in keeping the civil rights leader's legacy alive, and he in turn feels impelled to pass on the message.

The 67 year old photographer said: "In fact, I won't go unless they add on a school,'' he said.

While he feels he has little chance of changing the minds of older people, he says the improvements in civil rights and race relations have been dramatic.

"Nobody's ever happy, but at least it's not what it was,'' he said during a telephone interview this week.

Mr. Schulke's photographs of Martin Luther King and the civil rights movement are currently on exhibition at the Bermuda National Gallery, and he is due to give two lectures: one on Tuesday, May 13 at 6 p.m. and a second at lunch time on Wednesday, May 14, beginning at 12.30. Both will take place in the Gallery.

Mr. Schulke will also be speaking at several schools and will train the gallery docents while he is here.

Photojournalism allows a newspaper or magazine reader to learn, at a glance, an enormous amount about the story it is illustrating. The King exhibition, mounted here, is one important example.

Mr. Schulke captures important elements of the civil rights movement that it is difficult to express using traditional journalistic writing style.

The dignity of those individuals at the forefront of the movement, and at the most difficult times, is evident in many of the photographs in the exhibition.

Dr. King's strong family background, and the very real hatred many more whites felt toward those people who fought for desegregation are the facts Mr.

Schulke's photographs capture and present much more effectively than words.

None the less, Mr. Schulke pointed out in his earliest days as a photographer in the United Kingdom, journalists could enter a home through the front door, but photographers were considered tradesmen and were only permitted to use the tradesmen's entrance. Along with fellow American photographers, he refused to abide by the traditional practice, and was instrumental in breaking down that particular barrier.

Mr. Schulke explained that the focus of the photographer until the 1950s had been on the equipment itself. "But I was in a group of college educated photojournalists. We were graphically oriented,'' he said, explained they worked to draw the viewer into the picture.

"I always thought it was harder to be a photojournalist. A reporter can ask questions. But, if I'm not there, I'm not going to get the picture. With photographers, for every picture, you're there. You then have to choose what to point the camera at.

"The best action pictures visually don't represent the truth of the story or the importance of the story. It's the same as taking words out of context,'' he said, explaining in the early days photographers had more control over the pictures selected for publication.

There was no better time to be in the media than during the 50s and 60s -- the era of King, Kennedy and Castro, Mr. Schulke said. "I also lucked into a good location, in Miami,'' he said, explaining it was the centre of so much that was happening at that time -- the civil rights movement in the South, and the space programme.

It was also a time when magazines sent their photographers to the hot news spots around the world. "We were sent everywhere,'' he said. "In those days, even the freelancers had contracts. Now, publishers don't want to spend a penny on expenses.'' Mr. Schulke took some early photographs of Cassius Clay, or Muhammid Ali, as he is now know. The young black boxer didn't have much money, and he needed some clothes, so Mr. Schulke took him to a department store. The store manager refused to allow the young boxer to try on a shirt, and threatened to call the police and have them thrown out. The pair were forced to retreat to the `black section', where the photographer made the purchases for Muhammed Ali.

"It was fun starting in the middle of the 50s,'' he said. "If I see something on television, I can say: "I was there.'' YOUNG FANS -- Asir Lowe (left) and Alexander DeCouto, both 11, admire Flip Schulke's work at the National Gallery.

Flip Schulke