RANGEFINDER The Photo Workshop | September 27, 2018 | Volume 70, Issue 5

Steven Dodds, left, and Kimberly Carroll kiss their grandson Adam Carroll on Wednesday, Sept. 26, 2018, at McDonald's in Mountain Grove. Kimberly has been caring for her three-month-old grandson when her daughter, Jasmine, cannot. Many nights, Kimbery picks up Adam after work and watches him through the night. Photo by Jennifer Mosbrucker. WHERE ARE THEY NOW? Bill Ray: MPW started it all — by Hannah Musick

2. 3. 1. A select from Bill Ray's MPW9 story about a barbershop. 2. The cover of Bill Ray's book, "My LIFE in Photography." 3. Bill Ray as a young photographer in Sikkim, India. 4. An image by 1. 4. Ray depicting young love.

Bill Ray’s life exemplifes the catch up on the news and exchange “I did not have to report to work photographer’s American dream, points of view. It was Americana for a couple of weeks so I popped and he attributes his big break to at its very best. I still think about in my MG and drove to New York the Missouri Photo Workshop. that barbershop, I still love that where I had a 'come up and see Before the glitz and the glamour barbershop, and I still love the some time' from LIFE magazine, of photographing A-list celebrities pictures I made there. I hope it’s partly on the basis of the workshop. and politicians, Ray was just a still standing.” LIFE was the biggest, best and most young man from Nebraska with a Ray and his wife had met the famous magazine in the world and camera and a self-made darkroom. year before he participated in the place I had wanted to work It was 1957 and MPW9 was MPW, and she remembers what a since was 12 years old. Tey ofered set in Hannibal, Missouri – Mark profound impact the experience me freelance work if I moved to Twain’s hometown. Ray had been had on him – and the rest of their New York. So I checked into a hotel, taking pictures for the Minneapolis lives. Many MPW participants cite called Geo and quit.” Star & Tribune when he was the workshop as a fantastic learning Ray went on to publish several accepted to MPW. Te faculty opportunity but Ray considers it photobooks including “My LIFE was star-studded that year but what brought him to the top. in Photography” and worked with Ray particularly remembers being “Te Photo Workshop in LIFE until they closed their doors critiqued by Roy E. Stryker. Ray Hannibal in 1957 changed my in 2000. chose the town barber shop to be life and gave my brief career Since then his portrait work the site of his photo story, similar to as a newspaper photographer has appeared in Smithsonian, our current MPW70 photographer a springboard into top level of Archaeology and Fortune, Troy Enekvist. magazine . On including 46 Newsweek covers. “I fell in love with the barber the basis of my work in Hannibal It’s been 61 years since his shop and all the people in it that I was ofered and accepted a staf MPW experience but he and his came and went. I grew up in a tiny photographer job at National wife aren’t slowing down. Ray town and knew that the barbershop Geographic.” still actively takes and shares his was the central meeting place for Ray’s big start at National photography and they’re planning town folk and farmers alike. You Geographic and MPW experience to embark on a 40-day trip through looked forward to going there to continued to open doors. Europe on Monday. REES' PIECES Editing your MPW70 Story — by David Rees As you photograph, and as you begin your fnal edit, answer these questions: 1. What is your STORY? What is your HEADLINE? 7. Is there a SERIES OR SEQUENCE? Sometimes 2. What’s the LEDE? Ofen it is the one picture that multiple pictures from a situation can provide you would use if you could use *only* one picture. a sense of motion, an explanation of *what It is the way into the story and a summary of the happened* or CONTRAST in expression or mood. story. It has information; it is VISUALLY COMPELLING. 8. Do you have a PORTRAIT? Usually candid 3. Is there a SENSE OF PLACE? Te *soup bowl* is as portraits work best within a documentary story important as the soup in it; tell us where we are. If framework. A tight portrait, with eyes “blazing” this works on an emotional level, too, with a big IMPRINTS OUR MINDS and makes it less necessary MOMENT, then Bravo! that other pictures show the eyes or full face. Would 4. Do you have RELEVANT DETAILS — either as the you recognize this person if they stepped onto an primary subject of a photograph OR as a signifcant elevator with you? component. Details add information and DEEPEN 9. Is there a SURPRISE? Oooooo. Wow. Yikes. Yes! A OUR UNDERSTANDING. picture you never imagined. 5. Do you have VISUAL VARIETY? Varying camera 10. Do you portray RELATIONSHIPS? We ofen learn angles, diferent focal length lens approaches, the most about our subject by how they INTERACT distance to subject, are all ways to aid PACING AND with other people, or by showing what other people RHYTHM, helping to maintain reader interest. think of them. 6. Do you have TRANSITIONS? Pictures that move 11. What’s your CLOSER? How will you end the us from one idea to another within a story are story — provide emotional closure or make us invaluable for providing CONTINUITY. uncomortable with another question. In Video: 1. Tink about how SEQUENCING infences how we perceive the story. 2. Consider how TIME (duration) can be the equivalent of SIZE on a printed page. 3. Tink, always, how captions and text (live quotes or nat sound) PROVIDE CONTEXT for visuals and ENHANCE MEANING.

Randy Olson and MaryAnne Golon edit Andrew Ryan's Co-directors Brian Kratzer (left) and David Rees select photos. Photo by Jenna Kieser. photos for printing. Photo by Jenna Kieser. #MPW70 — compiled by Jessica Belle Kramer

"We have set back another day at #mpw70 in a "Hany enters into competition with the small town on the edge of the ozarks. Always mannequins." | @davidreesphoto time for great sunsets, great people and great photography." | @jessidodgephotography

"Just back from a morning of shooting a story "Fly trap. Mountain Grove, Missouri. (09/26/18) on a female bow hunter for the Missouri Photo #mophotoworkshop #mpw70" | @brooklyn.kascel Workshop! My very frst time in camo. Te deer were elusive on this windy day and the huntress @maria.lawler had no luck, but I got some great shots of her in action. She's trying again later today. Can't wait to share photos here soon!" | @jenguyton DUANE'S WORLD Let's get serious: What's your story? — by Duane Dailey Tonight you must get serious need for narrative: Beginning, about your story. Tink words and middle and end. Beginning can pictures. Your hypothesis guided be an overall scene setter or a key your photography up to now. action photo. Te middle flls and Many of those remain situation builds the story line. Te ender descriptions. Now, you need likely won’t be the end to this story. narrative, a story with beginning, You’ll leave town before the story middle and end. You have pieces ends. Give us a strong stopping for a word story and a photo story. point. Show us a conclusive feeling Te latter may be tricky for you, but for now. that's why you’re here. A story becomes more than a Say something with stronger collection of pictures. It’s not a verbs than “is.” What’s your new snapshot album. Photos elevate story? Tink tweet size with action a story by working together. Two verbs. photos add up to more than two. Now you should have photos Pairs of photos give a third efect. that support that brief story. Tese Follow Strunk and White, throw photos must contain verbs. Story flm drop.” out useless photos. Start your edit telling photos are more than Tis is not time for despair. It’s a by boiling down the take. You'll descriptors showing what a subject beautiful time to combine all you fnd 400 frames a burden, far too “is”. learned this week. much to comprehend. Toss weak Words and photos work together Next looms the word-story photos, even if you worked hard to in the strongest way to tell a tale. deadline. Add words to each photo get them. You’ve learned to get inside a you saved in your story. All of this It’s ofen said at this stage, edit situation. You’ve learned to observe goes up on the web for the world to kill your babies. Be tough and and listen. You see reality of a story to see. Interest, accuracy and realistic when using your editing you hypothesized and sold to the storytelling give vitality eyes. faculty. Keep words active and hard In story telling (get ready for a I’m betting that story changed. working. Follow the Strunk and super cliché) "Less is more.” I hope so. If not, you have strong White dictum: Trow out all useless powers of foresight. With that skill words. Whack passive verbs. Cut Wrong words spoil you should leap ahead of being a non-metric adverbs. Avoid hyper photojournalist. You’ve become a adjectives. Just the facts. well-crafted photos Seer. Don’t write like a scientist in Use care in words used in Your faculty helps you to see super-detailed descriptions. Your farm stories. Wrong words what you actually have in your words confrm what we see in your can kill your credibility with photos. Tey inspire you to be in photo. Assure us that what we see rural readers. Duane Dailey, the right place at the right time for is what we think we see. We need agricultural journalist, can help better photos. verbals for every photo. with your verbiage. Not all Friday morning can be an Your story should sum up your bovine are cows. Not all porcine amazing half day in the life of your excitement on why you spent are pigs. Baby beef calves become story. Many times we’ve seen stories so much time working on these feeders. Baby dairy calves come together or be remade in the photos. become veal. Duane’s full of few hours before fnal deadline. Share your love for this subject. free advice. Some say he’s full of I still call Friday Noon the “last On the photo side, recall the Blarney, or worse. FAMILY TIES Connecting family history through the MPW archive — By Baylee Konen the doctor was pictured places that were there.” with one of her nephews By looking through images from 58 years ago. past workshops, Brown found “Te workshops bring a common ground connecting the best photographers workshops to one another. She to a small town and noticed that although time has you get them to take passed, the ways of living in a small photographs of a place town has stayed the same. where people who Brown realized afer looking at Mountain Grove resident Julie Brown's nephew is would otherwise not the galleries of archived photos, delivered during MPW12. He also delivered Brown. be recognized,” Brown MPW has united all types of said. “Tere are things people. One photo connected the towns we have in common "We all go to church, we all get of Mountain Grove and Aurora this but the ways we live and work are married, and we all have families.” week. diferent.” Brown remembers her frst Julie Brown, a Mountain Grove Te photos taken during the impression when she moved to resident, said the towns the workshop provide historical context Mountain Grove afer marrying Missouri Photo Workshop has for a town. Many of the small her husband. She hopes the documented in the past 70 years businesses, along with the doctor’s workshop can capture the essence connect the city dwellers to the ofce, is not there anymore. of Mountain Grove. residents of small-town America. “Years afer the workshop leaves “I have always loved the peace, Brown, 57, and her seven the town, you can go back and the pastoral nature of the felds, the nephews were delivered by the look at a day in the life of our absence of concrete or asphalt, and same Aurora, Mo., doctor. At the townspeople,” Brown said. “It shows the beauty of the countryside of 12th Missouri Photo Workshop, the industries of the time and the Mountain Grove,” Brown said. THE BARGAIN BARN A Collection of Mountain Grove Bargains — art by Clare Roth Meadowbrook Natural #MPW70 Foods - Cofee for $1.48 or Free with Workshop Facebook: Coupon! MoPhotoWorkshop Instagram: mophotoworkshop Holifeld Soda Fountain - Generous scoop of ice cream RANGEFINDER CREW for $0.99. Almost all food items/meals are under $7 Maddie Davis and their daily lunch special Jessica Belle Kramer Hannah Musick is $6.50 with a side and a drink. David Rees Brian Kratzer Richards Brothers - Hot editors food area next to the bakery Duane Dailey has a daily meal special of editor emeritus $5.99 for meat and two sides.