RANGEFINDER The Photo Workshop | September 28, 2018 | Volume 70, Issue 6

Kuzuko Tucker, 73, delights in Aiden Estep's paper crane. An occasional substitute teacher, she taught students to make origami at Mountain Grove Middle School on Thursday. Photo by Sijie Yuan. GLOBAL

The brick industry in Bangladesh is booming along with the expansion of Dhaka. The factories are popping up everywhere outside the big cities, and the orange dust from the factories is falling down and covering the crops. It kills everything. Photo by Troy Enekvist. International perspectives on photojournalism — by Jessica Belle Kramer

Te Missouri Photo Workshop hosts a plethora of participants from all over the and around the world. Tis year, MPW is hosting photographers from eight countries outside the United States. Each individual photographer brings their own insight and experiences to the workshop, and international photographers come with global perspectives in tote.

Documentary Javier Aznar Sahiba Chawdhary Troy Enekvist Sahiba Chawdhary practices Madrid, Spain New Delhi, India Stockholm, Sweden photojournalism in New Delhi, India, and her work has been between the documentary and dailys are newspapers that publish published for major organizations, news photographs in India because nationwide in India, but are printed such as Getty Images. both are designed to portray in English. Chawdhary's current long- diferent messages. As opposed to global term documentary project, “Drag “Documentary photography is documentary photojournalism, Queens of India,” is designed to everywhere, Chawdhary said. "It’s news photography is “[document] queer men and artists universally the same." more condensed in India. taking up the art of drag to express Photojournalists shooting events in their alter ego, liberate themselves News India are challenged to depict the and break gender stereotypes,” Additionally, Chawdhary works event in one image. Chawdhary wrote on instagram. for several English national daily “Te news photograph is just Chawdhary diferentiated newspapers. English national the one photograph that does GLOBAL PHOTOJOURNALISM everything about the news, Tere are also concerns when the U.S. are the kinds of photos that because you don’t have that much publishing images of children in are taken and what is considered of space in the print version of India. Children’s faces aren’t printed acceptable. any newspaper,” Chawdhary said. without consent. “Staged things are diferent "So it’s quite challenging for a “You have to get a proper in the Swedish schools of photographer to explain everything consensual form,” Chawdhary said. photojournalism,” Enekvist said. in a story in [one image].” “Tey give you a couple to have Te diference in what’s with you all the time, so that you acceptable is an efect of Ethics can get instant consent, so you can photojournalism being taught in In India, using posed photos is have it on record.” the arts departments, focusing on common for regional newspapers. India also has a strict code aesthetics, rather than journalism. “[It’s] really controversial,” when it comes to victims of sexual "[Photojournalism] is more Chawdhary said. “[It’s] a common assault. Teir names and faces are conceptual in Sweden, and there’s phenomenom because of a lack not allowed to be printed. more staged things to prove a of education, because of a lack of “It’s a very, very strict code that’s point,” Enekvist said. “It’s not the training.” followed across India,” Chawdhary typical fy on the wall journalism.” said. “No rape victim names, no rape victim photographs will be Perception printed.” International photographers Tough India has a strict set of have also noticed a diference nationwide rules, every newspaper in social perception of has a diferent ethical guideline. photojournalists in their home “Most of the [newspapers] that countries and the U.S. I freelance for on a regular basis “Photojournalism is more say no smoking photographs, no respected in the U.S. than it is in indulgence of alcohol, no drugs." India,” Chawdhary said. Tough Javier Aznar works Swedish perspectives as a wildlife photographer in Troy Enekvist is a photographer Spain, and has had several of in Uppsala, Sweden. He is a his photographs published in member of the Association American publications, he has of Swedish Professional noticed diferences in photography, Bangalore-based drag artist Alex Photographers. He has won several as a whole, in Spain, compared to Mathew, in her drag persona as Mayam- College Photographer of the Year the U.S. ma - mother of illusions - gives a fnal Awars, as well. “In Europe, or even in Spain, the glance as she heads for a performance. A major diference of photographer is not a really well- Photo by Sahiba Chawdhary. photojournalism in Sweden and paid job,” Aznar said.

One of the most amazing animals Ive encounter on the Prateek helps settle Nitish aka Shabnam Be-Wa-Fa (sitting), Ecuadorian Amazon, was this Mouse Opossum (Marmosa fx her faux hair as she prepares to get ready for her debut sp.). I could take this in situ photo durig one of my nocturnal performance at the queer-friendly nightclub, Kitty Su in New hikes through the jungle. They use to be nocturnal, feeding of Delhi. Photo by Sahiba Chawdhary. insects and fruits. Photo by Javier Aznar. DUANE'S WORLD An Easy Cure Found for Writer’s Block — By Duane Dailey write, I fnd out by sitting down words on readers. and writing a frst sentence. Now, 650 word columns are Tat may not be the lede, which becoming too much. Now editors can come later. say 500 words. Editorial space has A former student from years downsized. But, more vital is that ago stopped by to tell me the most reader’s attention span shrinks. useful thing he learned in college We’re headed toward 350 words. was my tip on writing. Put the most Tat flls a single screen, where new important stuf at the top. Get the readers look. reader’s attention. Recently He’s not a journalist, but a featured a popular novelist. She salesman. He uses the lede in his does 64 drafs on her books. Tat’s everyday work. rewriting to the max. Tere’s a sure-fre cure for Rees told us: If a reader doesn’t On the last writing day of MPW, writer’s block. Sit down and write. look at the frst photo, they’ll not you had time for at least four Afer years of teaching writing, likely go to the second photo. Ledes rewrites. Give yourself the luxury of I fnally found the best tip when are grabbers. Ledes stop readers. rewrite. Your stories will improve. teaching an honors class. Show or write something that the A fnal tip: Along with spellcheck To write, put your butt in a reader can’t pass on by. Stop ’em in on your computer, open the word chair in front of a keyboard. Start their tracks. count and reading ease features. wiggling your fngers. Write a When I started writing a column, Academics write journal articles at frst sentence on your topic. Get I just wrote however much I needed reading ease of grade 18, or more. something down to look at. Good to tell my idea. When USA frst came out they set writing comes in revisions. Wise editors told me to write to the mark at reading ease 8. Tat Another rule: Never submit a ft. Originally that was 650 words. was my standard for years. Now my frst draf. By draf four you may be I’d been writing about 800 words. columns read at 6. ready to publish. My frst drafs are still about 800 For your hectic life this week, I David Rees gave a version of the words. Cutting useless words going shifed down. Tis column runs 4.3 cure Tursday night. Write your from 800 to 650 words improved reading ease. You can do it. story summary before you go to my writing. Put your butt in a chair you bed. Excellent idea! Tat gives you Don’t infict absolutely useless know where. something to edit, rewrite and fne tune on Friday. Journalists take the cure every day. It’s a deadline. You have the luxury of setting a false deadline in front of real deadline. You will be amazed how good your writing becomes if you write and rewrite. In 20 years of writing a weekly column, I fnd putting my butt in chair in front of a keyboard works. If I don’t know what I am going to Faculty member Alyssa Schukar works with photographer Hunter Dyke on his fnal story edit. Photo by Jenna Kieser. A THOUSAND WORDS Books Every Photographer Should Read — Compiled by Hannah Musick and Maddie Davis Co-Directors blue" by Eugene Richards Yasmin Tajik — “How to Win Friends Jim Curley — "Looking at Barbara Gracner — “Letters to a and Infuence People” by Dale Carnegie Photographs" by John Szarkowski Young Poet” by Rainer Maria Rilke Kelsey Walling — “Wise Trees” by Duane Dailey — "Tinking, Fast and Jennifer Guyton — "Women of Vision: Diane Cook and Len Jenshel Slow" by Daniel Kahneman Photographers on Carlton Ward — "Vanishing Breed: Brian Kratzer — “Truth Needs No Assignment" by National Geographic Photographs of the Cowboy and the West" Ally” by Howard Chapnick John Happel — “Bending the Frame” by William Albert Allard David Rees — “As I See It” by John by Fred Ritchin Sijie Yuan — “Chinatown: A Home Loengard Victor Hilitski — “Exiles” by Josef Within the City” by Chien-Chi Chang Koudelka Faculty Tomas Hudson-Gomez — “Sculpting Support Dennis Dimick — “Tinking in in Time” by Andrei Tarkovsky Brien Aho — “How To Practice: Te Systems: A Primer” by Donella Meadows Taylor Irby — “Vision, Courage and Way to a Meaningful Life” by Dalai Lama Melissa Farlow — "Hillbilly Elegy" by J. Heart” by Bob Lynn and Robert G. Lynn Kris Bosworth — “Short Nights of the D. Vance Sarah Ann Jump — “Photosynthesis” Shadow Catcher” by Timothy Egan MaryAnne Golon — "War Without by Bryan Moss Hany Hawasly — “Te War of Art” by Heroes" by David Douglas Duncan Vikesh Kapoor — “Wild Pigeon” by Steven Pressfeld Torsten Kjellstrand — “Te Carolyn Drake Derek Poore — “Te Life of a Americans” by Robert Frank Brooklynn Kascel — "Close to the Photograph” by Sam Abell Kim Komenich — "On Being a Knives" by David Wojnarowicz Ray Wong — “Visual Impact in Print” Photographer" by Bill Jay and David Hurn Keith Lane — “Midwestern by Angus McDougall and Gerald Hurley Bill Marr — "Te Color of Water" by Sentimental” by Nathaniel Grann James McBride Joyce McMurtrey — "Family of Man" Crew by Edward Steichen Mary Beth Meehan — “People of the Ellie Cherryhomes — “It’s What I Do: 20th Century” by August Sander Ioana Moldovan — "Black Passport" by Stanley Greene A Photographer’s Life of Love and War” by Kathy Moran — "Road to Seeing" by Lynsey Addario Dan Winters Angus Mordant — "Twins" by Mary Ellen Mark Maddie Davis — “Letters to a Young Randy Olson — "Compassionate Poet” by Rainer Maria Rilke Photographer" by Larry Burrow Jennifer Mosbrucker — “Truth Needs No Ally” by Howard Chapnick Jessi Dodge — “Where We Have Hope” Alyssa Schukar — " Te Cruel by Andrew Meldrum Radiance" by Susie Linfeld David Rodriguez — “Moments: Te Pulitzer Prize Winning Photographs” by Zihan Huang — “Diane Arbus: Portrait of a Photographer” by Arthur Lubow Photographers Hal Buell Stacey Rupolo — “On Photography” Jenna Kieser — “Bird by Bird” by Anne Jennifer Adler — “Diane Arbus: by Susan Sontag Lamott Portrait of a Photographer” by Arthur Andrew Ryan — “Down and Out in Yehyun Kim — “Bryan Peterson’s Lubow Paris and London” by George Orwell Understanding Photography Field Guide” Brian Amdur — “Te Alchemist” by Nigel Rumsey - “Fat Baby” by Eugene by Brian Peterson Paulo Coelho Richards Youngrae Kim — “Te Americans” by Javier Aznar — "My Family and Other Madison Simmons — “On Robert Frank Animals" by Gerald Durrell Photography” by Susan Sontag Baylee Konen — “Gravity” by Robert Daniel Carde — “It’s What I Do: A Becca Skinner — “It’s What I Do: A M. Drake Photographer’s Life of Love and War” by Photographer’s Life of Love and War” by Jessica Belle Kramer — “Te Tings Lynsey Addario Lynsey Addario Tey Carried” by Tim O’Brien Chase Castor — “East of Eden” by John Alex Snyder — "Avedon: Something Jacob Moscovitch - “Te Round Steinbeck and “La Calle” by Alex Webb Personal" by Norma Stevens and Steven House” by Louise Erdrich Sahiba Chawdhary — “Te M.L. Aronson Hannah Musick — “Te Kitchen Table Americans” by Robert Frank Idris Talib Soloman — “Tink and Series” by Carrie Mae Weems Hunter Dyke — "Te Mind's Eye" by Grow Rich” by Napoleon Hill Emily Nevils — “It’s What I Do: A Henri Cartier-Bresson Kanishka Sonthalia — "Bending the Photographer’s Life of Love and War” by Katherine Emery — “One Man’s Meat” Frame" by Fred Ritchin Lynsey Addario by E.B. White Stephen Speranza — "Photographs Not Liv Paggiarino — “Bird by Bird” by Troy Enekvist - “Down and Out in Taken" by Will Steacy Anne Lamott Paris and London” by George Orwell Sree Sripathy — Any book by Gary Ethan Weston - “Short Nights of the John Ewing — "Cocaine true, cocaine Winogrand Shadow Catcher” by Timothy Egan BEHIND THE SCENES Q&A with Hany Hawasly, logistical engineer — By Maddie Davis and Hannah Musick

Question: What is a logistical engineer? Answer: "My job has two folds: my main job is to be responsible for running the workshop systems. I am responsible for the technical side of what happens. And at the same time, because I've been returning to the workshop, I always advise on what the best practices are to make the workshop run and function. For me, there's no clear line between the two descriptions."

Q: How long have you been doing this? move freely. Do people have access It needs to be a comfortable space. A: "I shot the workshop in to services? Is a certain team going 2013. I returned in 2014, and the to be burdened by people moving? Q: How did you learn how to do coordinators at that time started Is natural light an asset? Is the this kind of thing? facing technical difculties. David projector in the right space? Will A: "I think in regard to the [Rees] looked at me and said, 'Can the sound work properly? Do you logistics part, moving into a place you help them?' and I said, 'I'll look want students to be at the tables and repurposing it for a specifc into it.' I solved the problem, and when presentations happen, or do occasion or event came from Syrian that helped with streamlining the you want to make two seperate Red Crescent training for disaster workshop. So, this is my ffh year." spaces? And then, at the same preparedness. It included building time, you need to think of the staf. camps afer disasters. When it Q: How do you go from an Tey have the right to attend the comes to computers, I think I just empty room to a functioning presentations without leaving their naturally like to dig into details and workshop? stations because they have to work. try new things." A: "I don't think there is a recipe, You need to thnk about how to that's for sure. You need to go there create the best experience possible Q: Is this facility suitable to and get a sense of the space. In for everyone in the room. In short, make the workshop reach its goal? the past fve years, this workshop the goal of the process is to try to A: "I think if you ask people was the most difcult, although it make this space that might have tomorrow, they will tell you wasn't the smallest. You need to been designed for anything else to yes. Today they are stressed, but think about if people have room to work for the goals of the workshop. tomorrow they will say yes." #MPW70 RANGEFINDER David Rees CREW Brian Kratzer Facebook: editor MoPhotoWorkshop Maddie Davis Instagram: Jessica Belle Kramer Duane Dailey mophotoworkshop Hannah Musick editor emeritus