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RANGEFINDER the Missouri Photo Workshop | September 27, 2016 | Volume 68, Issue 3

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RANGEFINDER the Missouri Photo Workshop | September 27, 2016 | Volume 68, Issue 3 RANGEFINDER The Missouri Photo Workshop | September 27, 2016 | Volume 68, Issue 3 Newly married Latoya Pate, left, and her husband Jared Pate, seated center, met in Cuba in the summer of 2015. Both were searching for a safe haven from big cities and have found a home where they can share lunch with Latoya’s daughter Raven Tackett, right, and her two-year-old son London. PHOTO BY SOFIA JARAMILLO Enlightenment: on the path to visual literacy Newsroom leaders talk about accending to the role of photo advocates Story by Kelsey Walling, the internship. “I wasn’t Photography by sure that I wanted to be a Michael Cali photojournalist and photo for me.” She says being a photo editor is being an advocate for a photographer. “To be a good editor, you have to be the translator for the photographer,” Golon said. “You have to become invested in their work and be Dave Marner, left, and Duane Dailey have been friends since Dailey hired Marner as that an editor is removed a student photographer for the MU from a situation and can help photographers develop their environment at National MaryAnne Golon is the vision. Geographic Magazine and Assistant Managing Editor Golon said, “I just consider was previously a picture editor and Director of Photography myself a photography at the Louisville Courier- at the Washington Post and person.” She says the same Journal and before that a previously a photo editor at visual thinking and literacy is sports editor and photographer TIME magazine. required from both the photo at McMinnville (Ore.) News As a student, Golon says editor and the photographer. Register. she found herself as a lost The roles are different, but “I lived in both worlds when photographer. She was an the goals are the same. I began my career,” Dimick art student. Her professors “As an editor, you want said. “I was coming up with told her that she looked too your photographers to be ideas, taking photos, and hard for meaning in her published,” Golon said. “You laying out stories.” photography and that she want to make sure their work He says being a photo editor should go into journalism. is properly acknowledged. is about bridging the gap When she came to journalism Dave Marner (MPW 54, between driving the agenda her professors told her that Fulton) began his career as of a story and working with Dennis Dimick, executive editor of environment at National Geographic Magazine, she was too artistic for a photographer and is now photographers to visually tell journalism. Until she found the content and photo editor the story. what I’m looking for because Being a photo editor is about photo editing in her senior at the Gasconade County “Photographers need to of a crop or they just don’t living and breathing pictures year she felt as if she was a Republican in Owensville, become the master of their think it is good.” Marner is a he says. “woman with no country.” A Missouri. subject matter,” Dimick said. photo editor at the Gasconade “Everything I have ever done TIME magazine photo editing Marner says being a photo “At the end of the day it’s County Republican and was a has begun with photography,” internship during her senior editor has made him a better- about the stories, not about the photographer for many years Marner said. “Photo editing year changed her perspective thinking photographer. MaryAnne Golon, Assistant Managing Editor and Director of Photography at the Washington Post, evaluates beforehand. “I got tired of makes you a better shooter, on photojournalism. “I have enjoyed looking at editor’s essential role is not to looking at my own work,” every perspective makes you “I was lucky to learn from select the best images, but to Marner said. “So many people see a different point of view.” Michele Stephenson and we in photographer’s takes that can shoot, but choosing Dennis Dimick is former balanced each other really they just did not see,” Marner matter within a photographer’s content is just as important.” well,” Golon said about said. “Some people can’t see shoot. The Bresson Boogie on Route 66 by Duane Dailey What’s your next move? What’s the You own all within your photo subject’s next move? frame. Once you snap the shutter it’s We need simple photos, as yours. Think. Do you need that all building blocks for your narrative. that junk in the background? However, learn to use photos within Background adds story-telling the photo. As space and time drops context. Inattentive photojournalists for telling visual stories, complex add distractions. A bright lamp behind double-duty photos gain value. the subject draws the eye away from From the start, think what where you want the viewer to look. you need. Olson says make it one What you learn from the Henri declarative sentence. Cartier-Bresson boogie is that moving Tally what you have. At the about changes all. Kim Komenich end-of-week you’ll wish you had a showed small shifts in your camera, scene setter. Get an attention-grabbing not even moving your body, change opener. Anticipate an ender. Oh yes, the aesthetics of your photo. add portraits. Monday night the eye-openers Then capture details, such by Komenich and Randy Olson taught Melissa Farlow’s grizzly-bear paws photogeometry. and claws. Study your frames, every Photo by Michael Cali Show us how photojournalism millimeter. You must. This week your will be better than the other two. faculty will. In slow times, don’t shoot You compete with thousands of ‘em In an instant, you must assess frames to amuse yourself. I’ve done snapped every second. that, hoping something happens when Your job: Keep practice, those moves become second the camera snaps. It just distracts. photojournalism alive and vibrant. natures. A slight camera shift moves Moving near the edge of With patience and observation something on the wall behind the boredom allows the subject to lose you learn your subject. Then, it subject out of the frame. Or, it hides it track of you. requires making the needed photos. behind the head of your subject. Your This isn’t shooting a thousand frames boogie becomes subtle. and hoping there’s a story lurking Moving closer cuts “This isn’t shooting a in that mess. The MPW way: Know what you have and what you need. background, leaving less space thousand frames and to clutter. Moving back brings in Then shoot it. storytelling detail. Same thing, up and hoping there’s a story Finally getting the needed shot down. Also, keep your camera square lurking in that mess.” recharges your heart. Just don’t shout with the world. - Duane Dailey out: “I got it!” It’s amazing, but cameras Story telling takes practice. work on their side. Shoot verticals. This week you have practice time. This week, if you don’t know You can go back to your subject and the moves, learn ’em. As you spend quiet time with try again. Have patience. But, use slow your subject, don’t let your mind doze But learn to not over pressure times to plan. While anticipating off. Catalog moments you missed. If the subject. You must maintain action think backgrounds. Move your they’re part of your subject’s nature access. That’s part of the art. they will occur again. Anticipate Once you learn the MPW action will happen. when and where that happens next. boogie, you’re hooked for life. It In a rich situation, don’t shoot Photography is a thinking grooves in your soul. just one frame. If you shoot three, one game more complex than chess. Time Travel We asked workshoppers what subjects they would photograph if they had a magic camera that could make a picture of anything, anywhere: past, present or future. Brien Aho Cody Lohse 9/11 - he was two David Rees’ Wedding hours away at Syracuse University for a Military Woodstock Festival, 1969 Photojournalism program and was ordered not to go. The signs following church, Jolo, WV, 1930s The Miracle on Ice hockey match, 1980 Neil Armstrong stepping onto the moon, 1969 Photo by Patrick Sison/AP Photo from AP Dougal Brownlie Kim Komenich The Men’s 2008 Harry Houdini locked out Wimbeldon Final between of his car Federer and Nadal House photographer for The Explosion of Mount Birdland Jazz Club, NYC, Vesuvius and devastation 1950s of Pompeii, 79 CE His father playing Nelson Mandela’s release basketball at the from prison and the end of University of Wyoming as Apartheid, 1990 an All American Photo by Ian Walton/AP Photo from Library of Congress Lisette Poole The birth of a child The revolution in Cuba, 1959 The end of a life The fall of the Berlin Wall, 1989 refugee family Life and peace protests in the 1960s Photo by Jacqueline Larma/AP Photo from AP Cuba to Cuba Connections of Cuba by Davis Winborne - - - - FINDER A typical street scene in the outskirts of Havana, Cuba. Photo by Lisette Poole WEATHER SOCIAL MEDIA: #MPW68 RANGEFINDER EDITORS: TOMORROW THURSDAY FRIDAY FACEBOOK: Missouri Photo Workshop Nadav Soroker Brian Kratzer 67 ° / 48 ° 69 ° / 49 ° 70 ° / 50 ° TWITTER: @MoPhotoWorkshop Kelsey Walling Duane Dailey INSTAGRAM: @MoPhotoWorkshop Davis Winborne RANGE.
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