RANGEFINDER A BRIEF WORKSHOP HISTORY hen Clifton C. Edom story-telling photos. FSA Who of photojournalism. Wof the Missouri School director Roy Stryker and Faculty of today includes of Journalism founded the photographer Russell Lee some of the most energetic, Missouri Photo Workshop worked closely with Edom in productive and articulate in 1949, he too, looked to the creation of the Missouri documentarians currently the past to map the path Photo Workshop and helped working. All are experts for photojournalism’s future. to serve as faculty members dedicated to passing on Inspired by the raw, gritty during first several years. the fundamentals of photo and content-rich photos of research, shooting and the documentary photo unit In following years, faculty editing to those who hope of the pre-WWII FSA, the members have been many to carry on these values and Farm Security Administration, of America’s leadingindustry techniques in the future. Edom promoted research, photographers and photo observation and timing as editors; a roster of faculty and The workshop continues to the methods to make strong students reads like a Who’s follow Cliff Edom’s credo: “SHOW TRUTH WITH A CAMERA. IDEALLY TRUTH IS A MATTER OF PERSONAL INTEGRITY. IN NO CIRCUMSTANCES WILL A POSED OR FAKE PHOTOGRAPH BE TOLERATED.” your missouri photo workshop photos by Sam Gause FACULTY on why they come here CHRIS YUNGHI RANDY KATHY KIM WILKINS KIM OLSON MORAN KOMENICH Deputy Dir. of Photography Freelance Photographer Freelance Photographer Senior Editor (Natural History) Assistant Professor Dallas Morning News National Geographic National Geographic San Jose State University “I’m here because of Cliff Edom. I was fortunate “This is the oldest photojournalism workshop “It’s the fast lane for making these kinds of “For my entire career, I’ve heard this is the most “It’s an opportunity to return the favor. enough as a student to meet the father of and I wanted to pass on the knowledge of images, and getting the building blocks of worthwhile and quality workshop. It teaches the Missouri’s done a lot for me and for the photojournalism. I’ve been coming back every photojournalism that I know. And telling visual photojournalism. Nouns and verbs, the basics of most important thing each photographer needs evolution of photojournalism.” year because of that chance meeting I had 31 stories is important.” visual language.” to learn, and that’s narrative.” years ago and I’ll continue to come back as long as they’ll invite me.” DENNIS RICK LOIS RANDY PEGGY DIMICK SHAW RAIMONDO COX PEATTIE Executive Editor (Environment) Director Scott Chair in Journalism Visuals Editor Staff Photographer National Geographic Pictures of the Year International West Virginia University The Oregonian U-T San Diego “I want to play a part in the future of “MPW: it’s not only the right thing to do, it’s the “The fine cuisine.” “Here’s my poetry: I come back because I want “We don’t have the circles in our professional photojournalism, handing the torch to a new smart thing to do.” to work with the Rangefinder girls” environments that give us this infusion of generation of photojournalists.” inspiration that is found here.” JOT DOWN A FEW WORDS TO FOCUS YOUR STORY by Duane Dailey As I was eavesdropping on story pitches, I heard photographers describing subjects, not story lines. By this time in the week, every photographer should be able to say their story in a couple of sentences. As you start shooting, write down the story. It’s OK to change your hypothesis. These words help focus your work. If the photos do not support the words, it’s time to rethink. Make the words fit the photos. Don’t attempt to make photos fit the story. Show truth with a camera. Edom’s words remain with us. When your story comes up on the screen at the evening critique you’ll be asked to “tell your story.” Do that in three short sentences, at most. Before being called upon, think which words to use. Write them down. If you do that all week long, your Friday story-writing assignment will be simple. (top) Photographer Katie Currid chats with potential subjects on Tuesday. (middle) Ben Hoste checks with Mac team member Randy Cox about computer workflow issues on Monday. (bottom) Ever since he was a child, Kim Komenich has slept in church. photos by Sam Gause and David Rees DON’t Miss SCHEDULE TUESDAY NIGHT thE ShOw 7:30 FACULTY BY DUANE DAILEY PRESENTATIONS Photos from Troy stories become vi- YUNGHI KIM sual aids for the rest of the workshop. “PROJECT WORK” Yes, there will be more eye-opening RICK SHAW & KATHY MORAN lessons by the faculty. But, story slides “WHAT WE LOOK FOR IN become the main attraction. ASPIRING PHOTOGRAPHERS’ Understand this part: The faculty PORTFOLIOS” picks slides to illustrate teaching STORY INTRODUCTIONS points. Those photos may, or may not AND CRITIQUES be, in your final story; either individual story or the “big show” for the town. They make points to be shared with WEDNESDAY everyone. 8:00AM - 12PM First, you gotta be here to learn STORY CONSULTATIONS Lois Raimondo gives a lecture Monday night. photo by Sam Gause from them. You must have special dispensation from your faculty to miss 1:00PM - 5:00PM even part of an evening show. THE STORY CONSULTATIONS Chris Wilkins told a photographer: SUPER 8 TROY’S STORY UNFOLDS If your subject is meeting his long- lost mother after 30 years, we might IS SUPER FORECAST BY DUANE DAILEY of boring people to death.” This gift is vital to success. Learn to balance excuse you from the evening program. Our photo eyes are recalibrated at MPW coming forth and fading back. It can Otherwise, be here. great 64 Troy. The faculty slideshows set be stressful on photographers waiting You can be with your subject until photos by WEDNESDAY THURSDAY FRIDAY new standards. Their challenge: Show for the next scene. You can’t intrude minutes before the program starts. SAM GAUSE what you can do with documentary to direct. You must allow subjects Afterward, you can return to spend photojournalism. to show what they do--not what you the night with your subject. But, show Our brains are infused with new want them to do. time is sacred. You will learn from see- LIKE ON FACEBOOK: ways of thinking. Anthropology seeps You learn to anticipate, but not ing how other photographers solved MPW 64 in as Lois Raimondo, Randy Olson and direct. If you know your story, not a their problems – or didn’t. FOLLOW ON TWITTER: Chris Wilkins show what it takes to hypothesis, you’ll see moments needed Be here to see which photos were @MPWrangefinder gain access to cultures in the Congo, to tell the story. Your mind has a list of selected from your take. Afghanistan and Texas. moments observed, but missed. Wait #mpw64 These insightful photographers for them to happen again. They will, if The faculty picked your photo to CORRECTIONS ON INSTAGRAM: make a point, not to criticize you. show diligence in pursuing truth with they are true to the story. Patience is Here at the Rangefinder, we like to think that we are above silly mistakes #mpw64 a camera. It’s so powerful I almost fell required. Remember the life lesson from Bill like writing the wrong city for MPW participants. But obviously, we are not! out of my pew. Insights: Photojournalism is hard Eppridge: “Criticism ain’t bad, if you Especially on a tight deadline and computer issues and other excuses blah blah. Their photos hint at their credentials. work, mentally and physically. But, in listen.” SO, because we feel really bad for y’all, we fixed it. xoxo, the editors Heed their advice as they nudge you to Troy you don’t have to improvise with a STAFF founders: “You learn to anticipate, not direct” CLIFF AND VI EDOM explore the culture of Troy. Their photos car battery in your backpack to power co-directors: raise the bar. Every workshopper has your devices. Raimondo showed us JIM CURLEY AND DAVID REES freedom to dig deeper into stories then how she operates off the grid. director emeritus: they have ever done before. Unfold the Olson showed how to blend in but DUANE DAILEY next layer. also survive far from ATMs and fast NAVEEN NEETA NICK You have two and a half days until the food. MAHADEVAN SATAM SCHNELLE MPW coordinator: St. LOUIS, MO St. LOUIS, MO drop-dead deadline of noon Friday to Wilkins’ thoughts on survival in a INDIA AMY SCHOMAKER learn this cultural anthropology we call changing culture of journalism: your graduate coordinators: photojournalism. First, insert yourself photo career will be in a different BEN HOSTE AND KELLY COLEMAN into a socially dynamic group. From world. You must reinvent to survive. photographer: that you can learn when to interact to The lessons start this week in a culture sell yourself as an interesting person of what our host on Sunday called SAM GAUSE worth having around. Then, learn to “rurban” Missouri. Rangefinder editors: fade back so you can observe. And, Do you have photos to show that LEAH BEANE GARY learn. rural-urban mix? Barbara Doux asks a questions after OSCAR RHODES AND LIZ PIERSON Lois Raimondo’s lecture Monday night. DURAND An Olson insight: “I have the gift Fortunately, the natives are friendly. ABILENE, tX photo by Sam Gause LIMA, pERU AND RANDY COX.