The MPW Method

The Workshop Experience

Howard Chapnick, in a 1983 Camera Arts article, characterized the Missouri Photo Workshop in a way that holds true today:

"It is a teaching experience that many say is a four year college education condensed into one fantastic, brutal, exhilarating, exhausting week, where one learns not only about photography, but about one's self."

There is no doubt that the Workshop is intense and extremely demanding of participants. Even experienced photographers are pushed to go beyond internal limits they might not have realized they had.

But for photographers trying to break through to the next level, there's no substitute for spending a week entirely focused on exploring their skills.

"This is a bubble, a wonderful, fabulous bubble," TIME Picture Editor MaryAnne Golon told shooters during the 54th workshop in Fulton in 2002. "Jump inside the bubble and say 'ooooh' and realize that this is great because it doesn't exist anywhere but here. Take advantage of it and immerse yourself,"

A look at the week

Sunday:
Workshoppers arrive, often travel-weary from a long airplane flight followed by a long drive to the small town, somewhere in Missouri. A welcome dinner with townsfolk is followed by orientation and presentations from faculty members.

Monday:
Photographers head out into the community, interviewing residents and looking for photo story ideas.

In the afternoon, photographers pitch their ideas to their faculty team members. Faculty accept or reject an idea based on its potential for human, story-telling moments. The photographer's level of experience may also be taken into consideration: a participant with a great deal of shooting experience may be steered away from a situation that is too "loaded" with obvious photographs.

That evening, as with Tuesday and Wednesday, more faculty presentations. Faculty may give popular old standard talks that inspire participants to see differently, or present recent examples of their own work.

Tuesday:
Photographers with approved ideas begin shooting. Some photographers are still searching for a story idea that will gain their faculty's approval.

In the evening, pieces of photo stories begin appearing on screen. Photographers are asked to succinctly introduce their stories and faculty critiques of initial photography emphasizes the need for photographers to find the story within the story.

Wednesday:
The pressure is on. A dawn-to-dusk day of shooting is followed by a critique session that might go to midnight or beyond.

Thursday: shooting and consultation with faculty during the day is followed by another night of critiques.

Friday: a last chance for photographers to plug holes in stories. Last photo drop at noon. In the afternoon and evening, participants make a final edit of their stories in conjuctions with their faculty team, as well as write captions and story summaries.

Saturday: the Workshop puts on a public exhibit of the photo stories and everyone in town is invited. Photographers have the strange and gratifying experience of watching their subjects see the photos of themselves.

That evening: a workshop picnic, closing ceremonies, final shows and fun.

Sunday: photographers, faculty and staff head home exhausted, but rejuvenated.