When Walker Knight went to the
Home Mission Board of the Southern Baptist Convention, in 1959 he was handed
photo story packages done by Don Rutledge. He published some of those photo stories. Walker Knight became acquainted with Don
Rutledge. When Don traveled to Atlanta
for coverages or when passing through town, Don stopped by and visited Walker
Knight. At the time they had Ralph
Rogers as a photographer. Mr. Rogers'
direction was portrait and commercial. When Mr. Rogers' left they were without a photographer. It was the hope of Walker Knight and Jay
Durham that they could secure Don Rutledge to fill the position.[17] Jay Durham was the Director of Media
Services for the Home Mission Board at the time.
 |
| Figure 14 Baily King in front of his home in Quinten, Mississippi. |
Don did not drift into missions
work. Don Rutledge's turning from a
secular career to express his artistry as a Christian was a conscious decision
on Don's part.[18] This was not the only avenue open for
him. The economy did not force this decision. Actually in the three months before Don went
to work for the Home Mission Board, Don made more money than he did in the next
two years at the Home Mission Board, even when his salary
and travel budget were included.[19] All this is to say that Don's acceptance of
the invitation to come to the Home Mission Board was the fulfilling of his call
to the ministry.
Walker Knight recommended Don to Jay Durham and L. O. Griffith, the Director of Communications, at the Home Mission Board. They replied that Don wouldn't come to the HMB for our salary. Knight replied, "Let's let Don make that decision." "Okay, they said but will you call him to see if he is interested." Walker called Don, and he was interested, then Jay made the call and he was hired by the Audio Visual Department. Don agreed to come
on a trial basis for a year. Right from
the start there were problems. These
problems all revolved around changes. Most of the changes were from the old technology to something
better. The Home Mission Board had been
using 4 x 5 cameras, and Don was accustomed to using 35mm cameras. Earlier Don had an experience with LIFE magazine over this issue. He had been
assigned through Black Star to photograph a story at Georgetown College in
Kentucky. The story was about how the
actors were made up to look like stained glass. Don thought this would make a good story and had contacted Black Star
who then contacted LIFE.
 |
| Figure 15 "I got what I knew from watchin' and listnin' and thankin' for myself." [Home Missions, December 1979, 2.] |
Everything
was going fine until checking into the hotel the night before doing the
coverage. Don called the theater
department to confirm a story he was doing. The director informed him that another LIFE photographer, Don
Cravens, was there to photograph the same story for LIFE. It was not uncommon for this to happen; since LIFE was so large some departments would cover the same story. Don Rutledge contacted Black Star, and after
talking with
 |
| Figure 16 The difference from Bailey King and one of his childhood neighbors is that his neighbor only had to buy a guitar and Bailey had to buy land. That was the difference between him and Johnny Cash. [interview with Don Rutledge, 1985] |
them, the decision was
made to go ahead and shoot the story and then LIFE would decide on which
coverage to use. Don let Don Cravens
shoot the story first. Don Cravens shot
the story on a 4 x 5 camera and took until 4 am in the morning with the actors
to shoot. Don Cravens had to set up
lights due to the nature of the camera. Don shot the following night on 35mm and was done by 12 midnight. Don was using 35mm cameras which allowed him
to use available light and record the natural setting easily. LIFE used Don Rutledge's pictures in
their national and international editions of the magazine. The pictures were used all over the world by
many different magazines. Don Cravens'
pictures were never used. It could be
that the time involved in shooting a 4 x 5 does not do well with photographing
people in everyday life situations.[20] The 35mm allows for a more candid look to
photographs since it does not require as much light for exposure or a bulky
tripod.
 |
| Figure 17 Most of Bailey's neighbors are all poor and black. He was one of the few white men in the area. Bailey also saw himself as equal to his neighbors. They all had a great deal in common—even though their skin was different. |
L. O. Griffith, the Director of Communications, at the Home
Mission Board, was a photographer himself and could not understand why Don
could not make the transition from those "amateur 35mm cameras" to
4 x 5 cameras. He liked Don's work, but
had a real problem with understanding Don's refusal to shoot with 4 x 5 cameras. The issue of using 35mm versus 4 x 5 had to
go all the way to the top of the Home Mission Board to be solved. Dr. Arthur Rutledge, no relationship to Don,
but the Executive Director, had to decide. Dr. Rutledge stood behind Don, Walker Knight and Jay Durham. Many other issues just like the camera issue
would be repeated at the Home Mission Board.[21]
 |
| Figure 18 Luvenia, Bailey's wife keeps an eye on the children. |
Broadman had a contract with the Home Mission Board
regarding film strips. Broadman would
produce the filmstrips and the Home Mission Board would supply the
material. They came to the Home Mission
Board for a major meeting to set things straight. In a large department meeting Don was told
how to set his camera for proper exposure and what filters to use in different
lighting situations. Shortly after this
meeting the Broadman group complied with the demands of the Home Mission
Board. They were to listen to Don and
the photo department and not the other way around. This did not work. The Home Mission Board ended up producing
the programs by themselves.
 |
| Figure 19 This is George, a bowlegged Chihuahua, and Bailey's companion and friend. He keeps Bailey company since the doctor said Bailey would not work again. |
While Don was considering coming to work at the Home
Mission Board, Walker Knight hired an associate editor: Dallas Lee. Dallas Lee and Don Rutledge teamed up as a
writer and photographer team. The idea
of two specialists, one being the photographer and the other the writer, was
very new for Southern Baptists. They
revolutionized the way of communication for the Home Mission Board. Walker Knight commented that he
"credited Don Rutledge's photography as changing the whole nature of
photography in the Southern Baptist Convention. We never had a standard before, and Don
provided that standard."[22] Don taught and befriended many photographers
throughout the convention. Many of these
have gone on to work for national magazines like National Geographic. Ken Touchton, Steve Wall, Jim Wright and
others went on to major careers in photojournalism after meeting Don.
Jim Wright was a college student who worked as the only
lab technician for the Home Mission Board in the very beginning of Don
Rutledge's time at the Home Mission Board. Jim knew very little about printing. Don had contacted the lab Modern Age that Black Star was using in New
York. He had Modern Age print some negatives
for Jim Wright to use as guides. Jim Wright put
 |
| Figure 20 Lacking a formal education did not stop Bailey King from living, it just held him back. |
them on the dark room walls
as guides. Jim printed the negatives
until he could match the quality of the prints made by Modern Age. Every good photographer needs an equally
good lab technician. The lab technician
is just as creative as the photographer. Often negatives are difficult to print since they were shot under
existing light. Existing light gives
character and mood to the photograph, but often it needs a good lab technician
to develop within the print the qualities that enhance the communication
process and play down the distracting elements. This requires the printer to understand what
the photographer was thinking and to bring out those elements to enhance
the message and to play down the other elements so that the print grabs the
viewer and gets their attention.[23] Jim Wright helped establish quality
control in the printing process that is still used today at the Home Mission
Board.
|
||
Dallas Lee was excited by the stories that Don and he
were working on together. He would walk
in early and see all that was going on and would assume that Don saw what he
saw, and was busy shooting. He would
find out later that Don often would go into a situation and not pick up his
 |
| Figure 22 The King children enjoy the water to cool off during those hot days. |
cameras until he had been absorbed by the place. Don would wait long enough to understand
what wasgoing on rather than immediately
beginning to shoot.[24] Don has an ability with the camera to see
situations. There is always that
special moment from every situation that Don would capture. Henry Cartie-Bresson called this the
"decisive moment." Dallas Lee
said that Don taught him to have patience and to absorb information before
jumping into the story. This was the
"rounding out" of a journalist: allowing the story to tell itself
rather than his getting in the way with the journalist's own perception of
the story.[25] Don's ability with people and his love of
people is a driving force of Don's work.[26]
 |
| Figure 23 |
"Skilled hunters don't crash through the woods with guns blazing or overload themselves with unnecessary gear. On the contrary; they move quietly and carefully so as not to attract attention or frighten off the game. They blend with the environment."[27] Don's ability to blend into the woodwork is best shown in the coverage of Bailey King. Looking at the pictures moves one from where they are to the subject. This immediacy brings with it an interaction between the reader and the subject that breaks down barriers of time and space.
 |
| Figure 24 Luvenia and Bailey King enjoy moments like these that keep them going and keep them close. |
"Being poor ain't so bad. It's just inconvenient," said Bailey
King.[28] Bailey King was photographed by Don for some
three weeks. Don went to Quinten,
Mississippi, to show how a poor family lived in this country. Don bathed in the pond like the rest of the
family and ate just like they ate. He
contributed just enough to cover his cost without changing the level of the
family's income while he was there. Later he gave them money to help the family. Due to this story photographed by Don and
written Phyllis Thompson, the King's were provided a brick home by the readership
of the magazine.[29] Just before going to Mississippi to do the
coverage on the King family, Don had been reading Hans Kung book On Being a
Christian. After listening to
Bailey King, Don heard many of the deep theological concepts out of Bailey
King's mouth that he had been reading earlier by Hans Kung. Considering that Bailey King couldn't read
or write, Don realized that God speaks to all people in special ways. God seemed to be preparing Don for this story. With this preparation, Don not only listened
to Bailey as a good journalist, but for the common sense that was gained from
everyday life with Bailey King.
 |
| Figure 25 |
Mr. King lives in a primarily black neighborhood. Everyone around him lives in similar clapboard-styled
homes. Poverty is the lifestyle, but
that does not make King less of a man. Don sees to it in his photographs that people will see into the
man. Don uses the camera to move the
viewer to a new level. People who sing
in church all hear the music; some get a little deeper and let the words speak
to them, but those who lead the music must be functioning on a spiritual
level to move the people beyond the music.[30] Don, like all ministers, must go ahead of
the people and be able to bring the audience to the experience. Don moved Southern Baptists with this
coverage. As a communicator he had
mastered the skills to show Bailey King to Southern Baptists. He did not allow himself to get in the way of
the communication.
 |
| Figure 26 "On special occasions, people pay $100 for a plate of food, when I'm happy to get a sweet potato. The pore man spends most 'o his life halfway livin'." [Home Mission, December 1979, 14] |
"The Bible says man, not white man, not black man,
not Chinaman. Jus' man. So why do some of us thank we are better than
others?" —— Bailey King[31] King had a good understanding of such a
complex idea. Theologians study for
years to come up with the same understandings of the Bible that King put into
words. The gospel is for everyone and
not just for the elite. What better way
to communicate the need for us to go and help the poor than for a poor man to
humble us all.
"I been workin' since I's five, and I ain't got no
more now'n I had then. It is hard for me
to walk. But you can't give up jus'
'cause you hurt a little bit. If you
fall on your knees and break down 'round here, you ain't gonna get up no
more." --Bailey King.[32]
As one looks at Don's photographs you notice that often the pictures have two or three pictures in one picture. This approach of Don's is what he excels in more than any other dominant style of photograph he does. Usually when Don uses this composition technique, there is a primary subject in the photograph. Then the secondary element adds a touch of information about the environment. It also adds that quality called the "slice of life." By including these extra elements the photograph does not look trite or so much composed as just making you feel as if you were there yourself. The photograph has much information and keeps giving information everytime one looks at the photograph.
As one looks at Don's photographs you notice that often the pictures have two or three pictures in one picture. This approach of Don's is what he excels in more than any other dominant style of photograph he does. Usually when Don uses this composition technique, there is a primary subject in the photograph. Then the secondary element adds a touch of information about the environment. It also adds that quality called the "slice of life." By including these extra elements the photograph does not look trite or so much composed as just making you feel as if you were there yourself. The photograph has much information and keeps giving information everytime one looks at the photograph.
 |
| Figure 27 |
 |
| Figure 28 "People don' wanta fool with nothin'. But you gotta fool with thangs. People is worth foolin' with. All o' them is. I guess not carin' is 'bout as bad a thang as is." [Home Missions, December 1979, 18.] |
To tell someone's story through pictures one must come to
a deep understanding of the people he is photographing. He needs to understand the subject matter
well enough to simplify the message so it does not get lost in the communication
process. By living for three weeks with
the King family, Don was able to get to know the people. Many other photographers have tried to do
what Don had done, and usually they have come back too soon with the
story. Often the story others come back
with is their own perception of the situation. Many photographers can not get their egos out of the way to listen to
the people.
 |
| Figure 29 An Appalachian migrant family in Ohio during 1968. |
While egos are being mentioned, it is important to
note that most people who are photojournalist many have rather large
egos. Without some ego in this business
of photojournalism many would not survive. The ego gives the drive necessary in a field so competitive. Photojournalist are called many names by
media personel. Christlike is far from
the description given to the media in general. The difference with Don is that his ego does not show like most journalists.[33] What drives Don is not the ego but the love
of God. Don listens to Christ in his
walk and in this way is very different from the secular photojournalist. "When a bunch of photographers,
including some big names like Eugene Smith, would get together, Don was the
one who would go for coffee for everyone——he's just that kind of a guy,"
said Knolan Benfield.[34] Knolan Benfield was the Director of Photographic
Services for many years at the Home Mission Board and worked very directly
with Don. Don was his manager. Knolan Benfield is this writer's uncle and
the one who introduced Don Rutledge to him.
 |
| Figure 30 Angela Fung works in the day care program at Utopia Parkway Baptist Chapel in New York City. |
"The most important thing about Don is that he almost
single-handedly raised the level of photojournalism within the convention,
and also created a standard of excellence by which everybody else who
worked around him had to be measured or measured themselves. These two things are enormous contributions
to Southern Baptist communications efforts. Just his presence demands such a high standard of production from editors,
writers, as well as other photographers. Don does all this with a great deal of humility. This is also reflected in his willingness to
help young photographers. This all
stems from Don's enormous sense of security within himself. He is sure of who he is and what he can
do. He knows what his abilities
are. This gives him a solid foundation
for helping other people without any threat to his own career or his own fame
or notoriety."[35]
Don has an ability to help one grow in the field of communication. His gift is in pointing out the weaknesses
in a shoot as well as the strengths.[36] After the writer had been taking his work to
be critiqued by Don for several years, the writer noticed that Don would look
for positive things on which to comment and would pass over much of the
work. Slowly, as the writer started to
focus in on the positives, the more Don would comment. Finally when the writer became bold and asked
Don what was wrong with some of the other photographs, Don spoke more
openly. Don is careful not to
criticize. He looks for the positives in
the work of others.
Knolan Benfield remembers many times when he thought
that Don should just tell the person to try another field. Don would ask others look at the work and
let them state the negatives. On one
occasion a photographer came to see Don and, after talking with the man,
introduced him to the writer. After
looking at the portfolio, the writer made a few suggestions for
improvement. Several months later the
same man returned with the same portfolio. No changes had been made. It was
as if the man never listened to Don or the writer. Don commented later that he could not
believe one could have the nerve to show the same portfolio to him twice and
not correct the problems.
Don's graciousness was needed to talk to the Southern Baptists
who were in leadership at the Home Mission Board and other agencies. He had a way of gradually getting others to
join his team. He did not put down the
work they were doing, but by showing what he was doing, he led others to join
in and be a part of the process.
 |
| Figure 31 Boys at a Baptist community center in Kentucky in 1970. |
Don is not able to do alone all that it takes to put out
the work of his caliber. It takes the
team approach to make it happen. Don
believed in the photo lab to do its best in printing his work to make it stand
out and make people stop and look. Don
always had professional labs print his work. While with Black Star He tried to develop a style of his own. One day he walked into the lab that he used
and a lab technician was out front. He
asked Don if he was Don Rutledge. The
man wanted to talk to Don. He had been
printing Don's work for many years and admired it. Don did not want the man to know that he was
not aware of his style. So he asked the
man what he liked about his style. The
man said he liked the way he treated people with dignity. He noticed that Don was a very religious man
and had a deep appreciation for social issues. This man told Don so much about himself, that at that moment Don
realized that what he had been working so hard to do was succeeding. He also realized how much one knows about him
by just looking at the photographs.
The main theme in all of Don's work is LOVE.
If I speak in the tongues of men and of angels, but have not love, I am only a resounding gong or a clanging cymbal. If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but have not love, I am nothing. If I give all I possess to the poor and surrender my body to the flames, but have not love, I gain nothing.Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It is not rude, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away. For we know in part and we prophesy in part, but when perfection comes, the imperfect disappears. When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put childish ways behind me. Now we see but a poor reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known.And now these three remain: faith, hope and love. But the greatest of these is love.[38]
While working with Black Star Don was able to communicate
this message through his photographs and did not necessarily need to work at
the Home Mission Board to accomplish this task. Today many Christian photojournalists work in
secular positions all over the country communicating the Christian message
through their pictures. One group that
the writer and many others are a member of is Christians in Photojournalism.
Why did Don leave Black Star and come to the Home Mission
Board, take a cut in pay and status to work with people who frequently produced
inferior quality products? This question
points very directly to the pioneering spirit that Don has about him and his
work. Photojournalism is a relatively
new profession. LIFE did not
transpire until 1936, and this is the magazine that developed the picture story
and basically fashioned the field of photojournalism. Staying with the major magazines would have
proven very lucrative for Don.
Walker Knight knew that photojournalism was the direction
needed. However, few Christian photojournalists
existed who could have made the dreams of Walker Knight and others become a
reality for Southern Baptists. Don Rutledge
was able to do this. His studies at a
very conservative Bible college and his upbringing in the Baptist life coupled
with his skills as a photojournalist made him a prime candidate to deal with
many of the issues that he was to take on while working for the Southern
Baptists.
Many of the leaders in the Southern Baptist Convention
have one thing in common. They were
pastors at one time or another. This
common connection helped Don in ways that other photojournalists after him
have not had. This ability to understand
those with whom he was working when dealing with difficult issues helped him
communicate effectively. While in
college studying psychology, Don learned a valuable insight into the human
nature from one of his professors. When
it comes to logic and emotion on any given issue, emotion usually wins out in
the argument.[39] Walker Knight realized that by writing
alone he was preaching to people, but with the photographs people saw for
themselves the condition of people and how they were living. The photograph argued through emotion. Don let his work speak for itself and used
very few words in meetings to make his points. If people liked Don's work and respected his opinion and asked for the
opinion, then Don spoke. On a few rare
occasions Don gave his opinion when not asked.
After coming to the Home Mission Board in 1966, Don made
a major impact upon the publication work being done by the agency. The coverages done by Don and the writers
that he worked with had a major effect on Southern Baptists. People were writing to complain and to
complement the magazine. Due to Don's
abilities, the Home Mission Board was making a difference in Southern
Baptists. Walker Knight had moved in the
direction that he saw as his calling and Don Rutledge visually helped to make
it possible.[40]
[24] Mr. Dallas Lee, interview by
author, Tape recording, Atlanta, Georgia, 7 January 1993.
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