RANGEFINDER
Volume 75 - Issue I
RANGEFINDER
Volume 75 - Issue I
Students at a Sedalia elementary school with classmate Susan Morney, center, after she transferred into their all-white class, in 1980. Photo by Donna Coveney/MPW.32
Missouri Photo Workshop Co-Directors Alyssa Schukar, left, and Brian Kratzer at MPW.74 in Excelsior Springs, Mo., in 2022. Photo by Lily Dozier/MPW.74
Welcome to the Missouri Photo Workshop!
You are now part of a photojournalism legacy that stretches back 75 years to the time after World War II and the Farm Security Administration. Over 2,500 photojournalists before you have been challenged to slow down, find a story and discover the narrative of the human condition in their moment. Now, it’s your turn to be part of the longest-running and first photo workshop. The success lies in the power of the photographic narrative as a storytelling method. We’ll help you to discover this power. Naturally, your faculty are key to this process. The bond between the faculty and their teams is where some of the real magic happens. Even though you approach with excitement, apprehension or other emotions, we’re here for you, to show you the power in slowing down, thinking and overcoming preconceived notions of what type of story your faculty want you to do.
We’re excited to watch photo stories develop into pieces of journalism that didn't exist before this week.
Sincerely,
Brian Kratzer & Alyssa Schukar,
Missouri Photo Workshop Co-Directors
The “Queen City of the Prairies”
By Makayla Hart
Founded by General George R. Smith as a railroad town a few years before the Civil War, Sedalia, Mo., lies at the crossroads of quintessential events in American history. Having failed to convince the people of Georgetown, Mo., to bring the Pacific Railroad to the city, Smith purchased 503 acres of prairie several miles south to meet the depot where it was set to be built. Originally called Sedville, it was renamed Sedalia in Philadelphia’s likeness to reflect the town’s lofty ambitions.
The land remained largely unchanged until the end of the Civil War, when the town entered a period of prosperity and exponential growth. The burgeoning city had already replaced Georgetown as the Pettis County seat in 1864. Within thirty years, citizens began advocating for the state capital to be moved from Jefferson City to Sedalia. The motion failed after a statewide vote in 1896.
The railway presence in Sedalia aided the city’s growth and reputation. For a short time, Sedalia was seen as a prime cattle drive destination. It welcomed the Missouri-Kansas-Texas (MKT) Railroad in 1870, providing further opportunities for development. During this time, friends of General Smith coined Sedalia the “Queen City of the Prairies.”
Business prospered during the late 1800s, including a few flourishing brothels that soon lined Main Street. So robust was Sedalia’s red light district that the city was described as “the Sodom and Gomorrah of the nineteenth century” by the St. Louis Post Dispatch.
It was during this time period that the ‘King of Ragtime,’ Scott Joplin, spent his formative teenage years in Sedalia, later studying music at George R. Smith College. The contributions of Joplin and Sedalia to the genre are celebrated annually at the local Scott Joplin Ragtime Festival, which will celebrate its 50th anniversary next year.
National financial crises of the 1920s, namely the Railway Shopmen’s Strike and the Stock Market Crash of 1929, deeply affected Sedalia’s economy. While the city managed to make a near-full recovery by 1940, the MKT Railway never did, prompting a transition from its historical rail-based economy to its modern-day manufacturing and service industry economy. The last MKT train passed through the city in 1958.
Now highways instead of railroads connect Sedalia to Kansas City, St. Louis, and the Lake of the Ozarks. Most of the MKT railways were donated to the state of Missouri in 1988, and they have since been converted into the Katy Trail State Park.
The city has hosted the Missouri State Fair since 1901 and with nearly 400,000 people continuing to visit the fair each August, it remains Sedalia’s biggest attraction. Several buildings have been preserved and are recognized by the National Register of Historic Places, maintaining the rich history of Sedalia.
MPW.32/Sedalia, Mo.
Idris Talib Solomon
Idris Talib Solomon is an award-winning photojournalist and art director based in New York City. He has a versatile background in graphic design, photography, video, and art direction. He has several years of experience in advertising and is currently on contract at HBO as an art director. He is especially passionate about documenting communities that lack proper representation; sharing their stories, culture, and the beauty of their everyday lives.
He has photographed for The New York Times, Amazon Prime, HBO, ESPN, Reuters and The Drone Racing League.
He is the host and creative director of The Black Shutter Podcast, a series of conversations with Black photographers, filmmakers, editors and creative business folks.
Torsten Kjellstrand
Torsten Kjellstrand has been a photographer since the Dark Ages, which is about when his people stopped pillaging Europe in favor of full time peaceful fishing, farming, herding reindeer, picking berries and quiet visual storytelling. When he manages enough courage and discipline, Kjellstrand tells the stories that few others are paying attention to. Famous people bore him. Sports feel kind of repetitive. Politicians make him sneeze. Ordinary people feel extraordinary, and are too often misrepresented or unrepresented in the stories we tell with our pictures. Torsten also makes films - same rules as the pictures.
Ariel Zambelich
Ariel Zambelich is a Lead Photo Editor for the Wall Street Journal. She previously worked at The Intercept, NPR Visuals and WIRED, and was a freelance photographer for over a decade. She is also on the board of Authority Collective, an organization that amplifies the voices of female-identifying and non-binary lens-based creators of color through community action.
Gabrielle Lurie
Gabrielle Lurie has been a staff photographer at The San Francisco Chronicle since 2016. Most recently she began organizing the Bay Area Women Photograph group where photographers in the San Francisco area gather for events, to share ideas and collaborate on work.
Lurie was twice recognized as Photographer of the Year by Pictures of the Year International. She was a finalist for the 2022 Pulitzer Prize. She studied art history and fine art photography at NYU Tisch School of the Arts.
Sarah Leen
In 2013 Sarah Leen became the first female Director of Photography at National Geographic Partners. In late 2019 she founded the Visual Thinking Collective, a community for independent women editors dedicated to visual storytelling.
As a student at the University of Missouri School of Journalism, Leen was the first woman to receive the College Photographer of the Year award. For 20 years she worked as a freelance photographer for the National Geographic magazine until 2004 when she joined the staff as a Senior Photo Editor.
Leen currently works with photographers and agencies consulting and editing projects and books, including America, Again with VII Photo, the 2020 FotoEvidence World Press Photo Book winner HABIBI by Antonio Faccilongo, Anders Wo by Petra Barth and Like a Bird by Johanna-Maria Fritz.
Leen mentors photographers and teaches visual storytelling at the Missouri Photo Workshops, Maine Media Workshops, Eddie Adams Workshop and Santa Fe Photo Workshop.
Melissa Farlow
Melissa Farlow is a freelance photojournalist who has worked extensively for National Geographic magazine on more than 20 projects in the American West, South America, Quebec, Alaska, the Alps and the Okefenokee Swamp.
Awarded a Pulitzer Prize with the staff of the Louisville Courier-Journal, Farlow received a National Headliner Award as well as Pictures of the Year portfolio honors while at the Pittsburgh Press. Named Distinguished Alumni by the IU School of Journalism, she was inducted into Indiana Journalism Hall of Fame in 2013.
In addition to projects for the Heinz Endowments, the Ford Foundation and Habitat for Humanity, her work is published in Smithsonian, GEO, LIFE, American Craft, American Bungalow, National Geographic Traveler and Sierra magazines. Farlow received a master's degree in journalism from the University of Missouri. She teaches workshops and is a frequent lecturer as well as a photography consultant with The Photo Society.
Randy Olson
Randy Olson is a photographer in the documentary tradition. Randy’s more than 30 years working on National Geographic projects have taken him to almost every continent. National Geographic Society published a book of his work in 2011 in their Masters of Photography series. Olson was the Magazine Photographer of the Year in the 2003 Pictures of the Year International (POYi) competition, and was also awarded POYi’s Newspaper Photographer of the Year in 1991 — one of only two photographers to win in both media in the largest photojournalism contest operating continuously since World War II.
In 2011, Randy founded The Photo Society. The purpose of the organization is to find economic opportunities and provide exposure to members as the economics of print dwindles. While working as a newspaper photographer at The Pittsburgh Press, Olson received an Alicia Patterson Foundation Fellowship in 1995 to support a seven-year project documenting a family with AIDS, and a first-place Robert F. Kennedy Award for his story on problems with Section 8 housing in 1991. He was also awarded the Nikon Sabbatical grant and a grant from the National Archives to save the Pictures of the Year collection.
Mallory Benedict
Mallory Benedict is a transmedia storytelling producer currently on the Camera and Photos team at Apple. Previously, she was a photo editor for National Geographic for nearly 10 years where she commissioned original photography for long and short-form stories on various platforms. Benedict was also the Programs Manager for Women Photograph, a nonprofit designed to elevate the work of women and non-binary photographers around the globe.
Benedict's photo editing work has been recognized by the American Society of Magazine Editors, National Press Photographer’s Association, Pictures of the Year International and Society of Publication Designers. She is a graduate of the Missouri’s School of Journalism.
MaryAnne Golon
MaryAnne Golon is the Director of Photography at The Washington Post. Before joining The Post in 2012, she was the director of photography at Time Magazine, where she was a senior photography editor for more than 20 years.
Golon graduated with honors from The University of Florida with a B.S. in Journalism. She previously curated Look 3: The Festival of the Photograph and help guide the 2-year product build of a digital asset management system for a major non-profit organization.
David Barreda
David M. Barreda is a visual editor, multimedia producer, curator, and journalist based in Oakland, California. He is currently a senior photo editor at National Geographic and a core team member of Diversify Photo.
Previously, David was a photo editor at Earthjustice, a founding editor at Topic, and a founding editor for ChinaFile where he launched the Abigail Cohen Fellowship in Documentary Photography in collaboration with the Magnum Foundation.
He has more than 20 years of visual journalism experience and prior to editing, he worked as a staff photojournalist at the San Jose Mercury News, the Rocky Mountain News, the Valley News, the Tallahassee Democrat, and the Herald of Randolph.
He is a graduate of the University of Missouri School of Journalism, where he received his Master’s degree, and of Middlebury College, where he majored in Geography and Environmental Studies. Born in southern Peru and raised on a sheep farm in Vermont, David lives with his partner, their 11-year-old daughter, and Dandelion, a poodle-terrier, Covid-adoptee, rescue dog.
Minh Connors: A look back on MPW.74
By Ellie Frysztak
Photos by Minh Connors
Minh Connors spent the week of MPW.74 following Sarah Robbins, a mother of five, as she navigated life in Excelsior Springs, Mo. She went from changing diapers one moment, to dealing with a teenager being suspended from school the next. AJ, Sarah’s fiancé of eight years, had recently returned to the workforce, which meant that Sarah was shouldering more of the parental responsibilities at home. Sarah was dealing with trauma from her ex-partner who fathered her two teenage sons, while also suffering from postpartum depression following the birth of her youngest nine months ago.
Connors sat down to reflect on his week at the workshop. The interview has been condensed for clarity and length.
What were your expectations heading into MPW.74?
I did a lot of street features the previous summer, so I thought it wouldn't take so long to find a story. After multiple stories falling through, and pitches being denied, I realized that this workshop was going to really push you!
How did you hone your pitch while in the approval process?
I think after spending some time with the family I found, and hearing Sarah's love for each of her family members, I knew I had a concise enough pitch that wasn't just "Hey, let's follow around a family." I wanted the focus of the story to be on Sarah and how she's holding her family together. I am not a fan of pitching, but it's an important step in the storytelling process. You need to have intention and structure of some sort when pursuing these stories.
How did you walk the line of being present as a human being but not allowing your presence to alter the outcome of Sarah’s situation?
I think it's important to be a human first and a photojournalist second. I was grateful to know the work of Sara Naomi Lewkowicz and Donna Ferrato, and how they drew a line. When the father and stepson were grappling on the ground, the father put the boy in a hold that could have seriously hurt him. I stepped in to make sure that didn't happen. Is it against photojournalism ethics? Maybe by the book definition, but if I have the power to prevent harm and no one else is there to prevent that harm, then I will act with no regret.
Connors is in his last semester in graduate school at the University of Missouri.His master’s thesis focuses on burnout among photojournalists and why they leave the industry for other professions.
Noon - 4 p.m. Registration at MPW headquarters: Libery Park Convention Hall
1500 W 3rd Street, Sedalia, Mo. 65301
4:00 - 4:45 p.m. *MANDATORY* meeting for MPW.75 photographers
“Getting Started” - Brian Kratzer, Alyssa Schukar, Hany Hawasly
Introduction of crew and technology
Sign-up sheet for breakout sessions and group discussions
5 p.m - 7 p.m. Meet & Welcome dinner with Sedalia townfolk
The Pavillion
200 S. Ohio, Sedalia, Mo.
7:30 p.m. Workshop program begins with faculty presentations at HQ.
Jim Curley, MPW co-director emeritus: “MPW History”
Jim Richardson: “A Wide Spot in the Road”
Sarah Leen: “What are Stories?”
Idris Solomon: “How to Approach People and Find Stories”
Brian Kratzer & Alyssa Schukar: “What Your Faculty Wants to Know” (preparing your story pitches)
Brian Kratzer / Duane Dailey: “Marching Orders”
Sorting Spittoon: Teams announced, followed by initial team meetings
Each issue of the Rangefinder will include trivia questions. The first person to bring all three answers to the Rangefinder table will receive a prize. Answers will be posted daily after the winner is announced.”
1. Former U.S President Harry S. Truman hails from Missouri. In which town was he born?
2. When Mr. Truman defeated New York Gov. Thomas E. Dewey in the 1948 presidential election he held up a newspaper printed before the results were posted reading “Dewey Defeats Truman.” Which publication printed the paper?
3. Which photojournalist took the famous photo of Mr. Truman cheesing with the false news on the back of a locomotive?
Photo by Robert Settles/MPW.32
Brian Kratzer, Co-Director
Alyssa Schukar, Co-Director
Hany Hawasly, Technical Director
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