RANGEFINDER
Volume 76 - Issue VI
Embedded Files
Photo by Nick Lachance | MPW.76 | Kennett, 2024
A rainbow arcs over the Delta Fair on Wednesday, Sept. 25, 2024, in Kennett, Mo.
Sarah Leen said when editing sensitive imagery,
Sarah Leen said when editing sensitive imagery,
‘You need to get it right’
‘You need to get it right’
By Olivia Maillet
Sarah Leen is the first woman ever to hold a position as National Geographic magazine’s director of photography. For two decades prior to joining the magazine’s staff as a senior photo editor, Leen worked as a contributing photographer.
In addition to Leen’s keen eye behind the lens, Leen has a knack for visual style and has edited pictures for FotoEvidence, a nonprofit book publisher focused on photojournalism. In the past, she has photo edited books about the social fabric of Lebanon, sex trafficking in Bengal and sperm smuggling in Palestine.
In 2023, FotoEvidence asked Leen to organize more than 6,000 photo submissions of first hand testimony of the Russo-Ukrainian war from 2022 to 2023 into a book of 360 images. Leen immediately began sorting the photographs by theme: destruction, religion, the elderly and the military. She also categorized them by location and photographer. While doing so, she studied the history of the war to the point of having a “massive education” by the time she had completed the book, “Ukraine: A War Crime.”
“This book was very particular in the way that it is multiple photographers and a war that is very deeply personal and not my war,” Leen said. “While I’m good at figuring out structure, you are telling the story of a country, and you need to get it right.”
Leen worked closely with Irynka Hromotska, a Ukrainian photojournalist who Keen met at MPW.74 while Hromostska was writing for the Rangefinder and finishing her master’s degree in photo editing at the University of Missouri. Leen also collaborated with Svetlana Bachevanova, an art director at FotoEvidence.
“[Bachevanova] wanted the book’s opening sequence to start out like an avalanche,” Leen said. “Like, ‘Boom!’”
And boom she did. The book’s result depicted the horrors of the war in Ukraine, told thoughtfully through Leen’s creative vision. Leen curated the pictures chronologically, “tick-tocking” the viewer through a year of events. Intentionally scattered photo stories throughout the book, have specific chapters zeroing in on the Bucha massacre, Kharkiv and Kiev, Ukraine’s capital.
“We asked the photographers to send their witness [testimonials],” Leen said. “Those were interspersed between the big locations, the various stories and singular images where there is text from the photographers.”
Leen found extensive overlap in the photojournalist’s war coverage. In some cases, she chose what she thought was the best image, and, in other cases, she would build grids to showcase dozens of photos on a two page spread. Such a layout, Leen said, provided a framework in which to show, for example, wrecks of buildings all over the country.
Leen also implemented clever organization in double-gate folds. In one layout, he placed pictures of missiles that failed to explode on the outside of the gates. Opening the pages exposed the destruction the detonated missiles caused.
“You’re trying to inform. You’re trying to connect with people’s emotions about what they are seeing,” Leen said. “The war was shockingly devastating both physically in terms of destruction and civilian death.”
In 2023, the 81st annual Pictures of the Year International competition recognized “Ukraine: A War Crime” as the Photography Book of the Year. Because Leen and Bachevanova did not have the bandwidth to include the more than 10 years of Ukrainian death and devastation at Russia’s hands in “Ukraine: A War Crime,” the pair decided to edit another batch of photos for a second book, “Ukraine: Love + War.” Leen said the idea for the title came to her as a shower thought.
“The challenge was to make the book the same, but different,” Leen said. “Different emphasis, and I wanted to start softer and more ethereal.”
This book, which was released in July 2024, features various photographers and has a greater focus on how Ukrainians were living and coping through the war. “Ukraine: Love + War” showcases stories of families who endured hardships such as dealing with a loved one’s life-altering injuries, raising a child on the front line and living in a house without running water or electricity. Leen saw and sorted through 4,000 photos. Around 250 appear in the final book.
Through imaginative methods of displaying sensitive, intimate and at times tragic photographs in books, Leen takes viewers on a virtual tour through the wreckage — and the tiny streaks of optimism — in the Russo-Ukrainian War. “Ukraine: A War Crime” and “Ukraine: Love + War” serve as documentation of the war and a testament to the Ukrainian people’s resilience. While daily news cycles may move on from covering these atrocities, these books ensure the public and will never forget.
Overheard at MPW.76
Overheard at MPW.76
By Olivia Maillet
Team Cliff and Vi
Team Cliff and Vi
Photographer: “What happens when a few of us go over the frame count?”
Faculty member: “We negotiate. How many?”
Photographer: “Seventeen.”
Faculty member: “Oh, we can get you more than that.”
Photographer: “I have 370, you can have mine.”
Faculty member: “Yes, we are a team.”
DISCLAIMER: This year, there is a 400 frame count hard limit.
Photo By Luis Bernardo Cano | MPW.76 | Kennett, 1991
Jorge López inspects cotton bales at Graves Gin, the company where he has worked for the past 30 years, on Wednesday, Sept. 25, 2024, in Kennett, Mo.
Photographers recall fond memories in the face of forthcoming fatigue
Photographers recall fond memories in the face of forthcoming fatigue
By Olivia Maillet
As the 76th annual Missouri Photo Workshop comes to a close, workshop photographers reflect on the most unforgettable moments from their past week. MPW is not only a time to learn about photojournalism and refine one’s photography skills, but it is also an opportunity to surround oneself with people who understand each other’s passion for making pictures.
Luis Bernardo Cano, a photographer and filmmaker based in Colombia, was making pictures of a cotton gin’s inner workings yesterday. Cano was by himself in the warehouse, and he said, because of its large scale, he was able to move around freely to play with different perspectives.
“Today, I used the stairs to go up in the building because I didn’t have the view to see all of the cotton,” Cano said. “They’re big things, and I didn’t have a drone. Nobody was there, so I went up, and it was a crazy moment.”
The techniques that MPW.76 photographers use to get the perfect shot for their photo stories will be knowledge that the photographers will take with them into their careers.
Kaitlyn McConnell, a photographer who documents the Ozarks, said when faculty member Kim Komenich talked about Henri Cartier-Bresson’s photograph “The Cyclist” during one of the night shows, she had a light-bulb moment. McConnell said she could instantly see the impact of checking for motion in a photograph.
“For me, it reminded myself that when I’m out taking photos, there are always be ways to make it more impactful,” McConnell said. “I want to be conscious of that and act on it as much as I can.”
For Will Sardinsky, a self-proclaimed “ecological journalist” based in Colorado. Sardinsky said he couldn’t remember what happened this week; he only has the capacity to remember the day.
“This morning, this very kind old guy introduced himself — he had his feet propped up on the diner, on the bar stools — as ‘Jer-Bear,’” Sardinsky said. “Then [he] introduced his friend wearing a Trump hat as ‘Trumpie-bear,’ and then he bought our breakfast. It was very unexpected.”
MPW.76 photographers might be running on little sleep, but they still day dream of creating captivating photo stories about small town life in Kennett, Mo. Inspirational and comical moments may stand out, but, collectively, the sense of empowerment MPW.76 gives its photographers will, by and large, be the most memorable experience of all.
Team Eisert
Team Eisert
Faculty member: “We often have a reputation of pushing. But, if you do this right, it's from a place of mutual respect and determination. These are different kinds of stories, a recording of history. … It's becoming part of the furniture.”
MPW.76 photographers face fears, form meaningful relationships
MPW.76 photographers face fears, form meaningful relationships
By Bailey Stover
Since arriving in Kennett, Mo., for this year’s Missouri Photo Workshop, photographers have survived on a carefully curated balance of caffeine, carbohydrates and camaraderie. The workshop brings together people from all nooks and crannies of the photography world. While some have experience covering breaking news or reporting on environmental issues with a camera, others, like Syndi Pilar, come from less traditionally photojournalistic backgrounds.
Pilar, who primarily practices street photography, lives and works in New York City, N.Y. Through her participation in MPW.76, she said she is dipping her toes into the world of photojournalism. Pilar said everyone she knows who has attended MPW in the past has described it as an “insanely difficult but really good” experience.
Contrary to others’ assumptions, Pilar said she is shy and doesn’t talk to people easily. When fellow MPW.76 photographer Thomas Rowell picked Pilar up from the airport at the start of the week, the pair — along with Eleazar Yisrael and Gabriela Passos — traveled together to Kennett, Mo.
“The whole thing of not being a journalist and not having experience in photojournalism, I came in very, like, ‘This is gonna be crazy,’” Pilar said. “But everyone, pretty immediately in the car, was like, ‘Yeah, we don’t know what we’re getting into. We’re all anxious about it.’ And it made me feel a lot better.”
Pilar was certainly not the only MPW.76 photographer to be nervous for the experience. Heehoon Lee, who is a Korean photographer now living in New York City, N.Y., said he was “really exhausted and burnt out” before attending the workshop.
“The most important reason why I’m here is finding my passion again,” Lee said.
He said he has enjoyed seeing his peers’ unique visual styles and “passionate attitudes.” By building relationships with his source, his fellow photographers and his Team Cliff & Vi faculty mentors, Lee said he has begun reconnecting with his love of photography and is giving himself permission to feel his emotions.
“I’ve cried a lot here,” Lee said.
Along with MPW helping to respark his enthusiasm for photojournalism, Lee said he hoped to learn how to integrate his Korean photojournalistic storytelling style into the United States’ visual journalism framework during the workshop. Korean and American approaches to photojournalism, Lee said, are relatively dissimilar. In his experience, U.S. photojournalists incorporate more symbolism and metaphors into their imagery than Korean photographers.
For Lee, MPW is also an important networking opportunity since he doesn’t have experience working with American picture editors. Still, Lee said, “relationships are more important than networking.”
Pilar echoed Lee’s sentiment and said the support she’s received from other photographers has been great. Even with the breadth of professional experiences represented at MPW this year, Pilar said she has not met anyone who’s made her feel “intimidated” or as if she didn’t deserve to be here.
“Everyone was going through the same s - - -, no matter how many years of experience they may have had,” Pilar said. “I would think that if anyone ever wanted to reach out to me for … whatever advice I can give them or for any help or whatever, I’m more than happy to. And, I would imagine that anyone that I’ve made connections here with would do the same.”
Photo by Olivia Myska
MPW.76 printer Jacob Luebbert photographs the growing crowd before the Delta Fair Parade begins with a Canon EOS R5 body and a 24-105 mm lens on Tuesday, Sept. 24, 2024, atop Dunklin County Courthouse in Kennett, Mo.
Canon empowers photographers, crew to execute MPW.76 vision
Canon empowers photographers, crew to execute MPW.76 vision
By Olivia Myska
With Canon as a sponsor for the Missouri Photo Workshop for the third year in a row, photographers have easy access to the equipment they need to help their visions come to fruition. MPW.76 photographer Mahu Kamal, a devoted Sony user, enlisted Canon’s help to check out gear so she could make a specific photo that her Sony camera could not execute.
Kamal wanted an image of her subjects’ home from the outside before sunrise when they have a singular light on in the house. With her Sony camera, she tried all the settings she could with the lowest f-stop, but she could not make the image she was wanting.
“I was really looking for something that I could shoot with in the dark,” Kamal said. “My lens that I have, the lowest that it goes is f/2.8, and they had a 1.3 or something, which was so exciting.”
Kamal said the process of returning to MPW headquarters and handing in her photos at the end of a take is a stress reliever. She said she has appreciated crew and faculty handling editing and toning, which allows her to focus exclusively on photography.
“It’s so nice to have some people that are super talented, by the way, in their photo editing skills and having the whole process done for you,” Kamal said. “It’s a huge weight off my shoulders. I’m super grateful.”
Once photographers, like Kamal, hand in their SD cards at the Concierge desk, they can walk away. Ren Ohlmeier and Remington “Remi” White at Concierge are in charge of obtaining and ingesting photographers’ SD cards. They also track how many frames each photographer has used in a spreadsheet. Once the images are in the MPW.76 server, Nicole Gutierrez, the “Vortex,” renames them. High resolution files go into the MPW archive, and smaller versions go to faculty for review.
After faculty and the photographers talk through the images, selects go to New York Times photo editor Jennifer Mosbrucker at Print. Mosbrucker chooses which photos her team will tone and print on Canon printers. Throughout the toning process, Michael Baniewicz, Yong Li Xuan and Jacob Luebbert ensure photos look as accurate in print as they were in camera to the human eye.
During tomorrow’s public exhibition from 10 a.m. to 2 p.m. at Fire Station 2 in Kennett, Mo., photographers, faculty and crew alike will see the culmination of their commitment to photojournalistic excellence. And, through a week’s worth of collective imagery, MPW.76 will preserve a snapshot of one small town’s story.
Team Cobb
Team Cobb
Faculty member: “You should show up at his house in the morning.”
Photographer: “Three in the morning?!”
Pop Quiz! Have you been reading the Rangefinder?
Pop Quiz! Have you been reading the Rangefinder?
By Olivia Myska
1. Which MPW photographer has a 1923 Mexican peso?
1. Which MPW photographer has a 1923 Mexican peso?
AJ Johnson
Autumn DeGrazia
Eileen Wisniowicz
Ashton Hacke
2. During which two Missouri Photo Workshops was Ray Wong a photographer?
2. During which two Missouri Photo Workshops was Ray Wong a photographer?
MPW.24 and MPW.27
MPW.22 and MPW.24
MPW.27 and MPW.29
MPW.25 and MPW.28
3. Kennett was originally named after a Native American chieftain. Who was it?
3. Kennett was originally named after a Native American chieftain. Who was it?
Lozen
Wovoka
Chilletecaux
Tecumseh
4. How many families did Torsten Kjellstrand photograph for “Black Soil?”
4. How many families did Torsten Kjellstrand photograph for “Black Soil?”
6
2
5
3
5. In which CPOY multiple picture category did MPW.76 photographer Anna Connors receive an “Award of Excellence?”
5. In which CPOY multiple picture category did MPW.76 photographer Anna Connors receive an “Award of Excellence?”
Interpretive Project
Documentary Photographic Project
Domestic Picture Story
International Picture Story
6. In what city did Mark Petty photograph a man named Thunderbird?
6. In what city did Mark Petty photograph a man named Thunderbird?
Tulsa
New Orleans
Sacramento
Tallahassee
7. Out of the 6,000 photo submissions Sarah Leen reviewed for inclusion in “Ukraine: A War Crime,” how many made it into the final book?
7. Out of the 6,000 photo submissions Sarah Leen reviewed for inclusion in “Ukraine: A War Crime,” how many made it into the final book?
425
335
405
360
8. How long has Canon been the main sponsor of the Missouri Photo Workshop?
8. How long has Canon been the main sponsor of the Missouri Photo Workshop?
3 years
10 years
7 years
5 years
9. What carbonated beverage did Kim Chapin favor while she was a student at the University of Missouri?
9. What carbonated beverage did Kim Chapin favor while she was a student at the University of Missouri?
Dr. Pepper
Mountain Dew
Sprite
Pepsi
10. Which Henri Cartier-Bresson photograph did Kim Komenich show in his “Aesthetics and the Meaning of Life” presentation?
10. Which Henri Cartier-Bresson photograph did Kim Komenich show in his “Aesthetics and the Meaning of Life” presentation?
The Cyclist (a.k.a. Hyeres)
Alberto Giacometti
Banks on the Marne
Behind the Gare Saint Lazare
Answer Key: D, A, C, D, C, B, D, A, B, A
Photo by Florence Middleton | MPW.76 | Kennett, Mo
Geraldine Harrell, center, born in 1945 and of Kennett, Mo., sits on her front porch with two of her great grandchildren on Sunday, Sept. 22, 2024. Her home is a gathering place for her children, grandchildren, great granchildren and their friends, who like to ride their bikes and scooters in the street outside her house.
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