Issues
Shooters who Report
vs.Reporters who Shoot
by Tim King
I think most of us have seen these arrangements. I have
spent years cutting packages of my own and I have known and know of
other shooters who also take up the mic and the keyboard. But the
reporter who shoots their own video, now that's another story. And
while I elude to a bad combination, I should point out there are positive
aspects that can be gained by a reporter who shoots, and they often
have more empathy for our profession in the end.
I work with a reporter who tells 'war stories' about
having to drag around her own gear in a small market. She is one of
many. They always seem to have found their way into shops that shoot
on 3/4" U-MATIC. Therefore the war stories are always all the worse
because they had that darned deck slung over their shoulder as well
as the camera, tripod etc. My heart goes out, really.
There should be more definition in the professional
roles and small market stations that pay scarcely above miminum wage
stink when they make people wear six different hats. But then, I also
had a friend at KYMA in Yuma, Arizona who was a fantastic Reporter/Photographer.
'Pablo' Baltes took the craft very seriously, and he had his own unique
style. That was years ago and I don't think Paul shoots much anymore.
But if you asked him, he would probably tell you that shooting in
the old days gave him a more rounded position in the business. We
both shot and turned reports in that 120 degree desert and we worked
and sweated together on more than a few stories.
Which career path is more challenging? The answer is
difficult and one that can only be solved by the person in question.
Shooting requires strength and grace, and it requires a mind that
can anticipate what certain images and sounds will be like once committed
to tape and after entering in the editing process. News photography
also carries with it other demands like attention to detail, and the
ability to handle challenging situations. We are safety-minded and
we all have to be somewhat technical. Reporters have a seemingly easy
job; their average day entails asking a few questions, writing a story
or two, cutting some voice track and probably doing a live shot.
The key word here is 'seemingly.' In reality, reporters
have to be able to take in an entire story and grasp it well enough
to write an intelligent and accurate report about it. When the newly
elected County Commissioner is talking about the latest appeal to
the land use board that may loosen some building regulations for newly
incorporated property in the rural subdivisions, the reporter is hanging
on every word trying to take it in, while the shooter is leaning back
talking to a friend from another station. This is an example of how
much more difficult the reporter job can be.Blue video is embarrassing,
but a story that missed a major fact is worse, and more damaging to
a job or career.
One comfort is that most reporters who shoot have to
do this only temporarily, as one-man-bands are far less common in
the medium and larger-sized markets. For those reporters who miss
shooting after they no longer have to, my hat goes off. I salute you.
You are the kind that we shooters like. For the rest, I repeat the
first sentence of this paragraph. But then that's life in the glamorous
TV news business. I find this subject important because as a cross-over
Photojournalist/Reporter I think I have enjoyed my career more than
some people who only stick to shooting.
I've found my way into amazing stories like a sub-critical
nuclear test, a skydive with Special Forces troops, and a ride in
an F-16. When you report you gain more familiarity with the people
in your market and there is nothing wrong with name recognition. But
cutting voice tracks is a push for a shooter especially in light of
deadlines. You have to work fast sometimes and we all know that the
quality curve dips downward when we are over-taxed and limited on
time. There is another answer for the photographer who wants to do
their own stories, many stories I have done were photo essays, or
'nat sound packs.' These can be the most rewarding and captivating
stories in my opinion. The photo essay is the key for the photographer
who wants to report but doesn't want to necessarily write or voice
a report.
There are many things to bear in mind when you set out
to do a nat sound pack and you always have to remember that the sounds
you record and the interviews you conduct are your only tools when
you hit the edit bay. When I set out to do a nat sound pack I pose
questions in a way that cause the person to 'tell the story' instead
of just answering the question. Repetition is also key, and sequences
rule in a nat sound pack. Always keep your eye open for movement that
repeats. You can grab an amazing sequence if the action occurs over
and over. Wide angle lenses, shutters and interesting perspectives
can bring more interest to your pictures when warranted. Always shoot
plenty of tight shots. Great light and a well thought-out approach
combined with a few other tools can bring excellent results to a photo
essay.
In the end it is good for reporters to have a taste
of what we have to do, and it is true if you reverse it also. Appreciation
for each other is what we all strive for whether we realize it or
not. For those shooters who move it forward and start reporting, expect
much appreciation from the production folks and others who are not
on-air talent. I always felt highly supported and the only people
who ever talked smack were younger reporters and a couple of prima-donna
shooters. And you know what? They never strapped into a jet fighter
and they probably never will.
Contributing Writer
Tim King
Tim King, a
News Photojournalist with KATU in Portland, Oregon has fifteen years
of practical experience in newsroom and field Electronic News Gathering
environments. He shoots news with NPPA discipline, has numerous awards,
and works very effectively as a one-man-band. He knows how to conduct
an interview and has a knack for getting that 'great sound bite' that
really sizes up a moment. Tim has covered all types of hard news and
has researched, written and voiced many investigative reports.
Tim is a former Marine and his understanding of military affairs,
operations, history, etc. is a valuable asset especially at this point
in time. Tim's military stories include tank training, parachuting
with Green Berets, flying in the F-16 Fighting Falcon, and covering
several military aircraft crashes. He knows how to deal with problems
and resolve them, sometimes with only seconds to spare. In addition
to news, Tim researched, wrote and produced the documentary "Fallen
Fortress at Cape Lookout" which aired twice on Oregon Public Broadcasting
in 1993. Tim traveled to France's former Western Front in November,
2000 while conducting research on a current project: the biographical
documentary on WWI flying Ace and Medal of Honor winner, aviator Frank
Luke JR, "the Arizona Balloon Buster". Tim also Co-Produced, wrote,
photographed and hosted the TV Show "Hot Wheels in Las Vegas," a half-hour
weekly show featuring Las Vegas Hot Rods and auto-related events that
ran in two 13 week series (2000 and 2001).
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