military

I just worked remotely with a world-class photojournalist. Here’s what I learned.

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Three months ago, I did something that would be considered blasphemous to the storytelling gods:

I blew off an invitation from Boyd Huppert.

When a 100x-Emmy winner reaches out to collaborate on a story, you should respond within minutes and say, “Absolutely, and where can I send the fruit basket to say thanks?” Boyd is not just a fabulous storyteller; he has been a constant source of inspiration, a guest on my podcast, and the author of the foreword for my book, The Solo Video Journalist. But on this day, I had to blow him off.

I had a good reason, though: my wife was in labor with our first child.

A day later, when our daughter had arrived and I had gained a few minutes to scroll through my messages, I saw Boyd’s note again and responded. He had discovered an extraordinary story involving a family in his region (the Twin Cities) and a 50-year-old man in mine (metro Atlanta). He proposed a video swap: I would shoot in ATL, and his team would shoot in MSP. When I realized I could shoot my part upon returning from paternity leave, I leapt at the chance.

Why? Of course I welcomed the opportunity to team up with Boyd. But I got especially excited about getting to work with his photographer. Boyd’s pieces for KARE-TV’s Land of 10,000 Stories segment are both poignantly written and immaculately shot, by photographers who regularly rank among the best in the country. I delighted at the chance to peek under the hood, use their footage, and study their techniques.

I got what I wished.

Boyd worked on this piece with Kevin Sullivan, a multiple finalist for NPPA Photographer of the Year and a recent Regional Edward R. Murrow winner. (He has since left KARE-TV to take a job with the Mayo Clinic.) Sully is a tremendous talent, and I dove into his video the way a child shovels through packing peanuts to get to a gift. I found treasure after treasure, from impeccably framed shots to beautifully captured moments. Here are three lessons I’ll take away for my own work as a photographer: (more…)

A soldier’s return: why the story outranks the tool

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I pride myself on using powerful cameras, wireless microphones, and slick digital editors to capture the finest images and sounds – and then using my station’s on-air signal to present them on television.

But I am constantly reminded how none of it matters without compelling content.

The other day I was on a plane to Greensboro, N.C. to do some behind-the-scenes work at one of our affiliates. I spent the entire flight with headphones in my ears, which meant I completely missed when the captain described what was happening under my seat – and would soon occur right outside my window:

Our plane was carrying the remains of a U.S. Army sergeant who served during the Korean War … and who was finally coming home, 65 years later.

I spent the flight entirely unaware of this. But then we landed, and I lifted up my window shade to see, standing outside, nine young men in military uniforms.

I did not know what they were doing, but I immediately pulled out my phone.

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3 GREAT STORIES: Starring pop songs, pizza, & football

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Every week, I shine the spotlight on some of the best storytelling in the business and offer my comments. “3 Great Stories of the Week” will post every Monday at 8 AM.

Hit charade (October 2015, The Atlantic): How much do you want to know about how a chef prepares your meal? What about how a litany of behind-the-scenes employees prepare your favorite songs?

The answers to the latter come from this absorbing article, written by Nathaniel Rich for The Atlantic (with a major hat-tip to author John Seabrook, whose book The Song Machine supplies much of Rich’s material). With no concern for spoiling or party-pooping, Rich dives into the factories that produce, with seeming cold-hearted machinery, an increasing number of the hits that grace the Billboard charts.

Much of this story’s success derives from its thoroughness; Rich, through Seabrook, dives into the subject with great detail. It shows in paragraphs like this, including some wit from a writer basically saying Santa Claus isn’t real:

Pop hitmakers frequently flirt with plagiarism, with good reason: Audiences embrace familiar sounds. Sameness sells. Dr. Luke in particular has been accused repeatedly of copyright infringement. His defense: “You don’t get sued for being similar. It needs to be the same thing.” (Dr. Luke does get sued for being similar, and quite often; he has also countersued for defamation.) Complicating the question of originality is the fact that only melodies, not beats, can be copyrighted. This means a producer can sell one beat to multiple artists.

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