I’m fortunate to occasionally get asked to speak at journalism workshops, which gives me a good reason to attend those workshops. It’s hard to carve time away from my family, especially on weekends. But I do it for the chance to embrace an atmosphere of passion, enthusiasm, and devotion to a complicated profession.
I especially embrace the critique sessions. Whether one-on-one or in a small group, they offer substantial windows for substantive conversation. Journalists ask my advice, and I dispense it. But I always learn plenty myself, and sometimes I wind up asking my own questions.
Such was the case earlier this month.
I spoke alongside my E.W. Scripps teammate Justin McCray at the NPPA’s Best of Photojournalism Video Workshop in Nashville. Our presentation was Saturday. The critique sessions came Sunday. And three-quarters of the way through, I watched a story that could easily be its own workshop presentation.
That story – and several others – left me stunned. I hope they have a similar effect on you:
THE STORY: Kindergarteners join teacher for online classes while she gets chemo
THE JOURNALISTS: Boyd Huppert, reporter, and Chad Nelson, photojournalist, KARE-TV Minneapolis/St. Paul
THE LESSON: Use everything you’ve got, even if it’s not stereotypically “visual.”
GoPros. Drones. Wireless microphones. Mirrorless cameras. When I think of the technological advancements in the last 20 years that have unlocked our storytelling options, I typically first identify those. (Not that these didn’t exist previously, but they could not easily be found in many television newsrooms.)
I don’t often associate the advancements that have enabled greater stories as a side benefit of changing out world. Social media. Camera phones. Widespread video conferencing capabilities. And motion graphics software.
These advancements don’t carry as much flash in the visual storytelling world. But they open all sorts of doors for creativity and emotion, both of which are on display in this story from KARE11 in the Twin Cities.
Reporter Boyd Huppert composes sentences where every word carries meaning. His scripts deserve Genius breakdowns. But I was particularly captivated by the editing of photojournalist Chad Nelson. I’ve watched his work for years, and I have always admired his dedication to mastering the entire array of visual tools at his disposal. Other stories showcase his eye and craft with the camera. This piece showcases how to find majesty and soul without ever leaving the computer. More importantly, the environment of the story fits the world of the teacher it spotlights: a woman who must teach virtually while she goes through chemotherapy.
THE STORY: ‘A hellscape’: what COVID-19 looks like in rural California
THE JOURNALIST: Sara Sidner, senior national correspondent, CNN
THE LESSON: Don’t let your job title stop you from doing what’s necessary.
Speaking of the environment of the story, the most revealing footage in this story was shot with an iPhone.
And it was shot by Sara Sidner, whose job title at CNN reads “Senior National Correspondent”.
Sidner hadn’t picked up a news camera since her first job in local TV. She technically didn’t lift one here, but she did use the lone camera at her disposal – that on her phone – to shoot in a place where only she was given access. In this story, from January 2021, Sidner reports on the “hellscape” of a hospital in rural California, at a time when it overflowed with patients suffering from COVID-19.
Just three days after this report, Sidner made headlines for choking up on-air after a separate COVID-related story in California. “You know,” she said through tears, “this is the tenth hospital that I have been in” during her coverage out West. Clearly the immersion wore on her emotionally, as it would anyone. And it’s worth acknowledging what that immersion included: not just reporting but in one case shooting in the midst of trauma, grief, and horrifying images.
THE STORY: Hundreds of QAnon followers flocking to Dallas
THE JOURNALISTS: Kevin Reece, reporter, and Brandon Mowry, photojournalist, WFAA-TV Dallas
THE LESSON: With the right treatment, any subject can be covered with honesty and empathy.
“I know a lot of why I’m here is ordained by the Lord.”
“I’m here to support God-given patriots in the movement.”
“Word on the street is that Junior – JFK, Jr. – will show up and introduce his parents.”
These sound bites appear in the first minute of this story about QAnon devotees who came to Dallas’ Dealey Plaza in the belief that, yes, John F. Kennedy Jr. would appear.
As reporter Kevin Reece points out shortly after, this was never possible, since Kennedy died in the plane crash years ago. Some might argue the entire scene – a crowd of hundreds awaiting an event that will never occur – begs to be mocked.
Except Reece never does. He interacts and even jokes with the QAnon supporters, while always making clear he doesn’t co-sign anything they’re saying. He brings in professors to put into context why these movements emerge – and how they could actually affect the larger culture. And more than halfway through the story, he hears from several attendees themselves about how their devotion to QAnon has cost them relationships with family members.
This is a masterclass on how to cover subjects that often get ignored.
THE STORY: Body camera videos show critical moments that save lives after overdoses
THE JOURNALISTS: Marc Sallinger, reporter, and Foster Gaines, photojournalist, KUSA-TV Denver
THE LESSON: Pace. Pace. Pace.
Here’s that critique story.
I’m not going to reveal much about it, because I want you to watch it. I want you to feel it. Then I want you to watch it again, because the technique on display here deserves deep analysis.
I’ve thought about this story numerous times since I watched it more than a week ago. I’ve sent it to teammates and fellow storytellers. I’ve wondered why it captivated me so much.
I think, in the end, it comes down to pace. Reporter Marc Sallinger writes a script that builds and builds until its wallop of a reveal two-thirds of the way through. Photojournalist Foster Gaines uses the first minute to splice a series of body camera videos together in a way that ratchets intensity and disorientation. He combines the shaky, quick-cut body cam images with drone and interview shots held for multiple beats. He adds and drops music at the appropriate moments and with remarkable subtlety; the tracks fade up and provide ambiance but never draw attention.
I hope Sallinger and Gaines get the chance to present this story and others at a future workshop. I hope those of us in this industry take advantage of workshops whenever we can, especially now that they are again taking place in person.
The Solo Video Journalist is available for purchase. You can find it on Amazon, Barnes & Noble, and the publisher’s web site.
Matt Pearl is the author of the Telling the Story blog and podcast. Feel free to comment below or e-mail Matt at matt@tellingthestoryblog.com. You can also follow Matt on Facebook, Twitter, and his web site, mattpearl.tv.