When news broke that the Chicago Sun-Times had laid off its entire staff of photographers last May, journalists around the country were in disbelief. Now, instead of just scrutinizing sentence structure and verb choice, the possibility that journalists would also have to generate images to accompany their stories was very real.
In today’s Internet era, multimedia reigns supreme, so it’s no longer enough to be a master of the pen. And even if taking photos and video isn’t currently part of your job description, learning to wield a camera like a pro will only raise your stock and give you versatility — plus, hopefully a bit of job security.
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Tip #1 ___ Buy a Real Camera
Sure, your iPhone was perfect for snapping pics at your BFF’s birthday soiree, but for on-the-job tasks? Not so much. “If you’re just interviewing people and you’re taking pictures, almost any newer model camera is going to take a remarkably better picture than you’re going to get on any smartphone,” says Matt Sweetwood, president of Unique Photo in Fairfield, N.J. — the state’s largest camera store. He recommends that journalists spend at least $200 to get the most benefit from the device.
“The biggest factor is when you’re in lower light,” explains Sweetwood. “The camera that you buy has a larger sensor in it than you find in a smartphone, and therefore it’s going to take a better quality picture when you’re outside ideal lighting conditions. The second reason is that your cell phone has too many tasks on it. You’re on the phone, you’re sending an email and then you need to take a picture. While they can do that as a convenience, you don’t really want to do that if it’s part of your job function.”
Tip #2 ___ Learn the Rule of Thirds
In photography, the rule of thirds is a basic composition rule that helps frame the subject in a way that’s most aesthetically pleasing. “If you think of a tic-tac-toe board and where the lines intersect, we call those the power points,” says Peggy Farren, a veteran photojournalist, event photographer and photography instructor. “So if you’re taking pictures of people, their eyes need to be on that top line. If you’re taking pictures of landscapes or cityscapes, your horizon needs to be either on the top or the bottom line.”
| “learning to wield a camera like a pro will only raise your stock and give you versatility — plus, hopefully a bit of job security.” |
Tip #3 ___ Take a Lot of Pictures
Breaking out of your comfort zone and venturing into photography is sure to rattle some nerves, especially if you’re on deadline and expected to turn in some high-quality images. Taking more than enough shots gives you a margin to take some really crappy photos and still get the perfect one to complement your story. “The nice thing about digital is that you can always throw the pictures you don’t like away,” says Farren. “So take lots of pictures, come back and sort through them — especially if you’re feeling insecure about your photography skills.”
Video Tips
Tip #1 ___ Pay Attention to Lighting
“Lighting is everything,” says Charlie Castleman, in-house videographer for esd & associates, a full-service marketing and PR firm based in San Antonio, Texas. As a general rule, if you’re having trouble seeing the subject’s face while you’re shooting, the viewer definitely won’t be able to, either. That said, lighting isn’t as difficult as it seems and, says Castleman, “You don’t have to be an expert cinematographer that spends three hours [on] lighting.”
When filming outdoors, be aware of the position of the sun. “You would never take a picture of your family with the sun behind them, and you wouldn’t take your camera right into the sun,” explains Castleman. “You would position the sun behind you, and the sun would naturally light your subjects.” He also suggests shooting in late afternoon or early morning to avoid the harsh light of high noon. When indoors, stay away from fluorescent and overhead lighting, and opt instead for lamps with bulbs that cast a softer, orange-colored glow or LEDs. And in low light, bounce cards (essentially just large, white poster board) can be used to direct light to where you need it.
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Tip #2 ___ Keep Movement to a Minimum
Remember the shaky, guerilla-style footage from The Blair Witch Project? That style of filming was perfect for inducing fear in viewers of the low-budget horror flick, but to say that it has no place in traditional media is an understatement. “It can be very uncomfortable for people to watch, especially if you’re trying to tell a story of some sort, or if you’re doing a corporate or news-oriented video,” says Castleman.
To be safe, use a tripod to keep the camera steady, and also avoid zooms, pans and other unnecessary filming techniques. “When you’re in those types of situations when you are very shaky and [there are] lots of zooms, it makes the camera very noticeable,” Castleman adds. “And you shouldn’t have that; you should never know that there’s a camera there. You should be able to watch something and let the story move the narrative forward.”
Tip #3 ___ Get Good Audio
When it comes to recording audio with your video, Castleman says that in-camera microphones are “the worst” because they’re omni-directional, meaning they pick up every sound all around the filming area. For interviews or other situations in which you need to focus audio on an individual, Castleman recommends lavalier microphones — those small mics that clip to the lapel. “That’s really the best,” says Castleman. “[Lavalier mics] can really isolate the sound, and you don’t have a lot of the background noise occurring.”
After years of experience, however, Castleman actually relies on both internal and external microphones during all of his shoots. “I’ve [used] lapel mics when there was interference,” explains Castleman. “[So] if something happens to one of my tracks of audio, I always have something to fall back on.”
| “Taking more than enough shots gives you a margin to take some really crappy photos and still get the perfect one to complement your story.” |
And one more audio tip: When you’re recording indoors, stay away from electronics and air vents. “There [are] hums and buzzes that we may not hear, but the mics and cameras pick all that stuff up,” Castleman says.
Certainly, adding photography and videography responsibilities to a journalist’s already full plate can be a bit overwhelming. There are complicated devices to get familiar with and shooting techniques that may take years to master. Sweetwood actually recommends that journos take a class to get comfortable behind the camera, and it’s true that a good dose of training never hurt anyone — just ask the managing editor of the Chicago Sun-Times, who offered up mandatory iPhone photography training just days after the paper’s massive layoffs.
The move was blasted by just about every other media outlet, but there may be a valuable — and encouraging — takeaway: You can work with what you’ve got. The media landscape is constantly evolving, making it nearly impossible to stay abreast of all of the new rules. And while some writers may never have a reason to add “photojournalist” to their LinkedIn profiles, brushing up on basic skills proves that you’re easily adaptable and always willing to learn new things. Those are qualities that are attractive to any employer, regardless of economic climate.
And just in case you do find yourself on assignment with only a smartphone in hand, go ahead and review these iPhone photo tips, courtesy of National Geographic. You’re welcome.
Andrea Williams is a freelance writer based in Nashville. Contact her at williamsandread@yahoo.com.
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