Challenges of integrating visual material into stories

It’s one thing to read about the art of visual journalism: what shots are “correct” or the most powerful, the importance of B-roll, and how prominent video and photo is in the journalistic realm as we continue into the social media era. However, despite my past experience in documentary, I often find myself struggling with integrating the visual component of journalism into my time with sources in a way that is fluid and authentic. While I’ve made due so far, I am actively still finding ways to integrate the camera into my interviews and my general coverage of a person or events in a way that doesn’t disrupt the natural flow and compromise my source’s comfort and my ability to dig into the topic at hand.

When covering From Bean to Bar, I discovered that I must release expectation of what the visuals are going to be and work with what is actually in front of me. I came in with the expectations of easily-obtained sexy, glossy close-up shots of chocolate, being able to document each steps and the people’s reactions effortlessly and intimately. In reality, I found that people have a tendency to choke in front of the camera, and I have a tendency to choke behind-the-scenes. Though I had gotten proper permission, I had to fight the feeling of being obtrusive and annoying. I also feel as though the camera added a layer between me and my sources, where I was not able to connect as deeply straight away as I may have been with just an audio recording device.

I’m unsure how much of this is my own perception and how much of it was actually playing out in front of me. I’ve been trying out a few strategies to mitigate this feeling, and I’ve discovered two simple tricks that, I believe, helped me and my sources navigate this hurdle.

When reaching out to sources, I make it adamantly clear that I need both video and photo materials, and it will be integrated in the interview. The visual component used to be more of an after thought to me, which placed both me and my source in a slightly uncomfortable situation. I didn’t put down a safety net for myself — what if they refused? — but I also caught my source off-guard, even if only momentarily. 

I also have made it a point to begin recording, but leave time before and after to leave the camera rolling while engaging in more personal, sometimes unrelated conversation. I find this puts both me and the source at ease, and it makes it easier to forget about the pressure of the camera. It also reminds me that whatever shots I get are malleable. A thirty minute interview will be edited into just a minute or two, so the more information I extract, the better off I am. It helps both me and the source release expectation of what the interview will be, and move into a more authentic form of conversation.