Two chapters from two different books make up this week’s readings, with both overlapping to give prospective producers and reporters insight on what to do in the field. Chapter Five of Jonathan Kern’s Sound Reporting covers the intricacies of producing from the field.

1. When preparing to produce a story in the field, leave as little to chance as possible. Find contacts ahead of time, so in that sense, you at least have resources guaranteed. Building a list of contacts with information on what they’re ‘experts’ in, what they talked about, and who else they might recommend talking with is recommended. But it’s not just having interviews prepared. A field producer also needs to know how to get from point A to point B, and the best methods to get there. Build a schedule with who you’re meeting with, when and where, to better help organize the trip. (pp. 75-79)
2. To paint a better picture when telling the story, take written or audio notes describing the surroundings, record copious amounts of ambience, “slate” the sounds you’re hearing, and make sure the audio is high quality. In general, the more that you can record, the better. As the book advises, be prepared to record from the minute you get up until you go to bed at night. (pp. 82-83)
3. Because things can change in an instant from the field, understanding filing a report from a remote location is essential. At big-time media events, chances are, there will be filing centers’ and filing windows, so being aware of those is critical. In general, the book advises to practice filing in advance, and have a backup plan, because as is often the case with relying on technology, something can go wrong. (pp. 86-90)

Meanwhile, Chapter Ten of Kenneth Kobre’s Photojournalism: A Professionals’ Approach talks about the importance of journalism’s ability to cover important issues and affecting change.

1. It’s one thing to talk about issues, it’s another thing entirely to show them through photography. In The Power of Photography, Vicki Goldberg documents cases where it affected change, chief among them the passage of the Civil Rights Act, courtesy Charles Moore photos from Life. (pp. 203-204)
2. Alcohol: Bringing Us Together, Tearing Us Apart, was a great example of a photo story that presented both sides of an issue. While it doesn’t change anything per se, it brings to light a very divisive issue. On one side, alcohol as seen as a lubricant that induces good times and good friendship, on the other, Brian Plonka’s photo story shows the tragedy of what can occur when irresponsible decisions are made under the influence. (pp. 208-211)
3. By developing a feature beat, a photographer can produce meaningful journalism. Once an idea has been developed, and research has been collected, a photographer can begin looking for unique and visually appealing ways to tell the issues associated with a beat. I haven’t ever considered beat photography, but reading about it makes me understand it’s a viable way to cover issues. (pp. 212-218)