Star Tribune from Minneapolis, Minnesota • Page E2

Since 1985, KARE has been named station of the year three times, and six KARE photographers have been honored as photographer of the year. One of them, Jim Douglas, the 1985 winner, won his fifth national Emmy last fall. This spring, a nominee for a Peabody, the broadcast equivalent of a Pulitzer. The 1993 photographer of the year winner, Mark Anderson, was hired by crosstown rival KSTP in 1996 as director of photography and led that staff to top honors in l999. breeds said Al Tompkins of the Poynter Institute, a journalism research and training center in St.

Petersburg, Fla. you want to be a faster runner, it helps to have a fast runner next to The style The Twin Cities swarms with said Tompkins, who teaches writing, producing, storytelling, leadership and ethics to broadcast journalists nationwide. He ranks the Twin Cities with Denver as the top photojournalism markets. Although KARE and KSTP have won the most photography awards, Tompkins believes high-quality journalism is evident throughout the Twin Cities. four stations have a long tradition of doing stories that go beyond the minute-twenty to get into issues that said Tompkins.

reason that photojournalism is quite good is that reporters have been taught to respect photojournalism. You have reporters who actually know what it is to write to the story. Every station has great storytellers who have the ability to tell a story with visuals and Anderson is known for the many phrases he uses to inspire good technique: beginning, middle, end. Steady, sequenced video. Zoom with your feet, not with your lens.

Wide, medium, tight, super-tight. Get the moment. But he and other top TV pho- tographers stress that gathering sound and gaining the trust is at least as important as shooting strong video. think a lousy photographer, but a great sound and audio said Jonathan Malat, the 1997 photographer of the year. can close your eyes and our stories will make sense to Knox agrees that the job is more than pictures.

consider myself a professional he said. the good photographers are kind of said Malat. a very personal thing we do. We get close to people at a time when they want us close. our job to make the equipment Anderson has advice about how to do that, too.

often spend time talking to his subjects, helping them feel comfortable with him before bringing out his camera. closer with your he advises, you get closer with your Editing essential Still, more to the job than developing good people skills and making pretty video. A daunting number of technical skills are required to do the job well. end out in the said Tompkins. role of the photojournalist goes far beyond that, way into the edit room.

Some of the finest editors, some of the real pioneers in the field, are from there Twin Typically, photographers at KARE and KSTP edit their own work, weaving together all the elements that viewers see on the air. They might combine video sequences, audio tracks, graphics, still photos and even music for a two-minute segment. The national editor of the year, Jon Menell, works solely with tape that others shoot, primarily for special projects. there is an art to journalism, said Dave Wertheimer, KSTP photojournalism manager. can take this moldy lump of tape and turn it into Menell spent 60 hours writing, editing and producing Wild an award- winning five-minute story about return to Minnesota.

He watched 920 minutes of tape from 15 photographers, carefully noting each scene and sound. He sorted through more than 1,000 video clips and sound bites to put the piece together. like a small said the NPPA judges of the story. Menell enjoys doing such complicated pieces. brings out team he said.

Teamwork approach It does take exceptional teamwork to tell stories in such a way. has done a great job of hiring people who are going to work with the photographer to tell the said Manny Sotelo, a former NPPA president who is news project supervisor at KUSA-TV in Denver. KARE reporter Boyd Huppert has earned a reputation as one of the most effective storytellers by working closely with photographers to craft award-winning pieces. His writing style depends on the photography. He calls it to the and it means allowing images and natural sound to tell as much of the story as possible on the screen.

Like his reporter colleagues at KARE, Huppert painstakingly logs each scene on his videotapes before writing his story around the strongest scenes and sound bites. like telling a good said Huppert. set it up, and the photographer has the punch line. Viewers make their own KARE set tone The highly visual, emotional storytelling style that has become trademark began in 1983, when Gannett bought the NBC station, said news director Tom Lindner. It was then a distant third in the 10 p.m.

ratings. Tom Kirby was news director and hired Paul Magers and Diana Pierce as anchors. He also sought out top photographers such as Jim Douglas, Chris Wheeler and Mark Anderson. All became national photographers of the year while at KARE. Anderson remembers Kirby telling them: going to ride on the backs of our photojournalists to ratings a quote I remember like Anderson said.

about pictures and sounds, and what we bring. That really stuck with me. He creat- ed an environment where great photojournalists want to KARE began covering non-traditional news stories, said Lindner, who was then a producer and news manager at WCCO. questioned their news Lindner recalls. it news, or news entertainment? They had stories about garage sales, a team report on the new Coke.

This place said get our news from lots of different places, not just the Capitol, City Hall, the courts and the classic news beats, but from within the community. They got out and talked to people, they found things that were interesting, not necessarily newsworthy. They looked for story ideas by listening to what people were talking Critic Nick Coleman, who was then a Star Tribune columnist, was among many journalists who dismissed the approach, nicknaming the station the for the feel-good it featured, especially in its new segment. The was a vehicle for longer stories that showcased photojournalism. But viewers liked what they saw.

Lindner and the rest of the market stopped laughing when KARE moved from third to first in the ratings by 1987. remained there almost continuously ever since. Now, KSTP, WCCO and KMSP all integrate such longer pieces into their newscasts. The high quality of the photography drew news director Scott Libin to KSTP from a faculty position at Poynter. liked what I Libin said.

was the sort of reporting that makes TV news relevant and valuable to Whether or not viewers are conscious about what makes these stories special, he said, they respond in a profound way. And Libin thinks he knows why: at its best, comes closer than anything to capturing how we experience the Darlene Pfister is at PHOTO fromE1 Stations and photographers are frequent prizewinners E2 MARCH 6 2002 To see video clips from the award-winning portfolios of photojournalist Gary Knox and editor Jon Menell, go to http://www.startribune.com/ variety. Visual Edge Twin Cities television photojournalism is among the best in the country. Since 1985, local stations have frequently earned the National Press Photographers top awards, including a sweep last year. The 2001 winners will be announced Sunday on the Web site, http://www.nppa.org.

a list of past award winners: Photographer of the year: Jim Douglas, 1985; Chris Wheeler, 1986; Mark Anderson, 1993; Lisa Berglund, 1995; Jonathan Malat, 1997; Gary Knox, 2000. All six photographers worked for KARE-TV, Channel 11. Station of the year: KARE, 1985, 1995, 2000; KSTP- TV, Channel 5, 1999, (runner-up, 2000). Editor of the year: Jon Menell, KSTP, 2000 (runner-up 1999, 1998). Past national television photographers of the year (from left) Mark Anderson (1993), Jim Douglas (1985) and Jonathan Malat (1997) have helped establish Twin Cities television news as among the best in the nation.

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