E-CHAT with...
Nancy Durham, freelance video journalist

> Hi Nancy! That’s some e-mail address. What is it? Where is it?

It’s Welsh for something about being on a ridge overlooking a stream and it’s the name of my cottage in Wales which is in a place which fits that description. But try spelling it out to someone down a crackling telephone line.

> Talking of telephone lines....... I have this image of you alone in some remote corner of the world, whispering urgently into that crackling mobile or sat phone. Am I far out?

Far out. I don't use the phone very much when I'm out in the field since whatever story I’m after has usually fallen out of the news and that means I rarely make urgent calls to a far away desk. But mobile phones have taken the drama out of telephoning from post offices or bad hotel lines. As for being alone, even though I go out solo, it's amazing how quickly I pick up a team. The lonely moment is when I check into my hotel and think - now what? But once I've connected with people involved in my story and start shooting I'm on a roll.

> What's the difference between the way you follow a story as a video-journalist, and the way other freelancers would follow a story? And would you cover the same kind of stories?

I don't think my approach to a story has to do with my being a video-journalist especially. (Apart from the fact that working solo can seem more intimate and casual than working with a crew). But because the kit is light, and travelling alone is less expensive, it's less risky to send me off to see what I can dig up some place. I like to look for a story once I arrive, rather than bringing it with me in my head. Because I am not doing mainstream news I try to avoid media centres, news conferences and officials as much as possible, and look for the story "on the ground" whatever it may be. My stories are often sidebars or personal takes on the big story. One of the beauties of having a small camera and being both the reporter and shooter is being able to shoot exactly what I want to whenever I like.

> I see the advantages — more control etc. What are the disadvantages? And if it's a commissioned piece, how much control do you have over the editing?

I screen every second of my pictures in real time and try to make use of every good shot. I shoot a lot and I've been criticised for it but I don't think it's such a bad thing. I like to try things, even though it does mean I get a lot of rubbish. I always sit in on the tape editing and it's a collaboration. Richard Devey who's been editing most of my stories over the past year is imaginative, patient and willing to experiment.

The challenge is to stop being a reporter and concentrate solely on being a camera operator, so that I can get good establishing shots. Brian Kelly, a brilliant cameraman, has followed my progress from the start. He advised me to always make time in a shoot to be quiet and think exclusively about taking pictures, to remove myself from the situation a little. Four years on I am still having to work hard to do this. The impulse to ask another question is unbelievably strong. I thought about what Brian said on my last shoot in Kosovo when I was in the forest taking pictures of refugees and it really helped.

> Well Nancy, I'll also resist the impulse to ask another question (we learn fast here at the RPT) Before we sign off, would you like a final word?

I have just had my return to Kosovo budget approved and hope to be on my way next week. It's been fun talking with you: thanks.

Issue 1
December 1998

• From the Rory Peck Trust: Over to you
• Freelance Fantasies: 1. Insurance
• Freelance Realities
• In Focus: Industry News
• E-CHAT with... Nancy Durham
• The Rory Peck Trust- a unique organisation
• Global Billboard

• Issue 9
• Issue 8
• Issue 7
• Issue 6
• Issue 5
• Issue 4
• Issue 3
• Issue 2

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