Do you really need to add video to your professional stills photography business? Many photographers have asked themselves if diversifying to include a video offering is necessary to remain relevant, or if it makes more sense to specialise in the one area of stills photography they are passionate about.
Here, we've talked to picture editor Espen Rasmussen and photojournalist Roger Turesson and asked them to give us their honest views on whether video skills give you the edge as a stills photographer.
Editorial photographer Roger Turesson says: "I started shooting video when the Canon EOS 5D Mark II came out. It was the first 5D series camera with video capabilities, and that really opened up the possibility of us doing video in the photography department at Dagens Nyheter. We had video cameras prior to that, but I think most stills photographers prefer the 5D series cameras because you can get a more cinematic look and it's more similar to the way we work as stills photographers. A lot of TV videographers zoom and pan a lot, but I prefer finding a good composition and letting the story happen in the frame.
"I use the Canon EOS 5D Mark IV now and I mainly use fixed lenses. If I use a 24-70mm lens, I don't zoom much. That approach and the shallow depth of field you can get makes it feel like you're communicating in the same way as when you shoot stills.
"We have a couple of straight-up video guys at work, but all the stills photographers need to be able to do video as part of their job. I'd say about 20-25% of my assignments include video. It's mainly when I travel that I have time to shoot video – it can be hard to manage on a quick news assignment. We used to try to shoot both video and stills on more occasions, but it just doesn't work very well. So on regular news jobs, we send one photographer to cover video and one to shoot stills.
"There's a higher demand for video now, so it's conceivable that it will be required from stills photographers in more cases, just like we're starting to see more VR, which I think is a growing trend."
"We used to do a lot of short video clips to show online alongside longer articles, for example 'three questions for a politician', but I don't think they add much to the storytelling. I think short documentaries will become more prevalent.
"One thing we do quite often is shoot shorter clips that are used as advertisements for the story on Facebook and Instagram, overlaid with text. The great thing about the 5D series cameras is that you always have a video camera with you, so even if it's not planned by the news desk, you can make a decision on location to film something if you think the story would benefit from a video clip.
"I don't know if our picture editors deliberately pick freelancers with interchangeable video and stills skills, but us staff photographers all have to do both. It's part of the job. If an aspiring photographer asked me if they ought to add video to their portfolio I'd say yes, definitely, if you'd like to work for a media house."
Picture editor Espen Rasmussen says: "VG got a video department a number of years ago, but for photographers, I'd say things really started to change about a year ago. Our department started adding short videos into articles and mixing stills and video more. I would say that around 40-50% of our assignments now include some sort of video as well as stills. Do video skills help you get a job as a freelancer for VG? Yes, I'd say so.
"We don't hire full-time staffers any more, but when we hire people over the summer for holiday cover, video skills is one of the things we ask for. You also have to be able to live stream and do live broadcasts, in case you get sent at the last minute to cover a story for the news site. When we hire someone, video is a requirement – along with being able to tell a good story.
"I personally started shooting video seriously when Canon got the first 5D series camera that had video capabilities – the Canon EOS 5D Mark II. Before that I had a camcorder, but it was too much hassle. I mainly shot video on my own initiative in the beginning – the demand for video content wasn't very high at VG at that time, because of bandwidth limitations. People viewing content on their phones didn't have 4G. But that's all changed.
"Often, we just do a 10-second clip that works almost as a still. In those cases, when I brief the photographer, it's not that different from a stills assignment. I tell them to use a tripod and grab 10 seconds, and shoot stills separately of the same subject – we don't tend to grab stills from video.
"Recently, I commissioned a photographer to go to Northern Norway and photograph a woman fishing from a boat, so I told her to get a landscape shot of the subject and the scene, just like she would with stills, but in video format. So it's almost like a still landscape shot, but you see the waves coming in or the clouds moving. We do this with portraits for the magazine, too."
"My requirement when I commission video is to shoot in full HD, which you can get on the Canon EOS 5D Mark IV. Occasionally, our photographers will use their phones but they need a very high resolution as videos on phones are shot vertically and there's a crop to take into account. It's a hassle using two different pieces of kit, and I think most photographers prefer using just one.
"I find that video is a particularly useful tool for photographers wanting to do documentary work. For documentary stories we often feature a 5-10 minute video. That requires more video skills, knowledge of how to tell the story and an understanding of editing.
"It's more and more common that young photographers know how to shoot video, but I find the majority concentrate on stills. These days you have a lot of young photographers grouping together to form agencies where they take on both documentary and commercial work, and those agencies are taking on more and more video assignments. I think being in an agency like that makes it easier to do video because it's easier to get the return on investment. It's a lot of work for a single photographer to go out and shoot both video and stills, and it's hard to make it worthwhile financially. But the agencies can pool together their resources and make it cheaper to do."