What does a typical day at the White House look like?

I set out to capture a sense of everyday life at 1600 Pennsylvania Ave, armed with basic knowledge from a course in video editing at the Kalish workshop. Starting with a couple of early experiments of the Marine Guards at the West Wing and a daily press briefing, I was hooked on time-lapse sequences that came to life when they were played at high speed.

I began taking along extra cameras, tripods, clamps and pocket wizard radio remote triggers. This involved slightly more work as I had to start thinking of the best place for a time lapse sequence that may not make a good still image itself, but rather as part of a larger project.

From the East Room, where most official functions are held, to the Rose Garden, the South Lawn and the West Wing, I set the cameras up to fire one picture every 5 to 10 seconds before, during and after the events. Thousands of pictures were shot over the course of those weeks, and I slowly began to put together a narrative that follows what we typically photograph on any given day at the White House.

Shooting “a day in the life” would have been nice, but it was impossible to have cameras in all the locations on one particular day.

All of what you see in this project was made with just two cameras on the time lapse and one hand-held camera — it’s a very basic set up. Shooting handheld, I had to shoot major burst sequences with long lenses, all the while ensuring that I didn’t move the camera around too much. Even slight movements can render an entire sequence unusable. Tripods are too cumbersome to use at the White House and you have to stay mobile to make pictures, so I would innovate by propping myself against a ladder and holding my breath or putting the handheld cameras on the ground — whatever it takes to shoot a short burst without moving the camera at all.

This worked well for the walkout of the Oval Office in the segment where President Obama walks towards us. That’s a 70-200mm lens on the ground, prefocussed and composed with live view switched on, as I hold the camera perfectly still as he walks in and out of the frame.

Making it all come together in one coherent package is done in the edit. The most challenging aspects: Being a newcomer to video editing, seeing a project in terms of a narrative, not just in single moments, and getting my head around the 8,000 images that sat in a folder called “Multimedia” as the weeks wore on. I tried to edit for the project as I went along, so that when it came to putting together the sequence, there would be chunks of loosely finished product ready to drop into the appropriate part of the story.

Rick Wilking is a Reuters contract photojournalist based in Denver, Colorado who has been shooting for Reuters for almost 25 years based in Europe, Washington, D.C. and now in Colorado. Rick recently developed the idea of spending time documenting the lives of a Christian “Quiverfull” family who have 15 children due to their belief that all family planning is best left in the hands of God. Rick produced the following piece of multimedia video from his time spent with the Jeub family in Colorado and tells us about the experience below. -  Jim Bourg

I am convinced that the easiest part of my job is taking pictures. Coming up with story ideas, getting access and then producing the final results are MUCH tougher! That was very true with this story. I read about Christian Quiverfull-minded folks who closely follow and live by Christian scripture and biblical verses and decided to try to find one of these families to document. I begged my way into a Quiverfull forum on the web and was met there with much skepticism about letting me in. One family in Kansas said maybe and another back east said I could come by. But neither were enthused and I knew the travel budget was too tight for a trip that distant and long.

Then I found the Jeub family, only a 90 minute drive away from my home in Colorado. They too were tentative at first but let me in after seeing stories I had done recently in their area. My work documenting the headquarters of the “Focus on the Family” organization, portraying troops returning from Iraq at a nearby military base and covering “The Purity Ball”, a Christian father-daughter event all convinced them of my fairness and the integrity of my photojournalism. They said they prayed on it hard and were led to let me into their home to tell their story through pictures and sound.

Quiverfull, like any other belief system or philosophy, takes different forms. Believers generally view children as a gift from God and avoid all forms of birth control. To many, including the Jeubs, the movement means trusting God entirely to decide your family size by surrendering your life to God.

The Jeubs say that goes for their reproductive life too. “Wendy and I believe God wants us to trust Him in our family planning. The results are his to deal out. We’re more than fine by that. We are amazed (italics theirs) at how incredible the blessings have been…..We have 15 children, but why would we say that #16 wasn’t a blessing? Or #17? Or #18?”

Once I met the Jeubs it was really just about being a fly on the wall witnessing what goes on normally in their lives and their home. Chris told the attendees during a church service held in their home that one of the best things about a photographer is that they are invisible. He then proceeded to introduce me.

Producing the video after the fact took almost as much time as shooting the pictures and video did. I think it is worth it though because the power of the images is just enhanced with motion, music and narration by the people involved. This old dog just decided to learn some new tricks and record audio and embrace video technology in addition to shooting still photos late last year. I’ve been working for Reuters for almost 25 years but this is my first video project.

For photographers the saying used to be that you can’t go wrong with kids or dogs. The Jeubs had recently lost the family dog but kids they had in abundance. Thirteen kids are living at home; six are under the age of 6, there’s a set of twins, a 4 month old baby and a 17-year-old celebrating her birthday. We in the business say this is a “target-rich environment” for making photos. Everywhere you looked there was something happening. The trick was to pick and choose the moments to focus on, the same as with any other story. It’s the little fleeting moments that make the best pictures, every time. Seeing them when others don’t and then capturing them in a creative way is the secret to success as a documentary photographer.

Thanks to the Jeub family: Zechariah, Priscilla, Havilah, Joshua, Josiah, Hannah, Keilah, Tabitha, Noah, Micah, Isaiah, Lydia, Cynthia, father Chris and mother Wendy for letting me into their life briefly and ignoring me as much as possible while I was there!

Here’s my favorite still image from the 50 some pictures that went into the video project and the two long days I spent with the Jeub family. The action of three-year-old Havilah seemingly floating around on the trampoline, the light, the way her dress twirled up - all combine to tell a story. If only her sister hadn’t appeared dressed in red in the background of the picture it would have been perfect. I guess you just can’t have it all!

At the beginning of January, staff at Reuters and I had a discussion about creating a multimedia piece on the Red Bull Crashed Ice race, an event where competitors have to skate down an urban ice course in the middle of Old Quebec. After some discussion, the idea of doing a multimedia piece on the introduction of the woman’s category at the event was suggested, which I thought was a great idea.

On race day, the temperature was slightly below -30 Celsius in Quebec City, which is not unusual for that time of the year. One of my colleagues had the grease in his lens’ zoom barrel freeze during the race, so I had to be careful and keep my cameras, voice recorder and video camera warm.

It was my first time shooting pictures, videos and collecting audio to do a multimedia piece. My plan of attack was to shoot my pictures first and then film the videos. It’s always a good thing to have a plan when you’re out of your comfort zone. When I felt confident I had good pictures for the wire, I decided to switch to my video camera to shoot short video clips. This event was well suited for pictures and videos since there was more than thirty heats of four competitors. As always, if you’re filming video and something important happens, you will not be able to get the still image that the other agencies might have. I think photographers have to be careful not to spend too much time shooting video and concentrate on their primary job — taking pictures. Fortunately for me, nothing happened while I was capturing my video clips.

Collecting the audio was probably the easiest part of my job. I managed to do my interviews the day before the race. I prepared my questions in advance and asked some friends and colleagues to have a look at them to be sure I was not off track. As for the ambient sound, that was even easier. The race was divided into heats and between them people were screaming. While I was waiting for the next one, I just had to push the record button to collect some sound.

Multimedia is the way of the future for our profession, so being versatile will give you an edge over the competition. But not every event allows you to do good multimedia. You have to think of your core clients first. Will be well served if you drop your camera for a couple of minutes to concentrate more on shooting video and audio? In the end, I like the result of the piece that our editors put together, but I think I still have a lot of room for improvement. Perhaps, the next time it will be easier. I’m sure I’ll find new techniques to do more than one thing at once.

KSC Photo Blog from Scott Audette on Vimeo.

Reuters photographer Scott Audette documents the Reuters crew braving alligators and snakes and long hot days as they prepare for the launch of the Space Shuttle Endeavour.

Lucy Nicholson presents a multimedia blog on Reuters’ coverage of the Beijing Olympics.

The term ‘multimedia’ is used quite liberally these days, and means different things to different people. In reality it is an opportunity to be grasped, and will probably be what we choose to make it.

To mark the fifth anniversary of the start of the Iraq conflict Reuters has produced a multimedia piece. It pulls together the combined expertise of stills photographers, video camera operators , graphic artists, text journalists, and the multimedia producers. The various professionals are given freedom within their own discipline, and the different formats are brought together in a unified medium. The still image has not been devalued, but its role has been transformed. If this piece is an example of the multimedia project of the future, the still image is there too, as powerful as ever.