The difference between The Weather Channel and other news outlets is that climate trump trending topics. Recently, Blink’s Spencer Smith chatted with The Weather Channel’s Senior Editor Edecio Martinez about his photo direction in weather reporting, VR, and what The Weather Channel’s Photo Department is all about.

Spencer: Tell us about yourself and the work you do.

Edecio: I’m the Senior Editor of Visual Storytelling and Innovation for The Weather Channel, a digital product from The Weather Company, an IBM business.

Spencer: What kind of original content does The Weather Channel produce?

Edecio: Most importantly, we cover breaking world weather news ranging from hurricanes to tornadoes to earthquakes. We utilize freelance photographers and journalists to get reporting from the field that we can bring to the audience on our site and app. But we’re also always looking for feature stories with a strong weather angle. We’ve run pieces on wildfire refugees, fracking and the legacy of Hurricane Katrina. We’re open to a lot of things that might surprise photographers.

Black Feather Mardi Gras Indian tribe Second Chief Corey Rayford stands for a portrait outside of his home in New Orleans East on August 3, 2015. Rayford lost five Indian suits in Hurricane Katrina and spent a year and a half displaced in Virginia. When he was able to get back to New Orleans, he says that it took him 2-3 years to get his financial stability back but he still couldn't resume masking as a Mardi Gras Indian. Finally, cousin Lionel Delpit, who was then the Big Chief of the Black Feather tribe, got sick in 2010 and said that 2011 would be the last year he masked as a Mardi Gras Indian. Rayford buckled down and made a new suit in only four months. "I'm so glad I had the chance to make a suit and mask with him," he said. "This has been in my family since before my time."

Black Feather Mardi Gras Indian tribe Second Chief Corey Rayford stands for a portrait outside of his home in New Orleans East on August 3, 2015. Rayford lost five Indian suits in Hurricane Katrina and spent a year and a half displaced in Virginia. (Edmund D. Fountain/ The Weather Channel)

Spencer: What do you look for when hiring a freelancer? Any suggestions in best practices for freelancers?

Edecio: The single most important thing that we look for is people who can tell a human-driven story in a single photo. Bringing these massive forces of nature into the human arena is difficult, but when it happens, the results are really powerful. We also look for people who have experience shooting in severe weather. It requires a certain set of skills and comfort-level to shoot in these conditions. In breaking new situations, it’s imperative to keep constant communication. Where are you? What are you seeing? What are you getting? I know that’s tough — especially if infrastructure has been affected — but it is helpful for us to know what’s coming in. In more feature-y assignments, communication is key, too. Just so that we both know what’s expected — and what we’re hoping for — before the first photos get taken.

Spencer: More specifically, what are the best ways to pitch to The Weather Channel?

Edecio: Firstly, photographers shouldn’t have a preconceived notion of what we’re interested in. Yes, we publish pieces on wildfires and typhoons. And climate change and its impacts are definitely part of our mandate. But our interests are broader than that. There are a lot of areas that are strongly influenced by the weather — outdoor life, travel, environmental health — we’re interested in all these areas. On the other hand, if you capture amazing photos of some extreme weather event, please call us first! But I think pitching us is easy. Know what you’re going out to capture, have some previous work ready for us to look at, and we are happy to talk.

A commercial fishing vessel leaves Bayou la Batre, Ala. on June 2, 2015. The town once thrived on oysters, but in the wake of both Hurricane Katrina and the Deepwater Horizon oil spill, oyster shucking facilities are struggling to remain open. (Edmund D. Fountain, weather.com)

A commercial fishing vessel leaves Bayou la Batre, Ala. on June 2, 2015. The town once thrived on oysters, but in the wake of both Hurricane Katrina and the Deepwater Horizon oil spill, oyster shucking facilities are struggling to remain open. (Edmund D. Fountain/The Weather Channel)

Spencer: What are the nuances of covering weather and how does it differ from traditional editorial news?

Edecio: The biggest nuance is that there’s a real mix of predictability and unpredictability. We know that there will be storms, we know the geographical area, but exactly how it’s going to play out on the ground sometimes isn’t clear until pretty late in the game. We have amazing meteorologists who make sure that we have an opportunity to get out ahead of the story. However, relatively small changes, a couple dozen miles in one direction or the other can cause change of plans.

Sayville, N.Y. during Superstorm Sandy on October 30, 2012. Go to weather.com to see how this area looks five years later. (Amy Medina/ The Weather Channel)

Sayville, N.Y. during Superstorm Sandy on October 30, 2012. Go to weather.com to see how this area looks five years later. (Amy Medina/ The Weather Channel)

Myanmar's leg rowers of Inle Lake, December 28, 2015. (Andrei Duman/The Weather Channel)

Myanmar’s leg rowers of Inle Lake, December 28, 2015. (Andrei Duman/The Weather Channel)

Spencer: How is covering unexpected disasters like earthquakes different from predictable ones, like blizzards?

Edecio: Covering unexpected events fits more into the “traditional” news mode. It’s reactive. We have no opportunity to line up photographers on the ground beforehand, so we’re scrambling like most news outlets. The difference between us and other outlets in this situation, though, is that an event like an earthquake will immediately become our primary concern. We aren’t worrying, say, about pushing election coverage to make room for it. It is our priority.

Spencer: Can you tell us about the web documentary that you just won an Emmy for?

Edecio: “The Real Death Valley” looked at migrants who have died in the heat while attempting to evade a U.S. Border Patrol checkpoint in Texas. This was the product of a joint investigation with Telemundo and The Investigative Fund that wound up winning an Emmy for “Outstanding Investigative Journalism in Spanish.” We’ve invested in serious investigative journalism, in photo features, in magazine-style pieces. Last year we won almost 20 awards for our work, including an IRE Medal, the George Polk Award, awards from NY Press Club, and awards from the Society of Professional Journalists to name a few. I think the “The Real Death Valley” is a nice example of something you probably wouldn’t expect from The Weather Channel.

Weather.com producer Chenda Ngak stares at the night sky in the Atacama Desert, San Pedro, Chile, December 11, 2015. (Nicholas Buer, The Weather Channel)

Weather.com producer Chenda Ngak stares at the night sky in the Atacama Desert, San Pedro, Chile, December 11, 2015. (Nicholas Buer, The Weather Channel)

Spencer: What can we expect from The Weather Channel as you venture into Virtual Reality (VR) coverage?

Edecio: The short answer is “I don’t know,” which I think is okay, because I don’t think anyone knows, really. (If you know where VR is headed, please call us!) It’s such a young medium that it’s flat-out exciting to be here at the beginning, figuring out what sorts of storytelling it is suited for. So, you can expect experimentation, probably a few failures, but hopefully some really amazing pieces that couldn’t have been made any other way.

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Writer: Spencer Smith 

Editor: Sahiba Chawdhary

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