Category Archives: user generated content

A lesson in UGC, copyright, and the law (again)

Terence Eden filmed the above video demonstrating O2’s phone security flaw. He put it on YouTube with the standard copyright licence. And someone at Sky News ignored that when they used it without permission. But what’s interesting about Terence’s blog post about the experience is the legal position that Sky then negotiated from – an experience that journalism students, journalists and hyperlocal bloggers can learn from.

Here is what Sky came back with after negotiations stalled when Eden invoked copyright law in asking for £1500 for using his video (“£300 for the broadcast of the video [based on NUJ rates …] £400 for them failing to ask permission, another £400 for them infringing my copyright, and then £400 for them violating my moral rights.”):

“After consulting with our Sky lawyers our position is that we believe a £300 settlement is a fair and appropriate sum.
“Our position is:

The £300 is in respect of what you describes as “infringement of copyright” rather than any “union rate”;

Contrary to what you claim, we did not act as if you had assigned us all rights. Specifically, we did not claim ownership nor seek to profit from it by licensing to others;

Criminal liability will not attach in relation to an inadvertent use of footage;

English law does not recognise violation of moral rights;

There is no authority that an infringement in these circumstances attracts four times the usual licence fee. To the contrary, the usual measure is what the reasonable cost of licensing would have been.”

This sounds largely believable – particularly as Sky were “very quick” to take the infringing content down. That would be a factor in any subsequent legal case.

Notably, the Daily Mail example he quotes – where the newspaper reportedly paid £2000 for 2 images – included an email exchange where the photographer explicitly refuses the website permission to reproduce his photographs, and a period of time when the images remained online after he had complained.

These are all factors to consider whichever side of the situation you end up in.

PS: Part of Eden’s reason for pursuing Sky over their use of his video was the company’s position in pursuing “a copyright maximalist agenda” which Eden believes is damaging to the creative industries. He points out that:

“The Digital Economy Act doesn’t allow me to sue Sky News for distributing my content for free without my permission. An individual can lose their Internet access for sharing a movie, however there don’t seem to be any sanctions against a large company for sharing my copyrighted work without permission.”

An interesting point.

Magazine editing: managing information overload

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In the second of three extracts from the 3rd edition of Magazine Editing, published by Routledge, I talk about dealing with the large amount of information that magazine editors receive.

Managing information overload

A magazine editor now has little problem finding information on a range of topics. It is likely that you will have subscribed to email newsletters, RSS feeds, Facebook groups and pages, YouTube channels and various other sources of news and information both in your field and on journalistic or management topics.

There tend to be two fears driving journalists’ information consumption: the fear that you will miss out on something because you’re not following the right sources; and the fear that you’ll miss out on something because you’re following too many sources. This leads to two broad approaches: people who follow everything of any interest (‘follow, then filter’); and people who are very strict about the number of sources of information they follow (‘filter, then follow’).

A good analogy to use here is of streams versus ponds. A pond is manageable, but predictable. A stream is different every time you step in it, but you can miss things.

As an editor you are in the business of variety: you need to be exposed to a range of different pieces of information, and cannot afford to be caught out. A good strategy for managing your information feeds then, is to follow a wide variety of sources, but to add filters to ensure you don’t miss all the best stuff.

If you are using an RSS reader one way to do this is to have specific folders for your ‘must-read’ feeds. Andrew Dubber, a music industries academic and author of the New Music Strategies blog, recommends choosing 10 subjects in your area, and choosing five ‘must-read’ feeds for each, for example.

For email newsletters and other email updates you can adopt a similar strategy: must-reads go into your Inbox; others are filtered into subfolders to be read if you have time.

To create a folder in Google Reader, add a new feed (or select an existing one) and under the heading click on Feed Settings… – then scroll to the bottom and click on New Folder… – this will also add the feed to that folder.

If you are following hundreds or thousands of people on Twitter, use Twitter lists to split them into manageable channels: ‘People I know’; ‘journalism’; ‘industry’; and so on. To add someone to a list on Twitter, visit their profile page and click on the list button, which will be around the same area as the ‘Follow’ button.

You can also use websites such as Paper.li to send you a daily email ‘newspaper’ of the most popular links shared by a particular list of friends every day, so you don’t miss out on the most interesting stories.

Social bookmarking: creating an archive and publishing at the same time

Social bookmarking tools like Delicious, Digg and Diigo can also be useful in managing web-based resources that you don’t have time to read or think might come in useful later. Bookmarking them essentially ‘files’ each webpage so you can access them quickly when you need them (you do this by giving each page a series of relevant tags, e.g. ‘dieting’, ‘research’, ‘UK’, ‘Jane Jones’).

They also include a raft of other useful features, such as RSS feeds (allowing you to automatically publish selected items to a website, blog, or Twitter or Facebook account), and the ability to see who else has bookmarked the same pages (and what else they have bookmarked, which is likely to be relevant to your interests).

Check the site’s Help or FAQ pages to find out how to use them effectively. Typically this will involve adding a button to your browser’s Links bar (under the web address box) by dragging a link (called ‘Bookmark on Delicious’ or similar) from the relevant page of the site (look for ‘bookmarklets’).

Then, whenever you come across a page you want to bookmark, click on that button. A new window will appear with the name and address of the webpage, and space for you to add comments (a typical tactic is to paste a key quote from the page here), and tags.

Useful things to add as tags include anything that will help you find this later, such as any organisations, locations or people that are mentioned, the author or publisher, and what sort of information is included, such as ‘report’, ‘statistics’, ‘research’, ‘casestudy’ and so on.

If installing a button on your browser is too complicated or impractical many of these services also allow you to bookmark a page by sending the URL to a specific email address. Alternatively, you can just copy the URL and log on to the bookmarking site to bookmark it.

Some bookmarking services double up as blogging sites: Tumblr and Stumbleupon are just two. The process is the same as described above, but these services are more intuitively connected with other services such as Twitter and Facebook, so that bookmarked pages are also automatically published on those services too. With one click your research not only forms a useful archive but also becomes an act of publishing and distribution.

Every so often you might want to have a clear out: try diverting mailings and feeds to a folder for a week without looking at them. After seven days, ask which ones, if any, you have missed. You might benefit from unsubscribing and cutting down some information clutter. In general, it may be useful to have background information, but it all occupies your time. Treat such things as you would anything sent to you on paper. If you need it, and it is likely to be difficult to find again, file it or bookmark it. If not, bin it. After a while, you’ll find it gets easier.

Do you have any other techniques for dealing with information overload?

Magazine editing: social media policies

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In the first of three extracts from the 3rd edition of Magazine Editing, published by Routledge, I talk about some basic considerations in drawing up social media policies. If you are aware of any particularly good or bad examples of social media policies in the magazine industry, I’d love to know.

Social media policies

A policy need not be particularly restrictive – the key is that everyone is clear what is acceptable (and in some cases, what is encouraged, or ‘best practice’), as well as what to do in particular situations (such as when they receive abusive or offensive messages).

There are plenty of examples to look at online, including a database of social media policies at socialmediagovernance.com/policies.php – key issues for you as a publication are making all journalists aware of legal risks such as defamation, contempt and copyright (which they might normally otherwise think sub-editors are covering) and professionalism (for example, posting inappropriate images on an account they used for professional purposes).

Also worth considering carefully are the areas of objectivity and impartiality. US publications are a lot more anxious about their journalists being perceived to be anything but completely neutral in all affairs, leading to some policies that would appear draconian to the more opinionated Brits.

Neutrality, however, is different to objectivity (which is rather more complicated but comes down to a process based on facts rather than simply creating an appearance of balance through presenting conflicting beliefs), and well informed opinion is a key feature in most magazines.

You want to allow your writers to play to their strengths and find their natural ‘voice’ on social media platforms (institutional voices do not work well here), while also guarding against ill-considered comments that might be used against the publication.

What other issues should a social media policy cover? And why should a magazine have one?

Magazine Editing – 3rd edition now out (disclosure: I edited it)

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Magazine Editing 3rd edition

UPDATE: Readers of this blog can now get a 20% discount off the book by using the code ME1211 when ordering on the Routledge site.

Magazine Editing is one of those books that I’ve used for years in my teaching. Unlike most books in the field, it has a healthy focus on the less glamorous aspects of running magazines, such as managing teams and budgets, editorial strategy, and the significant proportion of the industry – B2B, contract publishing, controlled-circulation, subscription-based – that you don’t see on supermarket shelves.

For the third edition, publishers Routledge approached me to update the book for a multiplatform age. That work is now done – and the new edition is now out.

Although it now has my name on it, the book remains primarily the work of John Morrish, who wrote the first two editions of the book. Editing his work gave me a fresh appreciation of just what a timeless job he has done in identifying the skills needed by magazine editors – as I write in the introduction:

“It is striking how much of the advice in the book is more important than ever. In a period of enormous change it is key to focus on the core skills of magazine editing: clear leadership, effective management, people skills and creative thinking around what exactly it is that your readers are buying into – whether that’s printed on paper, pixels on a screen, or something intangible like a sense of community and belonging.”

So if you can find one of the older editions cheap, you’ll still find it useful.

So what did I add to the new edition of Magazine Editing? It goes without saying that digital magazines (web-only, apps) are now covered. The diversification of revenue models – the increased importance of events, merchandising, data, mobile and apps – is now explored, as well as how online advertising works, and how it differs from traditional advertising. How to use online resources, including web analytics, to better understand your audience and inform your editorial strategy; and how magazine campaigns are changed by the dynamics of the web.

The chapter on leading and managing now includes sections on managing information overload, social bookmarking and social media policies, and there’s a new section on legal guidance on placements and internships. The budgeting sections now include online considerations, and there’s an exploration of the pros and cons of using free or minimal cost third party services against building tools in-house. A passage from the section on ‘Making money online’ is illustrative of the shifts facing the industry:

“Like so much else on the web, it is becoming difficult to see where content ends and commerce begins. The concept of a ‘magazine’ blurs when, online, it can also be a shop, a game, or a tool. It helps to think of how the business model of magazines has traditionally worked: gathering a community of people in the same place (on your pages) where companies can then advertise their products and services. The same principle applies now, but the barriers to selling products and services yourself have been significantly lowered, just as the barriers to publishing content have been significantly lowered for those companies whose advertising used to fund print publishing. Integrity is no less important in this context: users will desert your website if your content is only concerned with selling them your products, just as they will desert if your events are badly organised, your merchandise poor quality, or your service shoddy. Publishers increasingly talk of a ‘brand experience’ of which the content is just one part. In many ways this makes the reader – as they also become a consumer – more powerful, and the advertiser less so. Your insights into what they are talking and reading about may be of increasing interest to those who are searching for new revenue streams.”

The chapter on writing covers considerations in evaluating online sources of information and the debates in online journalism around objectivity versus transparency, and the values of a ‘web-first’ strategy. I also cover online tools for organising diaries and monitoring social media. There’s an exploration of best practice guidelines in writing for the web, and when multimedia is appropriate or preferable.

The chapter on pictures and design now includes advice on dealing with web designers and developers, multiplatform design and branding, sourcing video for the web, copyright and Creative Commons, infographics, and image considerations for online publication. And ‘Managing Production’ covers search engine optimisation, scheduling online production, and online distribution. The penultimate chapter on legal considerations adds data protection, the role of archives in contempt of court, and website terms and conditions.

I end the book with a list of tools that allows the reader to get publishing right now. And aside from the legal developments, the new considerations, roles and stages in the production cycle, this is perhaps the most important change from previous editions: a student reading this book is no longer waiting for their first job in publishing: they should be creating it.

If you have read the book and want to receive updates on developments in the magazine industry, please Like the book’s Facebook page. I’d also welcome any comments on areas you think are well covered – or need to be covered further.

Strategies vs tools redux

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Yesterday I chaired a panel on ‘UGC and Social Media’ at Birmingham’s Hello Culture event. Determined that it did not descend into the all-too-common obsession with tools that often characterises such discussions, I framed it from the start with the questions “Why should we care? Why should users care?”

The panellists were grateful – and the tactic seemed to work. We talked about the tension between creating content and building relationships; between the urge to ‘get people on our platform’ and going to their platforms instead. We discussed how the experience of designing physical spaces might inform how we approach designing digital ones; and about revisiting strategic priorities as a whole instead of simply trying to ‘find time’ to ‘do the online stuff’.

In other words we talked about people rather than technology, and strategies rather than tools.

So this morning it was good to be brought back down to earth and reminded just how embedded the technology-driven mindset is by Richard Millington.

Richard writes about a ‘State of Branded Online Communities’ report that uses Bravo TV as an example of a “successful” online community. The problem is that by any sensible measure, it isn’t. And I think Richard’s quotes on just how flawed the example is are worth reproducing here at length:

“If simply posting a standardized thread each week and leaving people to their own endeavours is seen as good community management practice, what exactly is bad community management? This is community management by autopilot.

“… You judge a community’s success by it’s stage in the life cycle, the number of interactions it generates, it’s members sense of community and the ROI it offers the organization. ComBlu defines success by what features the platform offers. By that assessment, nearly all of the most successful communities would be considered failures. [They struggle to get more than 10 members participating in a community at any one time.]

“ComBlu credits Bravo with an array of successes which have no impact on the community’s success. Only one suggestion is offered:

“[..] On our Bravo wish list? A better gamification or reputation management system.”

“There are a variety of things the community needs, a better gamification system certainly isn’t one of them.

“How about hiring a community manager to take responsibility for stimulating discussions […]?

“… Content sites branded as communities are still content sites.”

Ah, gamification: I’ll tip that to be next year’s QR code/Facebook page. How about an iPhone app? Everyone else is doing it so why shouldn’t we? Remember when everyone had to have a space in Second Life?

It’s a point I’ve made before in Technology is not a strategy: it’s a tool (and its follow-up), and which is explored at length in my Online Journalism book. Too often in an organisation or in a student project someone decides that they must launch a Facebook page or ‘be on Twitter’.

I recently compared this to someone approaching a TV producer, saying they wanted to make a documentary, and explaining that their strategy would be to “use a camera”.

No producer would accept that, and we need an equally critical attitude to the use of new technology. Otherwise we’re just hammers walking around seeing nails.

Investigating Mubenga’s death (How “citizen journalism” aided two major Guardian scoops part 3)

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This is the final part of a guest post by Paul Lewis that originally appeared in the book Investigative Journalism: Dead or Alive? You can read the introduction here and the second part – on the investigation of Ian Tomlinson’s death – here.

Mubenga’s death had been similarly “public”, occurring on a British Airways commercial flight to Angola surrounded by passengers. As with Tomlinson, there was a misleading account of the death put out by the authorities, which we felt passengers may wish to contest. Within days, open journalism established that Mubenga had been handcuffed and heavily restrained by guards from the private security firm G4S. He had been complaining of breathing prior to his collapse. After the investigation was published, three G4S guards were arrested and, at the time of writing, remained on bail and under investigation by the Met’s homicide unit.

Our strategy for finding out more about Mubenga’s death centred on two approaches, both aided by Twitter. The BA flight, which had been due to depart on 12 October, was postponed for 24 hours, and by the time we began investigating the following day the passengers had left Heathrow and were on route to Angola’s capital, Luanda. Raising our interest in the story via Twitter, we asked for help in locating someone who could visit the airport to interview disembarking passengers.

A freelance did just that, and managed to speak to one who said he had seen three security guards forcibly restrain Mubenga in his seat. We instantly shared that breakthrough, in the hope that it would encourage more passengers to come forward. At the same time we were publishing what we knew about the case, while being candidly open about what we did not know.

Hence the very article, published before any passengers had been tracked down, stated: “There was no reliable information about what led to the man’s death of how he became unwell.” It added, perhaps controversially: “In the past, the Home Office’s deportation policy has proved highly controversial.”

The tone was necessarily speculative, and designed to encourage witnesses to come forward. So too were the tweets. “Man dies on Angolan flight as UK tries to deport him. This story could be v big,” said one.

This articles and tweets, contained relevant search-able terms – such as the flight number – so that they could serve as online magnets, easily discoverable for any passengers with important information and access to the internet. Another tweet said: “Please contact me if you were on BA flight 77 to Angola – or know the man in this story.”

One reply came from Twitter user @mlgerstmann, a passenger on the flight who felt inappropriate force was used against Mubenga. He had come across the tweet – and then read the article – after basic Google searches. “I was also there on BA77 and the man was begging for help and I now feel so guilty I did nothing,” he tweeted.

Within hours, his shocking account of Mubenga’s death was published alongside several other passengers who had found us via the internet. An interactive graphic of the seating arrangements on the aircraft was created, enabling users to listen to audio clips of the passengers give personal accounts of what they had seen.

How verification was crucial

As with the Tomlinson investigation, verification, something paid journalists do better than their volunteer counterparts, was crucial. The fact the passengers had disseminated to remote parts of Africa – @mlgerstmann was on an oil-rig – explains why the only way to contact them was through an open, Twitter-driven investigation.

But this methodology also poses problems for authenticating the validity of sources. Journalists are increasingly finding that a danger inherent in opening up the reporting process is that they become more susceptible to attempts to mislead or hoax. This is particularly the case with live-blogs which need regular updates, require authors to make split-second decisions about the reliability of information and take care to caveat material when there are questions.

For journalists with more time, it is incumbent, therefore, to apply an equal if not more rigorous standard of proof when investigating in the open. In the Tomlinson case, when sources were encountered through the internet it was mostly possible to arrange meetings in person. That was not possible when investigating Mubenga, where there was an attempt by a bogus passenger to supply us false information.

In lieu of face to face meetings, we were able to use other means, such as asking prospective sources to send us copies of their airline tickets, to verify their accounts. What the investigations into the deaths of both Tomlinson and Mubenga show is that journalists don’t always need to investigate into the dark. Through sharing what they do know, they are most likely to discover what they don’t.

Disproving the police account of Tomlinson’s death (How “citizen journalism” aided two major Guardian scoops part 2)

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This is the second of a three-part guest post by Paul Lewis that originally appeared in the book Investigative Journalism: Dead or Alive? You can read the first part here.

The investigation into Tomlinson’s death began in the hours after his death on 1 April 2009, and culminated, six days later, in the release of video footage showing how he had been struck with a baton and pushed to the ground by a Metropolitan police officer, Simon Harwood. The footage, shot by an American businessman, was accompanied by around twenty detailed witness accounts and photographs of the newspaper seller’s last moments alive and successfully disproved the police’s explanation of the death.

The result was a criminal investigation, a national review of policing, multiple parliamentary inquiries and, by May 2011, an inquest at which a jury concluded Tomlinson had been “unlawfully killed”. At the time of writing, Harwood, who was on the Met’s elite Territorial Support Group, was awaiting trial for manslaughter.

In media studies, the case was viewed as a landmark moment for so-called “citizen journalism”. Sociologists Greer and Laughlin argue the Tomlinson story revealed a changing narrative, in which the powerful – in this case, the police – lost their status of “primary definers” of a controversial event.

Significantly, it was the citizen journalist and news media perspective, rather than the police perspective, that was assimilated into and validated by the official investigations and reports. Ultimately, it was this perspective that determined “what the story was”, structured the reporting of “what had happened and why” and drove further journalistic investigation and criticism of the Metropolitan Police Services.

The initial account of Tomlinson’s death put out by police was that he died of a heart attack while walking home from work in the vicinity of the protests, and that protesters were partly to blame for impeding medics from delivering life-saving treatment. Neither of these claims were true, but they fed into coverage that was favourable to police.

A public relations drive by the Met and City of London police was bolstered by “off the record” briefings to reporters that suggested – also wrongly – that Tomlinson’s family were not surprised by his death and upset by internet speculation it could be suspicious. These briefings contributed to a broader media narrative that endorsed police and criticised protesters.

How the police account left so many questions unanswered

The morning after father of nine died, the newspaper he had been selling outside Monument tube station, the Evening Standard, carried the headline: “Police pelted with bricks as they help dying man.” But it was plain to us, even at an early stage, that there could be more to the story. The overlydefensive police public relations campaign gave the impression there was something to hide. Embedded in the small-print of press releases, there were clues – such as the Independent Police Complaints Commission’s notification of the death – that left unanswered questions.

Most obviously, anyone who had ventured near to the protests near the Bank of England on the evening Tomlinson died would have known he collapsed in the midst of violent clashes with police. It seemed implausible, even unlikely, that the death of a bystander would not have been connected in some way to the violence. But pursuing this hunch was not easy, given the paucity of reliable information being released by police, who at times actively discouraged us from investigating the case.

All that was known about Tomlinson in the 48 hours after his death was that he had been wearing a Millwall football t-shirt. That, though, was enough to begin pursuing two separate lines of inquiry. One involved old school “shoe leather”; trawling through notepads to identify anyone who may have been in the area, or know someone who was, who could identify Tomlinson from press photographs of him lying unconscious on the ground.

That yielded one useful eye-witness, with photographic evidence of Tomlinson alive, with images of him walking in apparent distress, and lying at the feet of riot police 100 yards from where he would eventually collapse. Why was Tomlinson on the ground twice, in the space of just a few minutes? And if those photographs of the father of nine stumbling near police officers, moments before his death, were put online, would anyone make the connection?

Becoming part of a virtual G20 crowd

The answer was yes, as a direct result of the second line of inquiry: by open sharing information online, both through internet stories and Twitter, we became part of a virtual G20 crowd that had coalesced online to question the circumstances of his death. In this environment, valuable contributions to the debate, which were more sceptical in tone than those adopted by other media organisations, worked like online magnets for those who doubted the official version of events. Twitter proved crucial to sharing information with the network of individuals who had begun investigating the death of their own accord.

I had signed-up to the social media website two days before the protest, and became fascinated with the pattern of movement of “newsworthy” tweets. For example, a YouTube video uploaded by two protesters who did not see the assault on Tomlinson, but did witness his collapse minutes later and strongly disputed police claims that officers treating him were attacked with bottles, was recommended to me within seconds of being uploaded. Minutes later, Twitter investigators had identified the protesters in the film and, shortly after that, found their contact details.

Similarly, those concerned to document Tomlinson’s last moments alive, including associates of the anarchist police-monitoring group Fitwatch, were using the internet to organise.

Through Twitter I discovered there were Flickr albums with hundreds of photographs of the vicinity of this death, and dissemination of blog-posts that speculated on how he may have died. None of these images of course could be taken at face value, but they often contained clues, and where necessary the crowd helped locate, and contact, the photographer.

Journalists often mistakenly assume they can harness the wisdom of an online crowd by commanding its direction of travel. On the contrary, in digital journalism, memes (namely, concepts that spread via the internet) take their own shape organically, and often react with hostility to anyone who overtly seeks to control their direction. This is particularly the case with the protest community, which often mistrusts the so-called mainstream media. Hence it was incumbent on me, the journalist, to join the wider crowd on an equal playing-field, and share as much information as I was using as the investigation progressed.

Establishing authenticity and context

There were times, of course, when we had to hold back important material; we resisted publishing images of Tomlinson at the feet of riot police for four days, in order to establish properly their authenticity and context.

Internet contact usually does not suffice for verification, and so I regularly met with sources. I asked the most important witnesses to meet me at the scene of Tomlinson’s death, near the Bank of England, to walk and talk me through what they had seen. We only published images and video that we had retrieved directly from the source and later verified.

A different standard applies to sharing images already released on Twitter, where journalists such as National Public Radio’s Andy Carvin in the US have proven the benefits from sharing information already in the public domain to establish its significance and provenance. The break, though, as with most scoops, was partly the result of good luck, but not unrelated to the fact that our journalism had acquired credibility in the online crowd.

Chris La Jaunie, an investment fund manager, who had recorded the crucial footage of Harwood pushing Tomlinson on a digital camera, had become part of that crowd too, having spent days monitoring coverage on the internet from his office in New York. He knew the footage he had was potentially explosive. The options available to Mr La Jaunie were limited. Fearing a police cover-up, he did not trust handing over the footage. An alternative would have been to release the video onto YouTube, where would it lack context, might go unnoticed for days and even then could not have been reliably verified.

He said he chose to contact me after coming to the conclusion that ours was the news organisation which had most effectively interrogated the police version of events. It was more than a year later that my colleague Matthew Taylor and I began inquiring into the death of Mubenga. By then we had recognised the potential reach of Twitter for investigative journalism and our decision to openly investigate the death of the Angolan failed asylum seeker was a deliberate one.

Not all investigations are suited to transparent digging, and, indeed, many stories still demand top secrecy. This has been true for the three outstanding UK investigations of our times: the Telegraph’s MPs’ expenses scandal and, at the Guardian, the investigations into files obtained by WikiLeaks and phone-hacking by the News of the World. However, Tomlinson had shown that open investigations can succeed, and there were parallels with the death of Mubenga.

In the third and final part, published tomorrow, Lewis explains how he used Twitter to pursue that investigation into the death of Jimmy Mubenga, and the crucial role of verification.

Paul Lewis: How “citizen journalism” aided two major Guardian scoops (guest post)

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In a guest post for the Online Journalism Blog, Paul Lewis shows how Twitter helped the Guardian in its investigations into the deaths of news vendor Ian Tomlinson at the London G20 protests and Jimmy Mubenga, the Angolan detainee, while he was being deported from Heathrow.

This originally appeared in the book Investigative Journalism: Dead or Alive?, which also includes another chapter previously published on the blog: Has investigative journalism found its feet online?.

Investigative journalists traditionally work in the shadows, quietly squirrelling away information until they have gathered enough to stand-up their story. That silence reassures sources, guarantees targets do not discover they are being scrutinised and, perhaps most importantly, prevents competitors from pinching the scoop.

But an alternative modus operandi is insurgent. It is counter-intuitive to traditionalist mind-set, but far more consistent with the prevailing way readers are beginning to engage with news.

Investigating in the open means telling the people what you are looking for and asking them to help search. It means telling them what you have found, too, as you find it. It works because the ease with which information can be shared via the internet, where social-media is enabling collaborative enterprise between paid journalists and citizens who are experts in their realm.

Journalism has historically been about the hunt for sources, but this open method reverses that process, creating exchanges of information through which sources can seek out journalists. There are drawbacks, of course. This approach can mean forfeiting the short-term scoop. At times, the journalist must lose control of what is being investigated, how and by whom, and watch from a distance as others make advances on their story.

They have to drop the fallacy that their job title bestows upon them a superior insight to others. But all these are all worthwhile sacrifices in the context of what can be gained.

This is illustrated by Guardian investigations into the deaths of Ian Tomlinson, the newspaper seller who died at the London G20 protests in 2009, and Jimmy Mubenga, the Angolan detainee who died while being deported from Heathrow on 12 October 2010. In both cases, eliciting cooperation through the internet – particularly Twitter – allowed us to successfully challenge the official accounts of the deaths.

In the second part Lewis explains how he used Twitter and Flickr to pursue his investigation into the death of Ian Tomlinson.

UPDATE: The stories described in these posts can also be seen in this video of Paul speaking at the TEDx conference in Thessaloniki:

When will we stop saying “Pictures from Twitter” and “Video from YouTube”?

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Image from YouTube

Over the weekend the BBC had to deal with the embarrassing ignorance of someone in their complaints department who appeared to believe that images shared on Twitter were “public domain” and “therefore … not subject to the same copyright laws” as material outside social networks.

A blog post, from online communities adviser Andy Mabbett, gathered thousands of pageviews in a matter of hours before the BBC’s Social Media Editor Chris Hamilton quickly responded:

“We make every effort to contact people, as copyright holders, who’ve taken photos we want to use in our coverage.

“In exceptional situations, ie a major news story, where there is a strong public interest in making a photo available to a wide audience, we may seek clearance after we’ve first used it.”

(Chris also published a blog post yesterday expanding on some of the issues, the comments on which are also worth reading)

The copyright issue – and the existence of a member of BBC staff who hadn’t read the Corporation’s own guidelines on the matter – was a distraction. What really rumbled through the 170+ comments – and indeed Andy’s original complaint – was the issue of attribution.

Continue reading →

How a musician and a Sikh TV channel dominated coverage of the Birmingham riots

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One image from last night guaranteed not to have made it onto the front page - via Birmingham Riots 2011

It’s one thing to cover rioting on the doorstep of the national press – it’s quite another when squeezed regional newsrooms have to do the same. And as rioting in the UK spread from London to Birmingham and then other cities, some unlikely suspects showed how to cover a riot online even when you don’t have a newsroom.

Dominating online coverage in Birmingham was not a local newspaper or broadcaster but a Tumblr site – Birmingham Riots 2011 – set up by musician Casey Rain. Over dozens of entries Casey posted countless reports of what was taking place, and a range of photos and video footage which dwarfed the combined coverage of regional press and broadcast.
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