Posts Tagged ‘International Journalism’


Reporters Without Borders: Dictators Quoting Trump in Press Crackdowns

The image of the United States as a bastion of freedom seems to have done a 180-degree turn, with authoritarian regimes around the planet now quoting President Trump as they crack down on free speech and press, warns media watchdog group Reporters Without Borders.

The group makes this observation as 234 Americans face severe criminal penalties after they were rounded up at the Inauguration Day protests in Washington, D.C., in January, putting a chill on protected speech and the right to assemble. Many of Trump’s counterparts approve of such crackdowns. Listening to these leaders’ anti-media tirades, one can easily imagine the same words coming from Trump.

Thailand’s Prime Minister mentioned “fake reports and hate speech” in his recent announcement of a crackdown on the media.

President Donald J. Trump and First Lady Melania Trump pose for photos with Thailand Prime Minister, Pryut Chan-o-Cha and his wife Assoc. Prof. Madam Naraporn Chan-o-Cha in the Oval Office at the White House, Monday, October 2, 2017, in Washington, D.C. (Official White House Photo by Shealah Craighead)

“I don’t want to make enemies. But society needs to function in an orderly fashion,” the Bangkok Post quotes Prime Minister Prayut Chan-o-cha, leader of the military junta that took over the nation in a coup in 2014. “No matter who you are, if you twist the facts, write what is not true or incite hatred, you will face legal action.”

Cambodia’s Prime Minister Hun Sen, meanwhile, has voiced bilious support for Trump’s attacks on CNN. The long-serving leader has been busy shutting down media outlets like the Cambodia Daily ahead of the nation’s 2018 general elections.

“CNN deserves the rantings of President Donald Trump,” said the former Khmer Rouge official. “His rantings are right. I would like to send a message to the president that your attack on CNN is right. American media is very bad.”

Dictators Cozy Up to Trump and His ‘Fake News’

Reporters Without Borders sees a clear danger to American democracy and the resulting global ripples of Trump’s all-out assault on facts and the free press. This could be the first time the United States has reversed course and found itself encouraging rather than discouraging dictators from stifling freedoms.

“The phenomenon of ‘fake news’ is a serious one—both at the national and international level,” Margaux Ewen, advocacy and communications director for the group’s North America Bureau, told me in a recent interview. “Opponents of press freedom all over the world have used the term to silence and discredit the media. They have even gone so far as to quote statements from President Trump to support and justify their misdirected policies and draconian laws.

“Authoritarian regimes all over the world can now take full advantage of this anti-media stance by discrediting mainstream news coverage and calling it ‘fake news.’ There are serious global implications of President Trump’s stance against the media.”

U.S. Reporter Faces 70 Years in Prison…for Reporting

The 234 defendants, or the “J20,” as they’re being called, include Santa Fe, N.M.-based journalist Aaron

Cantú. He was rounded up en masse during the Inauguration Day arrests while reporting on the ground, and now faces 70 years behind bars. Reporters Without Borders is watching his case with deep concern about the future of America’s press freedoms.

 

“At the time of his arrest in January, we publicly admonished his arrest and charges,” Ewen told me. “No journalist should be arrested and charged with a criminal offense for simply doing their job covering a protest.”

Big Moment for Democracy as Reporter Goes to Trial

Cantú emailed me this statement as he prepares his defense against the sort of crackdown we are used to seeing done only by authoritarian regimes.

“While I appreciate the outsized attention my case has gotten because of my profession, the entirety of the J20 prosecution is a watershed moment for how the state conceives of and persecutes political activism in the Trump era. These mass trials confirm some of the worst fears about a so-called law-and-order presidential administration that is hypersensitive to criticism, and should be watched closely by anybody concerned with the direction of this country.”

‘No Easy Fix’ for U.S. Press Freedom

Once America jumps down that anti-media rabbit hole, it’s going to be an epic struggle to get out of it, says Reporters Without Borders.

“Unfortunately, there is no easy fix for this erosion of trust in the media,” said Ewen.

Ewen says Americans need to become more media savvy, which may be too big a hurdle.

“Double checking sources and facts, consuming news from established and unbiased outlets, and running the story by a few different sources are just a few ways to verify the information available to the reader,” said Ewen.

Ultimately, though, the future of press freedom is in the hands of the man at the top. Unless he changes course, Trump could do lasting damage to American democracy, said Ewen.

“Until President Trump learns to accept criticism from the media and starts respecting the First Amendment, press freedom in the U.S. will continue to be undermined, putting American democracy at risk.”

 

Mentors Teach You What Journalism Schools Don’t Teach

Journalism has come a long way, from the age of print to the digital. As the industry evolves, I have realized that we need to change our collective mindset.

It is time to embrace our individuality as more women break into the industry and the industry needs to find a way to respond to it.

When I was working in Pakistan, I had to fight many battles. I was a single Pakistani girl working in the media industry, living on my own in the city; something not many women can do in that culture. Simply to exist in that environment where women are discouraged to step out of the house and work raises eyebrows. If you work in the media, like I did, meant the barriers multiplied both from society and from your workplace. In that environment, you either listen or leave. I did none of it and tried to overcome them instead. I wanted to open the doors that were closed shut on me, and women who came after me.

As I started looking for a job, I recall, my first interview was for a well-respected mainstream news channel, the producer suggested if I wanted the job I should take off my Hijab, which I wore back then. He said I needed to “show off my features more” in order to present the news. I refused, stating that it was my decision to make and not his. Needless to say, I never got a callback but that is how my journey started.

Eventually, I found a job of my liking at another news channel but it wasn’t long before I realized that I could never have my way. My immediate boss, department head, would always take credit for all my ideas. I was expected to follow a certain pattern, always the same things to be done over in a loop, looking over and reviewing work of other colleagues, sub-menial tasks, updating the web, social media, even though I was hired as a writer. A small mistake would lead to an argumentative homily about how impactful my mistake was, even though the project I was responsible to run, was in fact, my idea. “Show me that you can do it,” my boss would tease me.

People who were hired after me got paid more than I did because they were men. Even when many of them worked under my supervision and had to work on my ideas.

The constant criticism and bantering never gave me an opportunity to learn and grow. The lack of acknowledgment of my contributions, in fact, played terribly for the company. While they were busy judging me for my age and scrutinizing my ideas, they often forgot to recognize the ones they could actually benefit from. So the loss was not mine alone. This demeaning treatment left a lasting impact on me. It took me six months to recover from the feeling of worthlessness.

Switching to a progressive newspaper was like a breath of fresh air. I was finally given chances to explore ideas, talk to people, understand the world and develop my style. This too didn’t come without hurdles. I had to prove myself, I had to prove that: Being a woman should not mean my beat should only be restricted to culture or lifestyle. It is important to understand that women journalists, opportunities are always undersized, and that needs to change. When women are not given them beat that would put them at risk, it is discrimination. ‘Risk’ a subjective notion; I wasn’t asked if I found the story risky or not, rather told that I shouldn’t be doing it for my own good. The same attitude followed for stories which required travel, adventure or anything out of the box. As long as my coverage was relevant to the “women beat” – usually the lifestyle section, women rights issue coverage, culture — they were fine.

I was always told I have a long way to go and learn a lot; which was true, journalism is a process of never-ending learning, but that process requires mentorship, and guidance, not rigid criticism and abandonment. Imagine the time it may take to overcome the trauma of discrimination; the weight of constant rejection, the taunts that undermine your work. Now imagine doing that while being a woman in a conservative society. That’s a lot to take. And it takes time to take it all in. So I took my time.

Publications that still run on a hierarchical system, have little space for improvisation and excelling. Such newsrooms are restricted because you always have to go by the book. If anything goes wrong you call the editor and ask for an exact solution. This kind of manager-subordinate relationship it needs to be buried. We need to embrace an ecosystem where fresh ideas of young journalists and expertise of the old and experienced can combine and thrive. A system that nurtures independent journalists and embraces the diversity that women journalists bring.

With the right guidance and trust, the journalistic process can be a fruitful one and the right guidance is exactly what lacks in the journalistic market, at least for women.

With a mentor, the capacity for self-construction increases drastically. I didn’t know how important a mentor is until I got one. Mentors teach you what journalism schools don’t teach. The courses don’t teach you how to deal with a situation, how to contact sources and how to get rid of the desk job you don’t want.

I must regard my first mentor, Luavut Zahid who said “do not let anyone tell you, you can’t do a story. Just go and get it done.”

I was delighted when I first read about The Coalition of Women in Journalism, my first thought was, finally! I was not the only one who considered that mentorship was a needed.

I applied for an internship in the summer and was delighted when I got it. I was thrilled to move to New York to help with some amazing research that the Coalition has been working on. This experience thought be incredible, both groomed me in a technical capacity but also shattered so many misconceptions I have had about “women in the West”

Before coming to New York I used to think that women in the west have it easy and maybe now I will have it easy too. My ideas were shattered as I uncovered more and more about the women in the west when I met these women in the west through the program and discussed my ideas with them. Newsflash, women in the West don’t have it easy either. That shatters me, because if the developed world doesn’t have it then who does. I learned heartbreakingly, the dilemmas of solid and talented women who were being undermined by their male counterparts. I realized that actually gender discrimination is a global epidemic, and not restricted to our shanty backward world.

In time, it occurred to me how important it was the work that I did with the Coalition for Women in Journalism, assisting a diverse group of women from all backgrounds and colors who work everyday strengthen this ecosystem of support. These wonderful journalists who work with the Coalition as mentors are mostly freelance journalists as mentors from so many places, who sacrifice their time to help a colleague. How beautiful is that? It is a miracle if you really think about it. It soothes all the pain I have carried on my – reasonably young – back. The pain and trauma I gathered along my early career that taught me all the wrong things by the men who mistreated me and women who did not stand by my side. Ladies at the Coalition for Women in Journalism give me confidence that I will have people looking out for me as I stride forward.

On the internships, I learned so much about myself. Working closely with the founder Kiran Nazish, I learned a tremendous number of new skills — I can now take phone interviews, translate flummox jargon from long research papers into sensible language, send emails and bite my Halal sandwich all at once. I learned for the first time that I was the master of my dreams, that no goals are beyond my limits, that while there are rocks on the way, those rocks can be taken out. Of course, you better build some muscle for that and the Coalition for Women in Journalism allows us to do that. Most of all, I learned that women will be equal when not some, but all women are stronger. And that it takes courage to acknowledge that.

Annam Lodhi is a journalist based in the UAE. She has worked in television and print in Pakistan. Annam was also the first inaugural intern at the Coalition for Women in Journalism. Given her commitment, she later joined the Coalition as an assistant, editorial researcher. You can follow her work on Twitter.

The Coalition for Women in Journalism is the first global support network for women journalists of all backgrounds. We work in several countries, and offer help to journalists in multiple languages. The network of individuals and organizations bring together the experience and mentorship necessary to help women navigate the industry. You can visit the website, womeninjournalism.org to learn more.

If you want to learn more about how you can be involved with the International Community, you can join SPJ International on Facebook. If you are a journalist that would like to connect with other members of the the SPJ International Community, join here.

Why Doesn’t Anyone Train Fixers?

Fixers are a vital part of the newsgathering process. They secure your access to a story, handle your logistics and act as a go-between when interviewing in a foreign language. The success of your project, as well as your personal safety, is directly placed in their hands but there is no other part of the industry where such a vital role is given to untrained, largely unverified individuals.

Writer Paul Theroux wrote “Most Travel, and certainly, the rewarding kind involves putting yourself into the hands of people you don’t know and trusting them with your life” and never was this truer than in the fixer/journalist relationship. Therefore, why are there no training platforms out there, certifications or accreditations to ensure that the person you’re working with has at least a basic level of knowledge about the job, your organization’s ethical considerations or security?

The reality is that you can literally pick someone off the street, anywhere in the world and put them on the payroll if you believe they will be of use. Whilst it’s been this way ever since human travel existed is it really aligned to the modern news business with its sensibilities towards risk assessment and responsible practice? In the most base case you might be putting your personal security at risk but on a wider point, you are also jeopardizing the integrity of your work and the impact it might have on real issues.

Journalists have access to numerous training material and courses in order to go as deep into the academic or practical side as they like but to date, there is no comprehensive initiative aimed at the locals they worked with. At World Fixer we’ve tried to encourage support for a free training platform from various news outlets but the truth is that the appetite isn’t really there amongst the ones we approached. From their side, it seems that the issue isn’t really a problem but for anyone with experience on the ground this simply isn’t true.

This mentality also doesn’t take into account the growing percentage of freelance journalists who contribute to their output and may not necessarily report a lot of the issues they face. As staff jobs dwindle and the independent correspondent role balloons the industry is essentially pushing young (and established) journalists into the field to fend for themselves with little effort spent on the kinds of networks that could help them succeed.

I believe that the kind of information you’d promote through training covers the core issues associated with a journalist’s work. These are:

Standards & Ethics in Journalism

This would provide an insight into the role of media within society and the guidelines by which it must operate in order to produce honest, reliable output. It would include commentary on issues such as professional conduct, balanced assessment, ethical content acquisition and information verification.

Interview techniques & Information Gathering

In the case of no common language, a fixer is the link between a journalist or producer and his subject. It’s important that they can lead the interview to get the right information and relay it clearly and accurately taking into account cultural references and insinuation. How many times has a journalist been in the middle of an interview and felt that they are being told what the person thinks they want to hear – not the actual facts? A solid understanding of the use of interviews and the importance of accuracy is surely invaluable? Whilst interview techniques are an advanced skill there are many guidelines that can be given to encourage the fixer to clearly understand the question and push for a relevant answer.

Outside of interview techniques is information gathering – a fixer using his/her network to source information independently. Again a firm foundation in how to conduct that effectively, ethically & then communicate it clearly are necessary skills.

Risk assessment

This section could be as much a resource as a training tool. Creating clear, downloadable templates which can be understood by those with simple English is the first aspect. The more important aspect would be to teach the fixer to understand that what might not constitute an inherent risk to them may be one for a foreign professional. There are many risks a local might not consider merely because they are surrounded by the every day and they need to open their mind a little to the idea that these are something their client would at least want to consider before going into an area. They need to understand the language of risk assessment forms and familiarise with the concerns of editors, producers, and journalists.

Costs & Budgeting

Projects and working relationships rely on accurate information related to costs and budgeting. At World Fixer around 80% of disputes are centered around misunderstanding from either side related to this. Culturally there can be some discrepancy between issues such as estimated costs and an accurate quote, hidden extras and overtime. Ultimately its something that can be solved with contracts, paper trails, and proper conversations but journalism isn’t excellent at this, especially in the heat of the moment on the ground.

Its necessary to try and educate local fixers to clearly communicate when it comes to finances and take equal responsibility to ensure its understood.

Digital Security

Digital security is not only relevant in a hostile environment setting, all media production demands that employees keep information about their project away from social media or other forms of online publications. This section would explain its importance and gives useful tips for improving digital security in all its forms, providing links to more in-depth resources currently available online.

I believe that armed with a basic understanding of the above, not only would fixers have the tools to further their skills and knowledge about the job but also give a basic grounding to new fixers looking to package their existing capabilities in a way a foreign journalist might see the value. From the journalist’s side, they could have some assurance that the person they hire understands how they work and can conduct themselves in a professional way that doesn’t compromise them or their project.

This training is well suited as an online platform, partly because it would have the potential to reach a larger section of the fixer population, it can be distributed for free and completed quickly if a journalist hires someone in a hurry. A platform could easily generate codes on completion for journalists and news desks to verify when hiring and it could be added to or updated whenever needed.

The costs for such a platform are nominal but in order to gain meaningful traction amongst the fixing population, it has to be something ‘from’ the industry, not aimed at it. By this, I mean that any product that’s made must have the endorsement of several major broadcasters and news outlets for it to be taken seriously enough for everyone to complete it. This doesn’t mean it should be mandatory but it should at least be desired and respected. Sadly, until the established industry accepts the real value in this it may only remain a beta on our laptop.

World Fixer is a database of media fixers and facilitators, with a membership of nearly 7000 globally they strive to make good fixers easier to find and improve working practices. They believe that giving these dynamic individuals a platform to connect with the industry we can raise standards and create transparency.

Mike Garrod previously worked for twenty years in documentary, current affairs and TV in the UK before setting up World Fixer. Ranging from hostile environment to factual entertainment he’s filmed in over 35 countries and worked with some of the best local professionals out there.
If you want to learn more about how you can be involved with the International Community, you can join SPJ International on Facebook. If you are a journalist or a fixer that would like to connect with other members of the SPJ International Community, join here

The Art of Storytelling Helped Me Explore Life and Myself

I remember gazing from my bunk bed every night in our house in Athens at my dad’s black and white pictures hanging on the corridor wall. I would stare at them until I would fall asleep. They just seemed to me so alive and beautiful and for some reason I wanted to do the same. Take pictures, travel, explore life and become a creator. (Just to be clear my father is not a photographer, but an architect).

My background has been in fine arts, specifically in painting and photography.

Documentary photography for me has been really my life’s dream and I truly have been lucky enough not to have worked in any other industry. It has taken me into worlds that I never thought that I could actually be a part of. It has given me strength, has made me face my weaknesses and has given me a mission — a mission to communicate, understand and respect different cultures, share and give a voice to those who do not have any other ways to be heard.

My interest in documentary photography and filmmaking stems from my passion in discovering untold stories and relating them in a way that will engage audiences on an intellectual and emotional level. As a journalist and creator I have travelled to numerous under-reported parts of the world and have seen first-hand the power that stories can have.

Greece, Kos island 2015
An immigrant wondering about at dawn in front of the port in the island of Kos.

Facts are important, but often they are only as powerful as the narratives they serve. Telling stories has always been the way people make sense of the world, and I firmly believe that documentary photography and filmmaking is one of the most powerful ways to tell them.

My name is Amani el Mekhlef I am 29 years old and mother of five. When I was in Syria I was seven months pregnant and one day an air strike hit next to my house so I lost the baby. After that they took me to a place to take out the baby from my belly without any anesthetics. It took the doctors about six hours to take the baby out. After that we decided to leave while being pregnant again. We basically left when I was pregnant to my son because of the many bombings. The borders were closed so we waited for about one week to go to Turkey. After that we went to Turkey and we stayed in a camp (Tel Abyad).

All this may sound ideal, but the truth is that to enter into these “magic” microcosms I had to struggle and work often harder as a female photographer in a male dominated world.

I had to prove that I was capable enough to work in the business in a way that my male colleagues did not; to show again and again that I could work under difficult circumstances, on interesting assignments, turning my head away from sexist comments so I could get the job, fighting for equal pay, being taken seriously by my peers.

Athens, Greece 2013: Red heels.

Nevertheless these obstacles never stopped me from pursuing my dream to become a photographer and storyteller. Indeed, these obstacles became my tools to move forward and carve a path for myself and take on stories that I was not “supposed” to work on as a woman.

So if I had to suggest something to a young female who wants to become a photojournalist, documentary photographer or a journalist, it would be to not let these obstacles stand in your way of becoming who you want to become. Work on developing a thick skin and don’t live down to others’ expectations of you. It can be hard but believing in yourself opens up new worlds in unexpected ways.

Pamir mountains, Roshkala region Tajikistan 2014
A bride getting ready before the ceremony.
Tajiks living on the plateau have very unique wedding ceremonies. Most ethnic groups in Central Asia begin the wedding ceremony with the betrothal and arrangements made by the elders of the family, but a Tajik wedding is quite different. It lasts seven days. On the first day of the ceremony, the bride and the bridegroom proclaim their marriage and hold separate banquets with their own families, which continue for three days.

In 2010 my life brought me back to Greece from New York and Italy, and here I really had the opportunity to work with major international outlets covering a wide range of stories in relation to the financial crisis and its impact on Greek society, as well as the refugee crisis.

These years in Greece have transformed and matured me. I saw a country that I often didn’t recognize and I felt obliged to report on its changes as I felt I was living through historic moments. In particular I have reported on the rise of nationalist and xenophobic movements, on the financial boom in the sex trade and on issues of European integration, immigration and identity.

In a way returning to Greece as a photographer has been both a curse and a blessing at the same time. I learned to live with the ongoing recession and all of the austerity and reforms that were imposed in the country on the one hand, yet on the other hand as a creator, I really had the chance to delve into fascinating stories and find my voice at a time when the country was in the international spotlight.

Of course, being a documentary photographer or a journalist is a never-ending journey – especially in this age of globalization and I don’t claim that I have figured everything out. Cases of editors who do not understand the situations photographers or journalists face are also part of this business. They basically often just want ‘the story’ as quickly and as cheaply as possible. But being a reporter or a photographer is often about much more than that.

Documentary photography can have a massive impact in our society and it takes a significant level of responsibility from our part to represent someone else’s life, culture, and country.

To achieve this, we need to spend time to work and develop strong relationships, gaining the trust of the people we photograph and gaining a deep understanding of all the issues and representing them fairly. Balancing the need and desire to cultivate these relationships with the pressing demands of the industry is often a difficult line to walk.

While getting stories commissioned and making a living in this field remains a constant challenge, looking back on what I have achieved, the people I have met and learned from reminds me why I chose this career to begin with and makes me eager to get out there and see what else I can discover and share. It reminds me of the feelings I had as a child: of wanting to explore life and to understand and learn about myself and others through stories.

Myrto Papadopoulos finished her studies in 2003 after completing a five-year Fine Arts degree, majored in painting and photography. In 2006, she applied for a documentary photography degree at the ICP (International Centre of Photography) in New York, where she was granted a scholarship.

Her clients include TIME Magazine, Smithsonian Magazine, GEO International, Le Monde, The Guardian, nationalgeographic.com, WSJ, DIE ZEIT, WIRED, Lens New York Times, Time.com, ARTE TV, ZDF TV among others. Today she works as a freelance photographer and a documentary filmmaker and is represented by Redux Pictures in NY. You can follow her work at www.myrtopapadopoulos.com and on Instagram.

If you or someone you know would like to share her narrative, please fill out the following form and a member of the International Community will contact the nominee. 

You can also follow the latest with the International Community on Facebook.

Fixers: Who Are They and How Do They Work?

Even the most seasoned foreign correspondent will swear that their job is only possible because they’ve learned to rely on experienced, reliable local people to help them in the field. But these aren’t just ordinary people. As many of you know there is, spread across the globe a dynamic group of professionals who have dedicated their work to helping journalists and filmmakers tell their stories. They go under many monikers but are most commonly called, fixers.

As one producer recently put it, “Without fixers, we are basically just curious foreigners wandering around with expensive equipment”. It’s a sentiment that is key to accepting your limitations as an outsider and allowing local help to really get you under the skin of a subject. You can go into an area, you can know the story that you’re going to do, you may know roughly how to get it, but you’ll never be able to fully get the nuances without help. If you take the basic knowledge of the operation aside, you still need to understand the current situation, and you also need to be understood – you need to be trusted, and fixers can help with that.

“I could not do my job without the work of the local fixers I hook up with wherever I go. They are my eyes and ears. I have worked with some of the finest in the business – and to me they have as important a role in the making of our reports as I do, as the correspondent, or as the camera person or producer.” Jonathan Miller, Foreign Affairs Correspondent for the UK’s Channel 4 News.

So who are these people and what are their qualifications? There is no qualification you can do for this kind of work, no certificate or succinct career path. This disparate group of individuals will find you subjects to talk to, get them onside, apply for your permits, translate, book your cars, feed you, find you a hotel, fulfil whatever random necessities you throw at them, make sure you’re safe or get you out of trouble when you’re not. Theirs is essentially a job title with a thousand meanings whose only qualification is a singular desire to help produce stories and enough experience of your job to become one of the team.

However, the many who view them in terms of translators or guides would be interested to learn that on World Fixer we have a range of professionals from all spheres including researchers, ex-cops, tour operators, producers from the world of TV, ex-Government communications officers, academics and increasingly journalists, diversifying in the face of an industry on the squeeze. It is wise when hiring someone to consider what their strengths are in relation to your work and play to that. A tour operator for example may have excellent access to remote communities whilst an ex cop will bring a different level of insight. You’ll never know for sure though unless you talk to them. There is no online solution for the perfect hook up and whilst our site endeavours to introduce you to as many fixers as possible you can’t ‘Uber-ize’ a people business of this kind if you want the best experience.

For many fixing is a logical extension of their exposure to the media industry but for some their work began through a chance meeting with a journalist, or a recommendation from a friend. The good ones have managed to turn it into a productive career.

Take Suliman Ali Zway and Osama Alfitory in Libya, for example. During the war in 2011, whilst many young men in their area headed off to join the rebels they decided that helping journalists was a better way to help the cause. As the foreign press congregated in Benghazi they made themselves available and quickly (with no formal media training of any kind) became the ‘go to guys’, earning themselves the title amongst international media as ‘The A Team’. They worked with everyone from top tier journalists like Leila Fadel at the Washington Post to small, independent reporters with equal fervour and those in the know fought over each other to book them. Eventually they were honoured with the prestigious Martin Adler prize and have now managed to forge a journalist career for themselves.

They became successful not simply because they spoke good English, or that they had great contacts but because they had a relentless work ethic and cared only about about getting the truth out – whatever that was. All the great fixers share this quality.

In the field, you are trusting a fixer with the success of your project and possibly your life, but it is probably the most unregulated aspect of the industry. You can literally pick someone up off the street and put them on the payroll – a situation that seems unthinkable in this modern world of risk assessment and ‘responsible’ practice. A site like World Fixer will introduce you to a range of people out there and we do strive for accountability but by working with someone in a foreign land for the first time there will always be uncertainties. Fortunately journalism has never been a business to shy away from leaps into the unknown so here’s a few tips to mitigate the chances of a bad encounter.

The first is vet. Don’t just take a name off the internet and assume it’ll go well. Check references, speak to them at length and use your instinct. This is obviously important in the case of hostile environment work but equally the success or failure of your trip will hinge to some degree on the information your local provides so it helps to know if it can be trusted.

Secondly, look for the skills he or she might need to assist you properly. Is it more important that they have an encyclopedic contacts book or that they would perform well interviewing contributors in sensitive situations? The right person for the job may not necessarily be the most connected and have a resume that reads like the Pulitzer back catalogue, you would learn more about their suitability by running the project by them and gauging their response. However, an important note here is that in order to understand the way you work and deliver properly it does help to have a decent amount of experience working with foreign journalists. At the least they should understand the importance of accuracy, unbiased reporting and responsible practice.

Thirdly, don’t forget the paperwork. We get numerous complaints from both sides of the fixer-employer equation about malpractice, empty promises and money disputes. Not always, but in many cases, this is due to a breakdown in communication — cultural differences that affect each side’s expectations or simply the fact that nothing ever gets written down. Be as clear and definitive as possible when working with fixers; don’t assume that they work the way you do or will pick up on things you have not clearly stated.

For example, ask up front if a price quoted for a job is all-in, or does it exclude extras like fuel, food, etc.? In many parts of the world this flexibility is normal, but Western employers in particular are accustomed to a quote meaning a final quote, not a flexible one. Get everything in black and white, especially when it comes to this, and confirm that it is understood. It is the quickest way to sour an otherwise great and fulfilling working relationship and is sadly extremely common.

Finally, respect your fixer as one of the team – like in any relationship the more you put in, the more you get out. Ask for their ideas, tell them yours – you never know when they are able to offer the missing link or a story dynamic you might not have thought of. They will have whatever professional knowledge you’ve selected them for but are also educated people with all the social awareness that comes with that.

Respect also means listening to them when it comes to cultural concerns, not only because failure to do so may affect your project without you even knowing but also because any social faux pas, however insignificant to you could land them in trouble when you leave. It is vital to remember that for those covering sensitive situations your presence as a journalist has repercussions – partly in the effects your report may have but also on a human level to the fixer and his association with you. For fixers, the story doesn’t just stop when you leave the country.

World Fixer is a database of media fixers and facilitators, with a membership of nearly 7000 globally they strive to make good fixers easier to find and improve working practices. They believe that giving these dynamic individuals a platform to connect with the industry we can raise standards and create transparency.

Mike Garrod previously worked for twenty years in documentary, current affairs and TV in the UK before setting up World Fixer. Ranging from hostile environment to factual entertainment he’s filmed in over 35 countries and worked with some of the best local professionals out there.
If you want to learn more about how you can be involved with the International Community, you can join SPJ International on Facebook. If you are a journalist or a fixer that would like to connect with other members of the the SPJ International Community, join here.

Supporting Your Female Colleagues Will Help Grow a Stronger Community

When I began my career as a photographer, I could not imagine where I would be today. Two years ago, I planned on moving abroad to Istanbul, Turkey, to live as a freelance photojournalist. Instead, I decided that moving to Detroit, Michigan, was the best possible option for my growth as an independent visual journalist. I wanted to freelance in the United States and needed to be sure that it was right for me before living in a foreign country. Michigan became home and I realized I would be happy as long as I was still a visual storyteller. Moving to Detroit was a process of re-evaluating my world view and myself.

I often challenge myself to go beyond my comfort zone. When I was living, studying and working in Morocco for six months, I was an outsider. Regardless of how I dressed to fit in or how much of the language I learned, I would inevitably be perceived as a white, American female. I did not want to fulfill the “white savior” complex with my work. I wanted to connect with others and wanted those I photographed to feel the same connection. There were many challenges that came from living in a foreign country. For one, I could not look men in the eye while walking down the street. This was due, in part, to their culture, as well as my desire to deter unwanted attention. Despite this, I conducted interviews in French and did not let these barriers stop me. I can be different from those I am photographing, and this should not necessarily put me at a disadvantage. I work to my strengths. I am shaped by my experience as a woman who can sensitively and empathetically connect with people. This makes me the journalist I am today.

As female journalists, we need to work to create change in the journalism and photojournalism industries. There is a need for more diversity and respect, both for women and people of color. There is not an even playing field. Although this is being talked about more frequently, a lot can be learned about how privilege is favored when we are open about our backgrounds. I would not be where I am today without support. I am lucky enough to have found this through college, internships, workshops and studying abroad. All of those experiences were somewhat possible because I could afford them. Now more than ever, it is important to support your fellow female colleagues. Celebrate their wins as you would your own. Find inspiration from others to help you in moments of doubt and worry.

My biggest piece of advice to emerging female journalists is to know that where they are now is not where they will be forever. That may sound obvious. However, some of the best advice I received was to stop comparing myself to others. The more you appreciate your own growth, the stronger you can become. These days, I try to take everything a step at a time. As a young photographer without all the answers, I do not know where I will be next, or what my career holds. Regardless, I will give back to the community that inspires me to not be afraid to ask for help, to work hard and to be myself.

Rachel Woolf is a Detroit-based independent visual journalist. She specializes in documentary photography, videography and portraiture. As a visual storyteller, she works to intimately show aspects of humanity and mortality intersecting with economic and social issues. Her work has been published in The New York Times, CNN, US News and World Report, Bloomberg, Education Week, Detroit Free Press and The Detroit News. A native Marylander, Rachel now considers Michigan her home. You can follow her work on Instagram and on her Website.

If you or someone you know would like to share her narrative, please fill out the following form and a member of the International Community will contact the nominee. 

You can also follow the latest with the International Community on Facebook.

Overcoming the Challenges of Being a Woman in Journalism Abroad

I’ve started as a professional photojournalist in Egypt. Indeed, in 2012 I had the opportunity to have an internship at the local newspaper Egypt Independent just out of school and only one year after the Egyptian Revolution. I couldn’t wish for a better opportunity.

Nevertheless, I was terrified to live in that area as a 24-year-old single, young woman with no concrete experience in the field. I’ve followed the Arab Spring thoroughly and what struck me from the events in Cairo was the sexual assault on Lara Logan, a correspondent for the American network CBS.  

In the wake of this assault, other cases came out in the news, describing it like one of the many problems of Egypt: sexual harassment on women. Doing my best to mask that notion, I did my best to overcome my anxiety and started my first day of work on at the same time of the first anniversary of the revolution on January 25, 2012.

Of course, I wasn’t alone. I was accompanied by male photographers. I knew that mass sexual assault mainly happened in crowded places, but as a photojournalist I couldn’t avoid the gathering of Tahrir Square. Two colleagues protected me from the crowd, but I could still feel hands groping me below the waist once I started to take pictures in the square.

Immediately I turned back to see who it was, but it was impossible to know who it was in the turmoil and crowds. My first day as a professional, it was very frustrating and scary. I couldn’t imagine myself working in those conditions everyday. On that day, I was lucky. It didn’t go further than “just” hands on my behind. I’ve lived and worked in Egypt for two years and half since that day. I faced situations of sexual harassment, but it never went further than touching but that itself is something already serious.

In Cairo, I’ve learned to react and never stay quiet when it happens. So did my other female friends. Some say that Egyptian men react like that to dissuade women to go down the streets and protest. Others say that it’s a social problem linked to financial issues and the frustration of men not able to get married. In Egyptian culture, it is not seen positively to have sexual relations before being wed.

I don’t know why we try to find an excuses. It’s a crime that should be punished immediately. I’ve learned to find solutions to this issue: be careful and direct in my reaction whether I am Egypt or any country. Women are typically seen as more vulnerable just because we’re doing work mainly surrounded by men, especially in a conflict zone.

What I want to say out of this testimony is that even if we feel weaker and more vulnerable, there are ways to be stronger. We should never give up and let it go. Each time a man touched me in the crowd or touched a friend, I would always scream and defend myself. We need to show all men that we are not weak prey. They will never dissuade me to do my work. This strength brought me to where I am now.

I did not let my frustration from January 25th overcome me. As the time passes, I realize that being a female photojournalist has many advantages. For example, we have more access to the intimacy of a family being a woman. A man alone would struggle to photograph the daily life of a Muslim family if the husband is not at home. For this access, I feel relief to be a woman and never wish to be a man for the work I’m doing.

Our vulnerability, we can make something about it, either by ourselves or by raising awareness around us. But the access we have as women, men can’t do anything about it and maybe this is why I feel that a story realize by a woman will always have something more intimate with more emotions than the same story made by a man.

If you look at Stéphanie Sinclair’s work, “Too Young to be Wed,” would a man be able to do the same? Same with Brenda Anne Kenneally’s work, I don’t think it will communicate the same emotions if a man was given the same task.

I’m Virginie Nguyen Hoang. I am 30 years old and I’ve been a professional photojournalist since 2012.

Virginie is as photojournalist currently based in Brussels. She studied journalism at IHECS (Brussels) as well as training in photojournalism at the Danish School of Media and Journalism (Denmark). She has previously worked for the French news agency Wostok Press, the Studio Hanslucas and became the co-founder of the Collectif HUMA. From January 2012  she settled in Egypt as a freelancer for local newspapers Egypt Independent and Mada masr. She’s received the Nikon Press Award Benelux in 2012. You can follow her work on Facebook.

If you or someone you know would like to share your narrative, please fill out the following form and a member of the International Community will contact the nominee. 

Get Paid What You’re Worth: Disrupting a Broken Industry

As journalists, we are not supposed to talk about our political affiliations, religious beliefs, share any strong personal opinions. These are the rules. These rules have emerged since the U.S. positioned itself as a global beacon of free press for the rest of the world to envy.

In case you haven’t been paying attention, few people envy American journalists these days. The president of the United States openly, regularly attacks the press. He also makes sexist remarks about women and pursues anti-immigrant policies.

In a world where the government is not ensuring equal pay for men and women as they do in other countries and the newsrooms struggle to stay afloat, why are the U.S. journalists not fighting for their rights?

I was born in the Soviet Union, in an environment that could hardly called conducive to activism, confronting the status quo or even embracing ideals of outspoken feminism. But somewhere along the way in my career as a female financial journalist, I began to notice things.

My newsroom experience and the stories I was telling my friends were not the same as my male colleagues’.  My starting salary was not the same as theirs, and this was true across continents and newsrooms. After years in the industry, I knew I was still not paid the same for doing the same work. It was an institutional pay gap.

Then I realized this experience was not limited to me.

The Wall Street Journal reporters are still waiting for a response to their March 28 letter demanding equality in the workplace. The latest independent analysis found that “a significant gender pay gap in every location, in every quarter, and within the largest job single category: reporter.”

The Wall Street Journal journalists are not alone either. The pay gap between male and female journalists in the U.S. evolved somewhat since the 1970s, but then all progress pretty much froze around the 1990s when women’s salaries stayed at 80-85 percent of male journalists’ salaries. A recent Poynter survey found the news business is also unfair to journalists with children.

The women at the top news organizations who bring us the stories of the rich and famous, the financial scandals and inequality gaps are consistently underpaid themselves. At Dow Jones, women with up to 10 years of years of experience are paid six percent less on average than male journalists with up to five years of experience. Seems fair, right?

This is an industry-wide problem, not limited to one organization or media establishment. Once you start looking, examples are everywhere: the pay gap, who gets promoted to the most senior roles, whose voices are heard and whose are overlooked.

Surely there has been some progress. And many of these challenges are not limited to women: minorities, both men and women, face tremendous obstacles that should not be compared or contrasted. What’s important is to recognize them and not to pretend that we as a global society, as humans on Earth, are “over it”. We are not.

We still have a lot of work beyond the pay gap: we have to learn how to promote and support women in the workplace, how to cover stories like rape that don’t blame survivors, how to allow women to thrive at the highest levels of their organizations, how to quote and incorporate more female voices in stories and cultivate these new sources rather than turn to a handful of trusted “guys” over and over again.

This is not rocket science: all it takes is being aware and taking the time to educate, inspire others, start doing something.

For me it meant launching a media platform that is dedicated to women as news consumers, a platform that puts female readers first and focus on stories they are most interested in. I launched ellaletter.com with the hope of featuring more female voices, welcoming female journalists and offering a platform for more nuanced, smart storytelling. My goal is to recruit the best female (and male) reporters and offer them a competitive market salary they deserve.

What’s important is not to stay complacent or choose the safe, comfortable option in a corporate environment. It’s always more comfortable not to rock the boat, speak up or buckle down and negotiate a higher salary.

As a woman, a journalist and a first-generation immigrant whose family came to the United States in the late 1990s, I see Trump era as a particular kind of triple threat: to women, to the freedom of speech and to a new generation of immigrants and their families eager to enter the United States in pursuit of better opportunities. The initial outrage after 2016 election has subsided and hasn’t translated into consistent political activism or more women running for office.

With the democratic institutions and the news industry fighting their own battles for survival, nobody is going to fight for equal pay on our behalf. We can no longer afford to accept anything that makes us feel uncomfortable or unfair as “normal”.

It may make take a serious conversation with your boss or a job change. Or, in countries like Iceland, it took a legislative decision requiring companies to prove men and women are paid the same.

Silence, complacency or hoping for the best are no longer enough.

Daria Solovieva is a Russian-American journalist based in Dubai. She is a graduate of Columbia University Graduate School of Journalism and has written for leading publications around the world, including the Wall Street Journal, the Economist, Fast Company, USA Today, International Business Times, and Bloomberg News. She was featured as Achieving Business Woman of 2017 in Entrepreneur Middle East magazine in May. You can follow Solovieva on Twitter, Instagram or LinkedIn to stay updated on her work.

If you or someone you know would like to share your narrative, please fill out the following form and a member of the International Community will contact the nominee. 

How a Network of Females in the Journalism Community Helps Me Do My Job Better

I’ve been thinking a lot recently about my time in the journalism community and if I have what it takes to hang on. It’s a tough time to be a journalist for all the obvious reasons — ad sales declining, cutbacks in newsrooms, and of course our president’s never-ending hatred of everything we do. But I realize it’s also an important time to be a journalist. Now, more than ever, finding the truth matters. I mean, it really matters. The work we produce, what we uncover, will impact the way this country moves forward. The problem, though, at least for me, is finding a way to wade through all the mud, all the gook that is the bad pay and unsustainable lifestyle, while still doing important work.

I’ve come to a conclusion: I can do this if I have people to lean on. Sure, I have family and friends that are always going to be there for me. But that’s not the kind of support I am talking about. I am talking about having support from other people in this industry who will go to bat for you. I’ve found that group of people — all of them young women like myself — and with their advice and guidance, I can produce my very best journalism. And it’s a mutual support, of course. We all promote each other’s work on social media. We talk about things like navigating delicate sourcing relationships and dealing with unbearable bosses. Most importantly, though, we can talk about things that no one else likes to talk about in the newsroom. We talk about things like unfair freelance contracts and how to negotiate them, misogyny in the workplace, and making sure our voices are heard in editor meetings.

I think one of the most important things for women in this industry to be talking about, especially women in my generation, is the fact that many of us are continuously overlooked for staff positions. I can’t tell you how many times outlets have passed by my application and hired a man either my age or slightly older who has less experience and less education. What this has taught me: Middle East conflict reporting is a man’s game. I think any woman out there working in this field will tell you that they have to work harder and longer than their male colleagues in order to prove themselves to their bosses. This isn’t a new phenomenon. Women have done this since the age of time in America. But it seems like we are in a time in history, especially in the journalism industry, where women, no matter how well we do are work, can’t get ahead. We continuously find ourselves running up against a brick wall and falling back sometimes to jobs we held when we were just out of school. (I’ve thought about applying to unpaid internships and I am 28).

To all my ladies in the industry out there, know this: There will always, always be men that are threatened by what you are doing. Sometimes that manifests itself in really destructive ways like them trolling you on social media. Other times they will call you out on live TV or treat you inappropriately on the ground in far flung places like Iraq or Afghanistan. It is always better to stand up for yourself and fight back, no matter what other people say. In the end, your reputation and your work is in your own hands. You have to claim your own future. Speaking up and back at those who treat you poorly or speak to you in either sexist or degrading ways is important. Even if those people are your superiors.

The other thing my comrades and I talk about is freelance contracts and negotiating with intimidating individuals. What we’ve come to vocalize on our many many conversations is that both women and men to stand up to their superiors and ask for what they deserve. This includes asking for proper protection and payment. I know not only freelancers but also staffers that have to continuously beg their publications for funds for simple things like drivers and fixers in Iraq and Afghanistan. I remember one time when I was working in Turkey, I had an editor tell me that I “didn’t deserve the perks that people at the New York Times get” because I hadn’t yet proved myself. I had asked this editor for funds to pay for things like fixers and translators while I was covering the battle against ISIS in Syria from Turkey. The email I received my editor was long and filled with reasons why I didn’t deserve protection. I’ve kept this email and periodically look back at it for inspiration.

I’ve gotten better at negotiating freelance contracts. But honestly, it gets exhausting. I’m tired. I’m tired of continuously having to ask editors to pay me the standard day rate. I’m tired of having to tell my editors that I won’t go into the line of fire unless they give me proper protection. Why do we always have to ask for things that should be considered standard? I’ve started saying “no” to publications that offer laughable payment terms. I’ve started telling editors that their demands are unrealistic. I’ve come to understand that keeping peace of mind by saying “no”, even if that means I don’t make as much money that month, is worth it.

Lastly, I talked with my female support “sisters” as I like to call them, about the need for more people in the journalism industry to talk about mental health, especially those that reporting in conflict zones. I’ve dealt with a lot of health issues in my times reporting in the Middle East, some of which I have written about on Narratively. I’ve also been diagnosed with PTSD and had to deal with that. I think these are issues that a lot of people don’t feel comfortable talking about. There needs to be more discussion about the issues, especially mental health struggles, that both men and women face working in this field. I overcame these issues by simply relying on my family and friends, and a really good psychologist!  

I don’t claim to have everything figured out in this at times crazed journalism industry. I still struggle day to day in thinking about whether all the bad gooky stuff I mentioned above is worth it. On bad days I’ll reach out on our group’s WhatsApp thread and vent. And other days I think back to the beginning of my career as a campus editor at The Daily Cardinal at the University of Wisconsin-Madison. It was a full-time job. And it is where I learned how to be a reporter. It was fun. We put out a paper every day. We stayed some nights until 11 p.m., drinking skunked beer and copy editing with red colored pencils.  We did serious reporting, too. We broke stories the state papers didn’t even have on their radar. I need to remember that fun. I need to remember that despite all the BS that we have to deal with, our stories can end presidencies. That is a power, and privilege, that should be protected and nurtured.

Erin Banco is a Middle East reporter whose first book is Pipe Dreams: The Squandering of Iraq’s Oil Wealth, which will be published by Columbia Global Reports in November 2017. Banco has been covering armed conflict and human rights violations in the Middle East for six years. She covered the revolts in the region and the war in Syria. After graduating from Columbia’s School of International and Public Affairs, she was a fellow at The New York Times and then the Middle East correspondent for International Business Times, breaking stories on the rise of the Islamic State group and on the Free Syrian Army arms program. Banco also traveled to Gaza to cover the war with Israel in the summer of 2014. More recently, Banco began covering the Islamic State group’s economy by tracking illicit oil sales in Turkey and Iraq. You can follow Banco for more of her work on her website and on Twitter at @ErinBanco.

If you or someone you know would like to share your narrative, please fill out the following form and a member of the International Community will contact the nominee. 

Daring to be Courageous in Work ‘That is Dangerous For Women’

Jodi_headshotFrom childhood I always believed I would be an artist, like many of my relatives. My paternal grandmother was a printmaker, my grandfather, an architect and an amateur bronze sculptor. My uncle was an accomplished painter and my mother a potter. But sometime near the end of my time as a college art-major, I veered off the art path.  I got interested in street photography and made a series of black and white prints from my travels along the U.S. –Mexican border.  My interest in the social and humanitarian dimension of the border and immigration led me to wonder how to best tell the stories I had experienced en route.

Long story short, I asked my mentor, a man who ran one of the best art-printing labs in the country, what he thought of my idea to become a photojournalist. Here was a prominent man, trusted by the best art photographers to handprint their portfolios, and friend to many of them as well.

My mentor told me that photojournalism was dangerous, and maybe not a good choice for a woman.

The last part stunned me. After all, I was raised to the “Free to Be You and Me” soundtrack, songs that championed the idea that girls could do anything boys could do (and vice verse). My mother is good with a drill and a belt sander and my father has no problem managing a load of dishes.

Riot police fired tear gas against protesters in Taksim Square in Istanbul on June 11, 2013, the 11th day of the Gezi Park anti-government protests engulfed many Turkish cities. Photo by Jodi Hilton

So, I dismissed my mentor’s advice, and took it as a dare: I would prove him wrong. I would be daring and courageous. During my first years as a photojournalist, I worked in newspapers. Interspersed with the more mundane assignments, I chased ambulances, photographed fires, floods and other disasters. In Ecuador I photographed street protests, in Honduras, ultra-violent Mara gangs. I eventually relocated to Turkey, where I covered many more protests, including the Gezi uprising that often featured violent conflict between protesters and police. I traveled across the border to Syria where internally displaced people were camped near the Turkish border and gunshots rang out in the distance. In Northern Iraq, I visited the Peshmerga frontline and through binoculars took a look at the black flag-bearing trucks that marked the ISIS frontline.

 

Fljurija Katunari, 18, with her two month-old daughter Elvira in a shack on the outskirts of Belgrade. Seventeen years after the war in Kosovo ended, many Kosovar-Roma families lack the documents, including a simple ID card, that would entitle them to social benefits, health care and the right to work. Photo by Jodi Hilton

My courage grew alongside my portfolio, and I thought that being in the middle of the action was actually a good choice for a woman, at least for a woman like me.

And then something happened. I’m not sure exactly when it started. But somehow over the last years I stopped longing to feel the thrill and adrenaline of an escalating situation. I had proved that I could be courageous in the face of danger. I needed a more compelling direction. It came to me shortly after I got rid of my gas mask; I rediscovered my initial keen interest in documenting human rights stories, and in particular, the plight of refugees, who are forced to leave their home as a matter of survival.

So now, my work is mostly focused on the everyday lives of people struggling to survive. I try to transmit empathy through my photographs, so that others may also see their humanity. Rather than capturing peak action, I’m trying to make nuanced images that initiate questions and encourage viewers to put themselves in the shoes of someone different than themselves.

Jodi Hilton photographing during a riot at the Hungarian border checkpoint in October of 2015. Photo by Maciej Moskwa

I’ve found that my art background is increasingly informing my work, too, as I look for any possible angle (using light, color, composition) to draw attention to the situations I’m documenting.

Now is the time to go back to my mentor, and tell him he was right, but that he was also wrong.

Because photojournalism isn’t only about covering battles, and the requisite courage needed to face down danger. It is just as much about empathy, expressing nuance. And art.

—–

Jodi’s is a photojournalist currently located in Sofia, Bulgaria. Her work has appeared on The New York Times, The Wall Street Journal, The Washington Post, Time, Vocativ, GlobalPost, National Geographic, Der Spiegel, PRI and National Public Radio. You can see more of her work on her website. You can also following her on Twitter or Facebook.

If you or someone you know would like to share your narrative, please fill out the following form and a member of the International Community will contact the nominee. 

Connect

Twitter Facebook Google Plus RSS Instagram Pinterest Pinterest LinkedIn


© Society of Professional Journalists. All rights reserved. Legal

Society of Professional Journalists
Eugene S. Pulliam National Journalism Center, 3909 N. Meridian St., Indianapolis, IN 46208
317/927-8000 | Fax: 317/920-4789 | Contact SPJ Headquarters | Employment Opportunities | Advertise with SPJ