February 28th, 2014

Facebook’s Teru Kuwayama on How To Use Social Media for Documentary Storytelling

Long before he went to work for Facebook as the social media giant’s liaison to the photo community, photographer Teru Kuwuyama saw social media as a tool for photographers “to eliminate the gatekeepers and the editors, and to be our own operators,” he told a standing-room-only crowd at the Aperture Gallery in New York on Tuesday.  Old media models formed in “an analogue era” no longer exist, but he said many photographers who have been “adaptable” to social platforms are using them to reach and engage audiences.

Kuwayama spoke along with Lev Manovich of the Software Studies Initiative at “Documentary, Expanded: Interventions in Social Media,” a panel moderated by photographer Susan Meiselas, executive director and board member of the Magnum Foundation, which organized the talk as part of its Photography, Expanded program. Photography, Expanded held its first conference, in collaboration with the Open Society Foundations Documentary Photography Project, in April 2013, Meiselas said, to encourage photographers to expand their storytelling beyond the still image at a time when “we all felt the ground shifting beneath our feet” due to a shortage of assignments and production budgets from traditional media. Kuwayama shared work by photographers who are using Instagram to connect with audiences — though not, in most cases, to make money with their images.

He began by showing his own social-media-based project, Basetrack. After having worked in Afghanistan as an embedded photojournalist, Kuwayama won a James S. Knight Fellowship at Stanford, where he came up with a plan to gather a small group of embedded photographers who would post images and information about a Marine battalion in Afghanistan for their families back home. Launched in 2010, Basetrack was “basically a tricked out blog,” he said, with a map and a countdown clock to the end of the Marines’ deployment, but equally important was the Basetrack Facebook page, which “became a rallying point for the community.” Basetrack was never intended to reach more than about 1,000 viewers. “Who cares about this 20-year-old Marine who was 8 when this war started? It was clear it was his mom, his sister,” Kuwayama explained.
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October 25th, 2013

PPE 2013: The Good, the Bad and the Ugly of Social Media

The theme of Thursday’s PhotoPlus Expo panel “Practicing Safe Social Media” seemed to be that social media is a necessary evil in today’s photography industry so photographers need to be smart about how they use it. The ASMP-sponsored panel had a variety of speakers who each brought a unique viewpoint to the discussion. Covering the legal ramifications was attorney Ross Buntrock; giving the media’s perspective was AOL/Huffington Post Photography Director Anna Dickson; representing the photo industry was photographer Richard Kelly; EyeEm CEO Florian Meissner provided a social-media company’s viewpoint.

Buntrock and moderator Peter Krogh broke down the terms of service agreements for four popular social-media sites, Facebook, Instagram, Pinterest and Twitter, and the news was pretty bleak. All four TOS agreements are essentially broad licenses that allow the companies to provide the images and data from their sites to third parties. This doesn’t mean that they own the copyright to any work you post on their networks. The panelists illustrated that point by briefly discussing the case of Daniel Morel, the photojournalist who successfully sued AFP, the Washington Post and Getty for using images from the Haiti earthquake that he posted on Twitter without his permission. However, it does mean that these platforms can let advertisers use your image in sponsored posts without your permission and without compensation. (Buntrock noted that adding a copyright symbol to your image before posting it to these social networks doesn’t impact the TOS at all.)

It would be easy to just say, “Forget, I’m not going to use social media.” Except Dickson made an interesting point that the reason she’s on Instagram is because that is where everyone else is—both photographers and photo editors like herself. Whereas five years ago she would’ve followed photographers on Flickr, now it’s Instagram. She also said the “look” of Instagram photos is popular now, so many websites, including AOL/Huffington Post, use the site to find images for articles and slide shows.

So herein lies the rub: You want your work to be followed and found by potential clients, but you don’t want to give it away for free. Meissner’s company, EyeEm, is trying to eradicate this issue by providing the same social features as Instagram but including a notification system that alerts photographers when a third party wants to use their image, and offers compensation for that use. Other sites and services were mentioned as also having some sort of permission or compensation model, including Stipple, Scoopshot, SmugMug and PhotoShelter.

However, until one of these sites has the same massive user base as Instagram or Facebook or Twitter or Pinterest, they don’t solve the immediate problem of how to get exposure while also protecting your work on social media. Kelly’s strategy for dealing with this issue is simple: Know what your message is on social media before you start posting on these sites. For example, he uses his accounts to keep followers up to date on what he’s working on, advocacy issues for photographers and his teaching gigs. That’s it. He doesn’t use the tools to post new work or market himself. And Dickson, to a certain extent, supported Kelly’s idea by noting that she loves it when photographers post behind-the-scenes images so she can see what they are up to as well as get a peek at their personality.

At its core, this is what social media was originally intended for—sharing who you are and what you are up to. Though you can use these tools to market your work, it would be wise to think of how you can do that without actually posting the finished image since it can easily spread around the Web without your attribution and without you ever seeing a penny of compensation.

Related Articles
In TwitPic Copyright Claim, Daniel Morel Seeks $13.2 Million from AFP, Getty

AFP, Washington Post Violated Daniel Morel’s Copyrights, Judge Rules

July 2nd, 2012

Your Cellphone Is Not Your Friend, and Other Security Tips For Conflict Zones

The surveillance of journalists covering Syria has heightened concern about the risks journalists face in relying on mobile communications and cellphones. In February, journalists Remi Ochlick and Marie Colvin were killed when shells struck the press center that they and other journalists were using to transmit their stories; the Syrian army may have used satellite signals from the center to target it.

More recently the Committee to Protect Journalists reported that  Syrian security agents in October arrested a British journalist, seizing his laptop, cellphone, camera and video he had shot while interviewing anti-government Syrian activists; several of these dissidents have been arrested, one has fled the country and another has disappeared.

In the wake of these incidents, as well as attacks on journalists and their sources elsewhere, several journalism organizations have been hammering on the need for journalists to take precautions when using cellphones and laptops in certain areas, to protect the contact information they store electronically, and to make sure their communications are secure.

Several guides to protecting and encrypting your data are available online for free:

- The 2012 edition of CPJ’s Journalist Security Guide from CPJ has added chapters on how to protect your communications from surveillance and secure your data. You can download the guide here.

- SaferMobile.org, a non-profit helping journalists, has a new Mobile Security Survival Guide. It covers topics such as how to disable the GPS in your phone, set up secure communications and protect sensitive information. It also has links to best practices for using satellite phones.

- The web site Media Helping Media recently posted “Tips for Staying Safe on Mobile,” which includes information on staying anonymous while using social media, uploading photos and stories safely, and browsing the internet securely.

- If you want a condensed summary of these and other security tips,  Lauren Wolfe, a former editor at CPJ and director of Women Under Siege, Tweeted tips from two seminars on journalism security held on World Press Freedom Day. You can find a Storify of the information she gleaned here.

Here are a few precautions suggested in all these guides:
-Take the battery out of your phone (don’t simply turn it off) to make sure it’s not transmitting its location to the cellphone network. (Don’t take an iPhone to meet sources who may be targeted.)

-If you connect to social media or other major web sites from the field, install HTTPS Everywhere browser extension, which makes your web browsing more secure. Make sure your smartphone supports sites with the https:// prefix.

-Download contacts, captions and story notes to a secure computer when possible, then wipe your phone, including the log of calls and SMS messages.

-Text messaging is one of the least secure ways to communication. Encryption software is available to encode your messages. But note: CPJ’s Security Guide and other resources point out that using encryption may call attention to your communications.

Paranoid? Sure. But it’s not only your own safety you have to be concerned about.

Related articles
Were Journalists in Homs Targeted for Bombing?

Survival Training for Conflict Zones