60 creative lab sbs speaker vivid
Transcription
60 creative lab sbs speaker vivid
I S S U E WALKLEY INSIDE THE MEDIA IN AUSTRALIA AND NEW ZEALAND 83 $9.95 MARCH–MAY 2015 PROTECT YOUR WORK Journalism is under surveillance Press freedom at home and abroad Peter Greste • Quentin Dempster Philippa McDonald • Joseph Fernandez Josh Taylor • Brent Edwards • Ward O’Neill Smart new mobile tools • Your must-have mojo kit • A day in the life of device editors • BBC fights ebola on WhatsApp THE PRESS FREEDOM ISSUE – JOIN THE CAMPAIGN – #30DAYS > CONTACTS AND PARTNERS Media, Entertainment & Arts Alliance alliance.org.au The Walkley Foundation thanks the following organisations for their generous support Federal Secretary Christopher Warren SILVER MEDIA PARTNERS PLATINUM PARTNERS GOLD PARTNERS MEDIA PARTNERS Federal President (Media) Stuart Washington MEAA Member Central 1300 65 65 13 [email protected] FEDERAL OFFICE and NSW 245 Chalmers Street REDFERN NSW 2016 PO Box 723 Strawberry Hills NSW 2012 P: (02) 9333 0999 F: (02) 9333 0933 SOUTH AUSTRALIA 241 Pirie Street ADELAIDE SA 5000 P (08) 8223 6055 VICTORIA Level 3, 365 Queen St MELBOURNE VIC 3000 P: (03) 9691 7100 TASMANIA 379 Elizabeth Street NORTH HOBART TAS 7002 P: (03) 6234 1622 SILVER PARTNERS PARTNERS WESTERN AUSTRALIA Suite 1 12-14 Thelma Street WEST PERTH WA 6005 UNIVERSITY PARTNERS SAM WALLMAN QUEENSLAND Level 4, 16 Peel Street SOUTH BRISBANE QLD 4101 P:1300 656 513 #30Days PRESS of press freedom FREEDOM AUSTRALIA DINNER 2015 Friday May 1, 2015 • Sydney www.walkleys.com EVENT DETAILS Exposing the corrupt, scrutinising the powerful and ensuring the public’s right to know is getting harder than ever. In the Asia Pacific, journalists face grave dangers. With 39 journalists and media staff murdered in targeted killings last year, our region is the most dangerous in the world – but our journalists keep pushing on. Time: 7.00pm Show your support at the 2015 Press Freedom Australia Dinner, hosted by MEAA and The Walkley Foundation and supported by the International Federation of Journalists. Hear from veteran investigative reporter and Gold Walkley award winner Ross Coulthart on how Australia’s national security regime threatens every journalist. 2 THE WALKLEY MAGAZINE Date: Friday May 1, 2015 Venue: Ivy Ballroom, Ivy, 320 George Street, Sydney Keynote speaker: Ross Coulthart MC: Sandra Sully Ross Coulthart Sandra Sully Dress: Cocktail attire Tickets: Media and not-for-profits $140 corporates $300. MEAA members can pay through progressive payments. To book or enquire about table sponsorships contact [email protected] RSVP: FRIDAY APRIL 24, 2015 > STAFF & CONTRIBUTORS Editorial Newsbites Staff Editor: Jacqueline Park [email protected] Commissioning editor: Clare Fletcher Assistant editor: Lauren Dixon Editorial staff: Kate Bice, Mike Dobbie, Megan Stafford Editorial interns: Jacob Reid, Stephanie Youssef Subeditors: Lucy Tumanow-West, Jo McKinnon Cover illustration: Sam Wallman Design: Louise Summerton Production management: Magnesium Media Solicitors: Minter Ellison Lawyers Address: Walkley Foundation Media, Entertainment & Arts Alliance 245 Chalmers Street, Redfern, NSW 2016 Visit our website: walkleys.com Advertising inquiries: Barbara Blackman [email protected] To subscribe visit walkleys.com Disclaimer: The views expressed in this magazine are not necessarily those of The Walkley Foundation or the Media, Entertainment & Arts Alliance. > OUR 4 6 MEDIA Connie Levett Glen Le Lievre Mark Little Paddy Manning Neil Matterson Stephen Mayne Malarndirri McCarthy Philippa McDonald Hattie O’Donnell Ward O’Neill Mark Phillips David Pope Ella Rubeli Peter Sheehan Greg Smith Josh Taylor Sam Wallman Jane Waterhouse Andrew Weldon Cathy Wilcox Robyn Williams Jane Worthington United we stand By Peter Greste A tribute to the media community for their support The Walkley Magazine, the only forum for discussion of media and professional issues by and for journalists, welcomes contributions from journalists, artists and photographers. To maintain the tradition and be worthy of the Walkleys, The Walkley Magazine aims to be a pithy, intelligent and challenging read, and to stand as a record of interesting news in the craft and profession of journalism. It is published four times a year and guidelines for contributors are available on request. FREEDOM Security tips the scales against liberty 5 Fishing for metadata aims to net sources 9 Gloves on in fight to hide digital fingerprints What young women want 10 Inquiry puts spotlight on official information delays By Mark Little Journalists today have a role as the archivists of now By Jane Waterhouse The team behind Birdee know there’s much more to young women than sex and nail polish Communities of concern create user-pays news By Dan Fletcher Beacon connects independent journalism with crowdfunded support Watchdog or lapdog? By Paddy Manning Have a lack of resources and experience blunted the teeth of Australian business journalism? This old dog thrives on new tricks Secret journos’ business 11 Australian broadcasting sounds the retreat as Canberra’s cuts bite deep 12 > FOREIGN 35 By Philippa McDonald Five years on from Ampatuan massacre, journalists in the Philippines still live in fear > REVIEWS 23 > TECHNOLOGY By Ward O’Neill Memories of camaraderie at a French cartooning festival, now shadowed by the events of Charlie Hebdo How Crikey made it to 15 years By Stephen Mayne A blurring of the lines between journalism, whistleblowing and political activism 24 44 38 By Trushar Barot The BBC embraced WhatsApp to share public health information in West Africa 40 By Ivo Burum A comprehensive guide to help you outfit your mobile journalism toolkit 42 Talking “mobile first” journalism with device editors from around Australia By Malarndirri McCarthy The cultural integrity of First Nations people can’t be disregarded in newsgathering if black and white Australians are to better understand one another > PHOTOJOURNALISM Black and white scenes, for a life rich with colour 46 By Eddie Jim The story, behind a Walkley-winning photo essay > STORYOLOGY By Penny Chapman Even in creating fictional worlds, we must first plunder the real and know it as intimately as we can Ebola app creates information lifeline Small screen, big picture The mapping of songlines and the telling of news 16 Writing from the inside out 37 By Paul Byrnes Citizenfour, Laura Poitras’ portrait of Edward Snowden, is revelatory Tools and toys help you find your inner mojo LECTURE By Andy Huang and Hattie O’Donnell Lessons on storytelling, entrepreneurialism, technology and culture 33 CORRESPONDENCE Facing the danger 15 31 By Quentin Dempster All of a Twitter! Free speech – a fun but dangerous business 30 By Joseph Fernandez Whistle while you work By Ella Rubelli A visit to US newsrooms inspires awe at the legacy and adaptability of media 29 By Brent Edwards 21 By Mark Phillips Unions have been publishers as long as they’ve existed. Now they’re moving online 28 By Josh Taylor Creating a ‘town square’ for workers online > CENTENARY 27 By Mike Dobbie Witnessing the unwatchable Everything we learned at Storyology CONTRIBUTIONS WELCOME > PRESS By Chris Warren By Robyn Williams Science and medicine have always been enormously popular with audiences Contributors Trushar Barot Peter Broelman Brian Brownstein Matt Buchanan Jon Burton Ivo Burum Paul Byrnes Les Carlyon Penny Chapman Jason Chatfield Quentin Dempster Andrew Dyson Brent Edwards Rod Emmerson Nonoy Espina Joseph Fernandez Dan Fletcher Lindsay Foyle Matt Golding Peter Greste Andy Huang Eddie Jim Mark Knight > CONTENTS > PAYING 18 Harry Gordon > ON 19 TRIBUTE 45 THE COVER Melbourne-based artist Sam Wallman spies behind the screen to illustrate our “press freedom under surveillance” theme. See Sam’s observations from Storyology on pages 16-17 THE WALKLEY MAGAZINE 3 > EDITORIAL Working together to make real change for journalists Christopher Warren stepped down as federal secretary of MEAA on March 31. This is his farewell editorial L ong, long ago in a galaxy far away, a group of young journalists – cadets and D grades as we were then – decided that something had to be done about our union, the Australian Journalists Association. And with the arrogance that comes in part from youth and in part from being on The Sydney Morning Herald, we decided that we were the people to do something about it. We wanted a union that to our mind was more militant, more prepared to fight for the rights of journalists both industrially and professionally, more responsive to the changes that technology was already bringing to our craft. That push spilled in to the 1980 general strike – the first national strike by newspaper journalists. It ran for a month and very much shaped our attitudes and our union. One thing led to another and in 1987, I was elected as federal secretary of the AJA. And now, 28 years later, I’m stepping aside from that role. Our union is almost unrecognisable from what it was then. We’ve amalgamated, of course, to form MEAA as the voice of all Australia’s creative professionals. We’ve become both a more centralised union – a national union, rather than a federation of state branches. At the same time, we’ve become much more decentralised, with house committees and delegates and activists controlling the day to day campaigns. Our communications back then were based on land lines, telex machines and post. Recognising the opportunities of communications technology has been central to building our union. One of my first acts as federal secretary was to install a network of fax machines in our offices. As a result of that twin approach – using communications technology and building power for working journalists – we’ve achieved some big wins over that time. Winning the “four weeks for each year of service” formula for redundancy payments out of the afternoon newspaper closures made a significant difference to the lives of journalists. Fighting to have redundancies voluntary – still a battle – meant people can make their own decisions about their lives, rather than having them made for them. Between 1985 and 2005, real wages for journalists increased significantly. At the top end, this reflected an increased value in the skills we bring. As demand pushed up rates at the top, we did two smart things: First, we tried to capture these higher pays within new rates in our agreement, and, second, we worked to push up the starting rate for cadets and what we now call Grade 1 so that in real terms those rates are now about double what they were. It’s a matter of pride that we’re the only union in the English-speaking world that has won payments for the secondary copyright uses of material, either through payments from 4 THE WALKLEY MAGAZINE the Copyright Agency Limited, through the annual copyright bonus at Fairfax or through a component built into the pay at News Ltd. Thirty years ago, few journalists got access to superannuation. Now, all employed journalists do and we have our own $4billion Media Super fund. Nothing that we’ve achieved over the past 30 or so years has been an individual act. We took the organisation from where we found it and, hopefully, take it forward for the next generation. Our union has always been extraordinarily lucky in the calibre of its officials. Our founders in the AJA were people like Bert Cook and Tom Mutch, the first employed federal secretary Sid Pratt, who guided the union through the depression, the world war and the tensions of the Cold War for 35 years, and my immediate predecessors, Neal Swancott as federal secretary and John Lawrence as the federal president. John deserves the credit for answering the question that bedevils all creative unions – are we an industrial organisation or a professional organisation? John forced the union to accept that the answer is: Yes. We’re both and both are inextricably linked. The senior staff who’ve worked directly with me as Assistant Federal Secretaries: Anne Giles and Mark Ryan – the first person I employed as an industrial officer and who later served as Assistant Federal Secretary until he died in 2011. Over that time I’ve worked with literally hundreds of great people and I’m sorry not to be able to mention them all. The senior employed staff taking over responsibility for the union – led by our new CEO Paul Murphy – together with the staff we employ around Australia should make us all confident that this union of ours will keep going from strength to strength. As the Duke of Wellington said of his army at Waterloo: I don’t know what they do to the enemy, but by God they frighten me! The other thing that makes our union great is the calibre of the volunteer honorary officers who give up their time to bring their ideas and energy to the union. They’re the people the Tories mean when they talk about union thugs. But they’re the people who make the union what it is. Again, there are too many to acknowledge by name, so a few key categories and people. Among the senior officers of the AJA and, now the Media section of MEAA, we’ve been blessed with long-term continuity in our senior activists – Alan Kennedy, Ruth Pollard, Tom Burton, Jane Singleton, Philippa McDonald and the recently re-elected team of Gina McColl, Michael Janda and our current President Stuart Washington – all terrific journalists and great activists whose strategic and tactical sense has been invaluable to me and to our union. And my first Federal President and the longest serving Barry Porter – a great figure in our craft, great sense of humour, a great mate. One of my proudest organisational achievements has been building the Walkleys from a relatively sedate dinner into a year-round program promoting great Australian journalism. We’ve had some outstanding staff in the Walkleys, led by Executive Director Jacqui Park and great commitment and work of journalists to the program led by Walkley Board chairs – Tom Burton, Paul Bailey, Malcolm Farr, Laurie Oakes and Quentin Dempster. The other major organisational achievement has been our engagement with the International Federation of Journalists including establishing and building the IFJ Asia Pacific office which we host in our office in Sydney. They do great work every day to advance the rights of journalists around our region. It was a great honour to me to be the first – and still only – non-European president of the International Federation of Journalists and I always appreciated the support I received in that role from the members, officers and staff of MEAA. Some of the people I’ve met through that work have been simply inspiring. They taught me that journalists will always place themselves at the centre of the struggle for democracy and freedom of expression, whatever the cost. These are difficult times for our craft and for our union. We’ve lost jobs and we’ve lost opportunities. But what hasn’t changed is the commitment of journalists to our craft and our union. And I’m confident that the journalist community will grasp the opportunities that the future holds out to us to shape the 21st century in new media, just as we did the 20th century with the old. Christopher Warren Federal secretary, MEAA > OUR MEDIA United we stand Al Jazeera’s Peter Greste, Baher Mohamed and Mohamed Fahmy were awarded the Royal Television Society of the UK’s Judges’ Award in recognition of their “outstanding contribution to the advancement of television journalism”. In his acceptance speech, Greste paid tribute to everyone in the media community who helped campaign for the three journalists’ release. T SAM WALLMAN his award isn’t a surprise of course – we knew about it even before I was released from prison a few weeks ago. But my heart is still beating as though I just ran here from Cairo. I speak for all three of us – Baher, Fahmy and me – when I tell you that we are truly honoured and humbled to receive this award. There are the usual thank yous of course – to the judges and our extraordinary families who’ve been through hell and back. But there are also a few other points I’d like to make while I’ve got a platform. We journalists are a cranky, cantankerous lot. We are almost impossible to organise. We are by nature argumentative. We’d much rather compete than cooperate. And in fact about the only time we ever move in the same direction is when there is a bar in the room. And yet, throughout our detention, the media have somehow abandoned the habits and instincts of a lifetime to line up behind us in an extraordinary way. I’m not a student of media history, so I really can’t say it with any certainty, but I’d be willing to bet that journalists have never united around a single common cause in the way that they have ours. I know how important it has been. For us, in prison, of course we knew a bit about it. We were aware of some of the demonstrations; we’d heard about the zip-the-lips campaign and the letters. We knew the subject was consistently coming up in news conferences and interviews. And most surprisingly, some of our most vocal supporters were Al Jazeera’s direct rivals, such as CNN and the BBC, who’d normally rather eat their own babies than acknowledge the opposition. At a personal level, it was hugely empowering. It helped put rods of steel into our spines, because we came to understand that this was about something far bigger than the three of us alone. It was about the universal principles of freedom of expression, about the public’s right to know. And we knew you were right there with us. But I also know that we really had no idea of just how extraordinarily broad and unified that sense of purpose turned out to be. This matters not just because of the impact on us and our case. Right now, the very idea of a free press is increasingly under attack from everyone, from groups who take the heads off journalists through “I’m not a student of media history, so I really can’t say it with any certainty, but I’d be willing to bet that journalists have never united around a single common cause in the way that they have ours.” to individuals who shoot up a magazine office in Paris or a free-speech conference in Denmark, to governments trying to limit the scope of our work with draconian legislation. What you did was serve notice on anyone who would attack those most fundamental principles that we are united. You made it clear that these are things we are prepared to fight for as one. And whatever happens from here, we must not lose that extraordinary singular voice. The other point I’d like to talk about is just how honoured Baher, Fahmy and I feel to be supported by some of the most impressive professionals in the industry. After all, the plain fact is that in Cairo, we were doing nothing particularly radical or extraordinary. Our work was, I’d have to admit, pretty pedestrian. But that was because given the environment at the time, we knew we needed to play it safe. We quite deliberately avoided the boundaries. But I’ve come to realise that amongst the gongs for genius, our community also needs to celebrate the banal. I don’t mean to be self-deprecating here. Quite the opposite. Remember – we are the media – the means by which information flows. When we are doing our jobs properly and freely, we allow a healthy society to talk to itself. The conversations are not always particularly dignified or edifying and at times they aren’t even especially rational. But in the same way that a family works out its differences and holds itself together by talking and arguing and getting to know one another, so the media helps keep our society from falling apart. I know a lot of people would argue that social media has taken over that role, but we’ve learned rather tragically that social media tends to create silos. Small fringe groups retreat from the centre, talking only amongst themselves, becoming ever more radical as they become more isolated. So if any part of the community is cut off… if we are denied the opportunity to include everyone in those often rather ordinary stories and conversations… if we can’t question and challenge and involve everyone, I think we run the very serious risk of our societies becoming not more unified but more fragmented. So, although this might seem rather counterintuitive, I’d like to accept this award not only on behalf of Baher and Fahmy, who’ve stood up and defended the principles of press freedom with courage and determination, but also for the 99 per cent of us who didn’t come up here tonight. Because that routine and generally unrecognised work that we all do is also worth celebrating and fighting for. (See more at www.rts.org.uk) Peter Greste is a journalist for Al Jazeera. He won the 2014 Walkley Award for Outstanding Contribution to Journalism STOP #30Days SPYING ON JOURNALISTS of press freedom f /30DaysOfPressFreedom #30Days THE WALKLEY MAGAZINE 5 > NEWSBITES Digital streams bring new responsibilities for journalists Katharine Viner has been guaranteed a place on the shortlist of candidates to succeed Guardian editor-in-chief Alan Rusbridger later this year, after winning a staff ballot. Editorial staff at Guardian News and Media – which publishes the Guardian and Observer newspapers, and theguardian.com, Guardian US and Guardian Australia websites – were invited to vote. Viner received 438 votes. Emily Bell, director of the Tow Center for Digital Journalism at Columbia University and former Guardian and Observer editor, received 188 votes. Janine Gibson, editor-in-chief of theguardian.com, received 175 votes. The final decision will be made by Guardianowner the Scott Trust, which will announce later this month who will be added to the shortlist of candidates to succeed Rusbridger when he steps down later this year to become its chairman. Though it is uncommon for newspapers to allow staff to vote for who they work for, it isn’t unheard of. Le Monde, a daily evening French newspaper, announced in 2013 that staff had voted Natalie Nougayrède to be its first female director and editor-in-chief. Nougayrède received 80 per cent of the votes from the newspaper’s 450 journalists, only needing 60 per cent. Viner is the current editor-in-chief of Guardian US and deputy editor of Guardian worldwide. She launched Guardian Australia in 2013 as its editor-in-chief. - Stephanie Youssef 6 THE WALKLEY MAGAZINE The panel also discussed the new responsibilities attached to delivering quality journalism, especially after the Martin Place siege. “The new means of delivery brings on us responsibilities we’ve never had before,” awardwinning author Madonna King said. “It’s balancing fears. You don’t want to censor something but you don’t want to cause someone’s death,” she said. While there are many dangers and ethical dilemmas facing journalists as we head into a new digitally-charged, intensely surveyed era, the panel offered optimistic views. “There is huge, huge potential,” Fernandez said. “The more governments try to constrain the flow of information, to massage the message that gets out there, I think the more the opportunities for journalism there are.” You can hear a podcast of the discussion at Curtin University, and our most recent Future Friday talk with Sydney Morning Herald innovation editor Stephen Hutcheon and Jonathan Richards from Google Creative Lab at Walkleys.com/podcast. -Jacob Reid / Megan Stafford Journalism discussions at Sydney Writers’ Festival Leading journalists and Walkley-winners will take the stage once again at Sydney Writers’ Festival this May. Check out one of two Walkley Foundation panels: When journalists become the news (Sunday, May 24) It’s a cliché, but true stories are often stranger and more compelling than anything a novelist could invent. But what happens when you’re no longer just telling the story, you are the story? Join leading journalists Sarah Dingle, Peter Lloyd and Maxine McKew as they discuss the difficult and often emotional journey of putting themselves under the spotlight in order to tell the other side of the story. Activism vs apathy: Politics, social media and journalism (Friday, May 22) From the Twittersphere to clicktivism and citizen journalist bloggers – it has never been easier for citizens to be politically informed and make their voices heard online. Around the world we’re seeing social media spark activism, and yet in the developed world there’s a malaise of cynicism with our political systems. How are journalists bridging the divide between social-media fuelled activism and general disenfranchisement with politics? Join political journalists Latika Bourke, Mark Di Stefano and Alex McKinnon in discussion with Christopher Warren as moderator. Both talks are free to attend; more details at swf.org.au. Cartoon by Matt Golding Women dominate staff ballot for Guardian leadership The Walkley Foundation’s new talk series, Future Fridays, kicked off in February at Perth’s Curtin University, with a stellar panel of Madonna King, Brett McCarthy, Dr Joseph Fernandez and Geraldine Doogue as moderator. Editor of The West Australian, Brett McCarthy spoke about the newly integrated SevenWest newsroom, and said commercial media’s revenue model is broken. McCarthy attributed the “serious dents” to being caught up in the race to publish a story first. “I think one of the big dangers that we face is being caught up in the moment, the now, and not giving our people time to look more broadly and really do things in depth and do them properly,” McCarthy said. “We can be so wound up in the minute by minute and trying to be the first person to publish something on a website, or the first person to tweet it, that it’s come down to seconds,” he said. The panel debated the profitability of newsrooms vying for a slice of the constant stream of content and the importance of paying welltrained journalists. “Good journalistic content is not cheap to produce,” Curtin University’s Head of Journalism Joseph Fernandez said. “You pay peanuts, you get monkeys.” Australian portrait on top of the world A 26-year-old Australian woman from regional NSW has won one of the world’s top photography prizes, winning the portrait category at the 2015 World Press Photo awards. Now based in Brisbane, and a member of the Oculi photographers collective, Raphaela Rosella was the only Australian finalist in the awards. Rosella’s winning portrait is of Laurinda, a young Kamilaroi girl from Moree, New South Wales. The photo was taken outside her family home, as she waited for the bus to Sunday School. “I have been photographing Laurinda and her family since she was two,” Rosella said. “She usually poses with duck lips and hands on her hips but when she covered her face with her dress and stood still I knew the image was going to be special.” See more of Rosella’s work at www.raphaelarosella.com Kick-start your career with the Jacoby-Walkley Scholarship Bright journalism students with an interest in television reporting – don’t miss the opportunity to apply for this year’s Jacoby-Walkley Scholarship. The scholarship includes at eight-week placement at the Nine Network and four weeks at the Walkley Foundation in Sydney, plus a course at the Australian Film TV & Radio School (AFTRS). One of the two 2014 scholarship winners, Kirrily Schwartz, is now working at Nine. “The Scholarship helped me kick-start my career in a way I had only dreamed about. After my internship, I was offered a job in the Nine newsroom. It’s a very exciting and dynamic place to be, giving me the chance to develop my skills by learning from some of the industry’s best.” The Scholarship was established in 2013 with the generous support of Anita Jacoby, who wanted to recognise the legacy of her father Phillip Jacoby – a pioneer in the Australian electronics and broadcast industry who sought the truth behind every story. Anita, who has worked as a journalist, producer and manager for every major television network and now heads ITV in Australia, has financed the ongoing scholarship for students aged 26 and under. Applications close April 28, and winners will be announced, along with the Walkley Young Australian Journalist of the Year Awards, in July. Applications open now at Walkleys.com. THE WALKLEY MAGAZINE 7 > NEWSBITES Is the next big thing in Australian journalism in this list? Publishing platforms, marketplaces for producers and freelancers, and dynamic storytelling projects about refugees are among the standout proposals for the second year of the Walkley Grants for Innovation in Journalism. In March we proudly announced a long list of 20 projects, which will go on to compete for $70,000 in seed funding for innovative media projects. The outstanding projects were selected from more than 100 contenders by a panel of judges from Australia and the US, representing experience in media, entrepreneurialism and innovation: James Kirby, managing editor of Eureka Report; Ramin Marzbani, leading technology, internet and financial services analyst; Jigar Mehta, digital entrepreneur and current head of engagement at AJ+; and Jacqui Park, executive director of the Walkley Foundation. All four judges agreed that the standard of applications was incredibly high, making their decision very difficult. “Technological innovation in journalism continues to shape this important landscape, and the level of innovation for the second year in a row is on par with the best in the world,” said judge Ramin Marzbani. “The focused support for innovation by the Walkley Foundation has drawn out a broad range of proposals for innovation, too many of which are deserving of support.” Congratulations to the long-listed projects: • Yaara Bou Melhem, “UrStories”: A voter-based story initiative where the public decides which stories they want covered and take part in the storytelling process. • Karina Brindley & team, “Elevate Business Leaders Forum”: A platform for regional business leaders to share their business journey in a digital story format. • Giordana Caputo & Nicola Joseph, “Producers’ Marketplace”: An online marketplace for independent content makers to showcase and distribute their content, obtain peer and audience reviews, and network with stations/media outlets/ community organisations and arts organisations seeking innovative content to publish or broadcast. • Chart Collective team, “Chart Collective”: An online multimedia platform that plots stories of place and environment on an interactive Australian map, featuring content from a range of locations, disciplines and communities. • Jay Cooper, Nick Cooper & Veronica Ridge, “ISSIMO.IO”: A sophisticated yet simple digital platform that enables journalists without technical or marketing skills to edit and publish a viable digital publication. • Eve Fisher, “Student News Online”: An educational, online publishing platform for schools to create student-run newspapers, with students learning Walkley Grants for Innovation in Journalism • • • • • • • • • the fundamentals, best practices and technological aspects of online journalism. Charlotte Harper, “Editia”: Editia will work with journalists to publish expanded versions of their in-depth feature articles as standalone publications in ebook form or via print on demand. Nicola Harvey & Naima Lynch, “The Foundry Network”: A transmedia production network and freelance marketplace aiming to leverage the power of technology to enrich Australian journalistic visual storytelling for media organisations. Andrew Hunter, Hal Crawford & Dom Filipovic, “Like-a-lytics”: A new proprietary social analytics service for journalists across Australia and the world showing trending news stories using data from Share Wars’ Likeable Engine. Kristofor Lawson, “Coporter”: A story and contact management application that allows reporters to keep track of their story data, notes and sources securely in the cloud. Que Minh Luu & Gabriel Clark, “Radio with Pictures”: A multimedia collision of radio feature making and comic books journalism, produced for an online platform. Rose Powell, “News crawler”: News crawler is a software that crawls federal government, agency and MP websites aiming to track FOI disclosures, report or document uploads and any copy changes. Courtney Sanders & Laura-Jade Harries, “MyCatalogue”: A fashion and culture content platform, monetised via a state-of-the-art e-commerce affiliate program that supports local, independent fashion designers. Bonnie Shaw & FYA team, “Make it Mobile”: A digital platform and weekly Multimedia Text Messaging Service (MTMS) with all content created by young journalists, for young people. Smart Company team, “From Refugee to entrepreneur”: An interactive data-driven multimedia site telling the story of the refugees behind Australia’s small businesses through maps, photographs, timelines, videos and text. 2015 WALKLEY BOOK AWARD 8 THE WALKLEY MAGAZINE ENTRIES OPEN MAY 4 • Melissa Sweet & the Croakey team, “Croakey”: Transforming the Croakey blog into a global leader in innovative health journalism, improving its capacity to provide a public service and to contribute to informed, engaged debate and healthy democracy. • Sue Swinburne, Dr John Shearer & Dr Patrick Dickinson, “Droplet”: A geo-located, innovative story sharing app enabling users to consume as well as “drop” their own short, engaging and provocative audio anecdotes via their mobile phones. • Alexandra Wake & Barbara Heggen, “Hyper Local Cinema”: Harking back to the news reels of the past, the team plan to create hyperlocal news stories to show in independent cinemas, starting with a pilot at The Sun, in Yarraville, Melbourne. • Bev Wilkinson, Jeana Wong & Melissa Haber, “Celebrate Living History”: An internship program offering journalism students the opportunity to document stories for their portfolio and develop interviewing skills with older generations. • Judy Wilkinson, “AustraliaMEDIAfirst.com”: A recruitment website to link overseas companies with Australian freelance journalists, designers and photographers. These 20 projects will go on to attend a development workshop, and will compete for a pool of $70,000 in seed funding from program partners Google Australia and Copyright Agency Limited’s Cultural Fund. The development program will also include support from the Walkley Foundation’s innovation legal partners, General Standards Startup Lawyers. This grants program is central to the Walkleys’ mission to encourage and support innovation in the Australian media. Executive director Jacqui Park said the response to the grants continues to be a testament to the talent of Australian journalists. “It’s time we saw more journalists in the driver’s seat of innovation in Australia, and we look forward to helping these promising entrepreneurs connect with a supporting community and the resources they need to succeed.” Illustration by Simon Letch Visit www.walkleys.com for further details > OUR MEDIA Witnessing the unwatchable In the new reality of terrorism and propaganda on social media, the value of journalism as a means of separating news from noise has never been more vital, says Mark Little from news agency Storyful. Illustration by Andrew Dyson N o human being should have to bear witness to the execution of another. But my colleagues at Storyful have been living with that obligation for years, as they process and parse increasingly brutal imagery from across the social web. And yet nothing prepared us for the killing of Muath al Kasaesbeh, the Jordanian pilot burned alive in an act of almost cinematic evil. My colleagues Jenny Hauser and Eliza Mackintosh have both written powerful posts about the wider issues arising from the killing, and now I am writing from a deeply personal perspective, motivated by my profound impotence as a witness and possible irrelevance as a journalist. I’m not alone in feeling a sharp reminder of a new reality, in which reporters have been dislodged as the ultimate arbiters of our collective understanding of the world. “Thanks to the ubiquity of social media,” wrote social media strategist Andy Carvin, “it matters less what mainstream media chooses to do, as everyone online now has the capacity to view footage selectively, by their own accord.” Clearly, that doesn’t absolve journalists, and it certainly doesn’t make them irrelevant. We have a critical, if poorly understood, place in the spread of information and images on the social web. The value of journalism, as a means of separating news from noise, has never been more vital. History tells us that revolutionary shifts in communication bring upheaval. People cope with uncertainty by turning against those who disagree. The rise of the printing press heralded one of the most violent and chaotic periods in human history, as Nate Silver points out in his book The Signal and the Noise. “We face danger,” he writes, “whenever information growth outpaces our understanding of how to process it.” Today, the value of journalism is in the management of an overabundance of information. Reporters no longer own the story. Their job is to help filter a flood of competing narratives and to connect the most authentic voices to the widest possible audience. They must also understand the historical significance of the rise of the eyewitness. What we couldn’t see, we couldn’t be held responsible for – but no more. The smartphone now bears witness to war, genocide and systematic oppression with unprecedented authenticity, if not always with consistency or impact. Journalists have an obligation to build a historical record from an incomprehensible amount of content. Future generations will not forgive us if we don’t embrace our role as the archivists of now. The killing of Muath al Kasaesbeh is a case in point. A mission-driven group of experienced journalists watched his murder so others did not have to. In cataloguing every detail, they played the role of digital coroner, guaranteeing that the record of this crime will stand the test of time and, perhaps in some future court of justice, meet the standard of evidence. To do justice to this task, the most barbaric video must be preserved in some permanent form. Those of us who have spent years curating social video can testify to the impermanence of YouTube videos, which can disappear for countless reasons. History requires us to download, archive and protect. But what about an obligation to distribute? Do journalists have a responsibility to share what they The killing of Muath al Kasaesbeh is a case in point. A mission-driven group of experienced journalists watched his murder so others did not have to. In cataloguing every detail, they played the role of digital coroner. see in real-time? I believe the answer is no. Journalists play the role of connector, helping the most authentic sources reach the audience they deserve. They can also be the carrier, patient zero for a virulent strain of hate. The one thing they are not is the sole eyewitness to an event. They can no longer hide their choices behind an outdated duty to expose an unseen truth. “Without communication,” said Marshall McLuhan, “terrorism would not exist.” The utility of terror is in direct relationship to the numbers who witness it. The rapidly evolving literature of online jihad is explicit in its embrace of “propaganda by deed”. In the words of one prominent jihadi, the “keyboard equals Kalashnikov”. Today, propaganda is packaged in self-contained spectacles with a cinematic sensibility. The expert edits taking us from the sombre, dignified face of Muath al Kasaesbeh to the gasoline-soaked torch of the executioner. The foreboding is sharpened by a carefully calibrated pause. The journalist who has watched, catalogued and contextualised this savage ritual has done their job. Any further action makes them complicit in a unique form of social terrorism. Some journalists feel obliged to confront their audience with the graphic reality of terror. But if they have reported from war zones or natural disasters, they will know images of death are a Schedule 1 narcotic whose impact is lessened every time it is administered. The more we journalists seek to shock in the service of truth, the deeper we sink into irrelevance. The more we compete for attention, the less chance we have of earning it. The propaganda of the death cult is not ours to share. But neither is it ours to ban. We cannot choke off what Margaret Thatcher once called the “oxygen of publicity”. We couldn’t if we tried. The social web has made sure of that. Yet, while journalists no longer have the right to tell us what to watch, they do have new obligations. The growth of information has long since outstripped our capacity to process it. If journalism is to remain relevant, it must give its users the ability to make choices in the face of unlimited choice. It must help humanity – and future generations of humanity – understand the savagery that killed a man called Muath al Kaseasbeh. But it must also free us of the obligation to witness his death through the eyes of his murderers. Mark Little is founder and director of innovation at social news agency Storyful, which originally published this story; @marklittlenews, Storyful.com Andrew Dyson is a cartoonist and illustrator for The Age THE WALKLEY MAGAZINE 9 > OUR MEDIA What young women want Jane Waterhouse is hugely optimistic about the current generation of young women and the Birdee magazine brand I n 2013, Birdee was born out of sheer frustration with young women’s magazines. Call it an antimag or an antidote for a generation of young women that are so remarkably different to their mothers, and yet no major publisher seems to have noticed them. Never has there been a generation more educated, more socially aware, more globally connected than millennials. The gaping hole left between Dolly and Girlfriend magazines (that talk boy bands, modelling contests and nail polish) and Cosmo and Cleo (that focus on grooming young women to be more attractive and sexually available for the men in their lives), was an opportunity for us at We Magazines. The editorial of these magazines assumes that a young woman’s self-esteem and security is dependent on her success with boys, or how fashionforward she is. They have a place (although as the latest Audit Bureau of Circulations figures show, that place is quickly being abandoned), and young women will always be interested in sex and nail polish, but we believed there was more to this generation – much more. It seemed to us that many of the magazines aimed at young women were perpetuating the ‘girl problem’. Looking at the generation of women we talk to at The Hoopla (women 40+), we saw alarming statistics around domestic violence, homelessness, the gender pay gap, and a lack of female representation across the board, and we often questioned whether we were progressing at all. Our decision to launch Birdeemag.com was not about abandoning the Boomer generation of The Hoopla, but about turning our focus toward young women, where we felt real change was possible. When I embarked on our research into this demographic, I was personally a little cynical, and expected to be underwhelmed by their priorities and interests. Always one to hire people who are smarter than me, I put my faith in our potential editor Hayley Gleeson – a remarkable young woman who challenged my views every day. We held good old focus groups; we followed girls on Tumblr, Facebook, Twitter and Instagram; we followed global trends and we watched how 10 T H E W A L K L E Y M A G A Z I N E Never has there been a generation more educated, more socially aware, more globally connected than young millennials. the success of Lena Dunham’s TV show Girls was galvanising young women (and is diametrically opposed to Sex and the City which defined the generation before them). We listened really closely, and what we heard was a hunger for social change and gender equality – a passion so refreshing that suddenly I realised these girls were more motivating and intimidatingly smart than any Australian politician currently in the media. Passion is one thing, but talent is another, and these girls could write with humour, intelligence, authenticity and unbridled freedom that left me more hopeful for women than I had ever been. Hillary Clinton was the one who said the business of the 21st century is women, and Birdee was born as a raft to carry this new breed of women into new waters. Our job as publishers is to keep giving them a voice – a place where their political opinions, expressions of feminism, sexual interests, passion for thrifty fashion, and love of food, mental health issues and magnificent art can be showcased and adored. Birdeemag.com and the more recently released Birdee Newspaper are globally unique. More than 130,000 women read the site from over 50 different countries every month, but our greatest following outside of Australia is in the US. As for the business model, the newspaper has a cover price of $4 and the website content is free. Native, sponsorship and display advertising packages on both mediums have attracted brands from the following categories so far – book publishers, arts and entertainment, giftware, health food, feminine hygiene, online fashion, education. The cover of a newspaper, like any magazine, has to work hard. At Birdee, we have a very simple, antimagazine cover philosophy: beauty in a different way. We believe that our cover star’s body and clothing are less important than her story and her mind. We are determined not to get caught up in cleavages, heavy make-up and retouching, and instead feature fascinating young women in all their rawness in the hope that today’s young women will know that of themselves: that they are enough. As every cover of Birdee Newspaper reminds readers, our publication is: “A place to be clever, to laugh, to stand up for what you believe in, to feel good about being yourself.” Long may Hayley and the girls do just that. Jane Waterhouse is CEO and publisher at We Magazines > OUR MEDIA Communities of concern create user-pays news Dan Fletcher shows how his Beacon concept works with the crowdfunding of a reporter to cover the protests in Ferguson, Missouri L ast July, protests began in Ferguson, Missouri, after a white police officer shot and killed an unarmed black man. In time, these protests would grow into a movement and an international story. But they started as local unrest – which was largely ignored by press outside of Missouri. At Beacon, we’re not editors. We don’t assign stories. Instead, we ask readers to support coverage they find important. And very quickly, in the Ferguson protests’ first days, readers told us they’d pitch in for a reporter on the ground. They had the sense, even before the mainstream media, that something important was happening in Ferguson. And they’d be willing to pay to find out more. Very quickly, we were able to put together more than US$4000 to secure a few days of reporting from the ground. Four reporters provided their supporters with daily updates and photos, far before any national news crews arrive. But when police grew more aggressive in their use of tear gas and rubber bullets, the attention on Ferguson grew into a media spectacle. Now readers didn’t need to make sure someone was in Ferguson for the protests – rather, they wanted to ensure someone remained behind long after the film crews left. So, in tandem with The Huffington Post, we scaled up our efforts. Rather than funding a few days of reporting, we wanted to see if readers would fund an entire year. The response was overwhelming. In just a few weeks, nearly 700 readers came together to fund a full year’s stipend, which was used to hire journalist Mariah Stewart. Now, The Huffington Post is the only national news organisation with a full-time reporter on the ground in Ferguson. For us at Beacon, this was the clearest indication yet that we were on to something. We started Beacon in September 2013 because we felt that so many stories are under-served. We know reporters want to write them. We know an audience wants to read them. What’s missing is the resources to support their production. This disconnect occurs because journalism is supported by a lousy model. Advertising incentivises content that attracts the most eyeballs. And in an online environment with unlimited inventory, advertising rates seldom reach above a few dollars for a thousand views. Publishers are pitted against each other in a race to the bottom, spending more money chasing page-views by lowering quality and appealing to the broadest common denominator. The winners are often those willing to stoop the lowest. So much gets lost in this model, and it runs contrary to the hopes of the early internet. The web was supposed to make it so that anyone with an idea or a story could find their tribe. But when we’re beholden to stories for the masses alone, those communities never get a chance to form. What’s great about crowdfunding is that it creates an impetus for these communities to form. Forget likes and retweets – there’s no greater signal of whether someone finds something valuable than their willingness to The notion of an editor is abstracted a bit. Rather than one gatekeeper, crowdfunding appeals to many. Readers decide, a dollar or two at a time, whether a story should exist. contribute a few bucks to the cause. What once was the solitary pursuit of a lone journalist, producing a story for an audience that was opaque to them, becomes something more collaborative. The journalist isn’t producing for nameless, faceless readers or the Facebook hive mind. They’re producing for a group of people who are passionate enough about a topic to invest in it. That, of course, is the utopian view of crowdfunding. In practice, it takes a bit more work than that. Successfully raising funding from an audience is more involved than posting a quick pitch on Beacon and hoping people find it. It requires carefully reasoning through what the value of the story is to an audience. It takes being willing to stump on your story’s behalf, whether that’s by sharing your pitch on social media or sending it around via email. And finally, once you receive your funding, it requires actually delivering on your promise and sticking to your self-set deadline. None of this, though, is radically different than the process journalists go through in a newsroom every day. To get a story published in a traditional newspaper or magazine, you still have to pitch it to an editor and you still have to stick to your deadline. But with crowdfunding online, the notion of an editor is abstracted a bit. Rather than one gatekeeper, crowdfunding appeals to many. Readers decide, a dollar or two at a time, whether a story should exist. When we started Beacon we imagined our site being a home to crowdfunded stories from all over the world. But as we grew, we learned that readers were less concerned about Beacon being that home base. Instead, they wanted the stories that they fund to be read as broadly as possible. That’s why we’ve been careful to be as writer-friendly as possible. We encourage writers to double-dip. There’s no reason a story funded through Beacon can’t be sold to a magazine or newspaper, too. Backers love when that happens, because they’ve created even more impact. And increasingly, we’re building more partnerships with more publications to ensure writers who get funding through Beacon can reach an even broader crowd. We’ve been fortunate to have more than 250 writers and publications get funding through Beacon so far, but there’s still much more to do. In the next year, we’ll start experimenting with topic-based pools of funding, so readers can contribute to areas of interest that they feel are underrepresented. We’ll do more internationally, including in Australia, to learn how different audiences respond to crowdfunding around the world. And we’ll start experimenting more with video, audio and photography, to learn how funding and distribution can work for different types of storytellers. Ensuring the sustainability of important journalism online is a big problem, and there’s no single solution. But what the advertising model delivers us isn’t good enough. We think crowdfunding can be a pillar of how stories get funded and distributed in the next decade. Dan Fletcher is a co-founder of Beacon and was previously the managing editor of Facebook THE WALKLEY MAGAZINE 11 > OUR MEDIA Watchdog or lapdog? Paddy Manning takes stock of the state of Australian business journalism. Artwork by Peter Sheehan A ustralian investors lost billions in the global financial crisis. Despite spirited debate in the US about the role of the media in the GFC, here it’s a different story. While there has been justified finger-pointing at the scammers, planners, bankers, liquidators and the corporate regulator, there is one key player that has so far escaped much criticism: Australia’s business press. University of Melbourne lecturer and former journalist Andrea Carson has studied business stories published in Australian newspapers over the last 50 years. In her paper, published in the Australian Journal of Political Science, she concluded: “The scrutiny of the corporate and financial sector by Australia’s daily broadsheets diminished and was commensurate with newspapers’ political-economic environment, characterised by falling revenues, decreased print circulations and staff cutbacks.” Veteran finance journalist Trevor Sykes, author of Six Months of Panic: How the global financial crisis hit Australia, defends his profession, saying that “of all the people you could throw rocks at – the banks who lend the money, directors who run the company, the regulators – the business media are the only ones who don’t have any official role whatsoever.” At the same time, he believes Australia’s business media was more credulous in the lead-up to the latest financial crisis than it was ahead of the 1980s stockmarket crash. “In 1987 in Australia, the collapse here involved people like Alan Bond, Christopher Skase and various others who had been criticised in the press… there were plenty of warning bells there. I think there was more scepticism at that stage in the rest of the press as well. This time around though it whacked us on the bottom a bit. We didn’t see how far all the counterparty risk was going to go.” Research by Sophie Knowles, Gail Phillips and Johan Lidberg (The framing of the Global Financial Crisis 2005-08: a cross country comparison of the US, UK and Australia) found a tendency here and in England to see the financial crisis, at least initially, as an American import. Sykes himself admits as much, saying at first he thought the sub-prime crunch was “a Yank problem”. The lesson may be that Australian business journalism is too parochial given that recent busts, from the ’87 crash to the tech wreck to the financial crisis, have all started overseas. “Maybe we should spend a lot more time looking at what’s happening globally than we do here. But the punters out there aren’t really interested in the grand sweep – what they want to know is how to make a quid next week.” Adele Ferguson, who joined The Australian as a columnist at the peak of the boom in early 2007 after more than a decade at Business Review Weekly, and was on the front lines before and during the crisis, is similarly reluctant to ‘fail’ Australian business journalism: “I know myself, writing about private equity, there was some scepticism… [but] the critical stuff tends to get drowned out. Just like the dotcom 12 T H E W A L K L E Y M A G A Z I N E boom, your perceptions change. Greenspan talked about ‘irrational exuberance’ at the time. Right now, how often have we read that we’ve got a property boom and the bubble will burst? But it’s kept going for years.” Until the tide goes out, it can be difficult for the journalist – no matter how skilled – to see where the rocks are. But Fairfax Media business writer Michael West, who wrote the Margin Call column at The Australian from 1999 until 2007, says that’s the job. “I wrote about the first CDOs – it was Deutsche Bank’s NEXUS notes, I think – because I had a fund manager ring me up and say, ‘I don’t know exactly what it is, but this is going to be trouble, you can just tell’. They looked like a great de-risking product, but of course in the end they became ever more complex and leveraged and could never be unwound. Look at the most complex things, that’s where the rocks are.” A common argument is that business journalists are failing, partly because the diminishing resources of media outlets and increasing pace and complexity of financial markets leave them ill-equipped to scrutinise Gideon Haigh, also a celebrated cricket writer, is scathing about the quality of business writing, telling Crikey that there are few memorable wordsmiths. “I like peppery Michael West and shrewd Adele Ferguson, but I wouldn’t go to the business section for the promise of scintillating prose.” For example, said Haigh, “it’s really pretty scandalous how poor the writing is about BHP … that’s a bit of a reflection on the quality of business journalism, the fact that our biggest corporation tends to get written about as though it descended from the sky five minutes ago.” Haigh fears business reporting here has fallen into a narrow rut, becoming “safe as milk” and failing to do justice to stories that are every bit as exciting as those in sport or politics or the arts. A loss of experienced hands-on finance desks is partly to blame for the dull copy, according to Haigh. “When I worked at The Age one of the important influences on my writing was the fact that the business section had its own dedicated subs desk… and if they had a problem with anything you wrote, they called you over and they taxed you about Still, none of the half-dozen top business journalists I interviewed believed that financial qualifications or industry experience were necessary to become an effective business journalist. Most important were the fundamental attributes of any journalist: curiosity, fact-checking, and the determination to keep digging to get to the bottom of a story. companies, unlikely to detect financial irregularities and over-reliant on experts like broking analysts. Still, none of the half-dozen top business journalists I interviewed believed that financial qualifications or industry experience were necessary to become an effective business journalist. Most important were the fundamental attributes of any journalist: curiosity, fact-checking, and the determination to keep digging to get to the bottom of a story. Also fundamentally important is experience – especially of covering both boom and bust, which are often the making of a business journalist. In Sykes’ case it was the Poseidon nickel boom in the ’70s, which led to his first book, The Money Miners. For Gideon Haigh and Ian Verrender, it was the ’80s crash. For West, it was the tech wreck. “When I first started as a columnist at the Oz I used to lunch every day. I had the perspective of a market participant. I got a lot of scoops. I moved share prices. But after the dotcom boom, I realised I’d been manipulated, too. I became more concerned with matters of public interest, and understood my role was to be critical and to pursue stories in the public interest, rather than in the interest of a few investors who might own the stock,” he says. But to gain such longevity, finance writers need to specialise and this is a sticking point for some of the journalists we interviewed, leading to capture or (just as bad) stagnation. it – exactly the kind of relationship that young journalists don’t have with subs any more. Ingrained in my memory is this lovely, fruity English sub called Stephen Hall, looking around the business section and saying ‘where’s Haigh, where’s Haigh?’ I think I was looking in a drawer in one of the filing cabinets, so he couldn’t see me. Anyway, he said as loudly as he could to everyone on the subs desk, ‘if there’s a piece of jargon lying around, Haigh goes to it like a fly to shit.’ Fair dinkum, I never forgot it. From that day forward, if I ever had an opportunity to avoid using a piece of jargon I took it.” The general reader has to come first again. Tell it like it is – and context, depth, history, colour, humour and imagination wouldn’t go astray. West says satire can be hugely effective. “Until a few years ago the story of mine with the most impact was ‘Casey Williams’ … the HIH Royal Commission was on and hearing about Ray Williams’ penchant for business travel. He was Qantas’ number one customer, and used to book seat 1A and seat 1B to put his briefcase on, because he didn’t want to sit next to anybody. I’d come in after a long lunch at 5.30 with an hour and a half to file by 7. We’d been talking about HIH at lunch and I concocted this [satirical] bit of transcript to the royal commission, cross-examining Williams. The whole spiel was deadpan, under whose name did you book seat 1B? Casey Williams! The internet had just got going. The next day I had all these people who’d clicked on the story and sent in messages. It was huge, [even] mentioned in the summing up of [presiding judge] Neville Owen! “One of the big problems is that business journalists regard themselves as business journalists, rather than journalists, and they hold themselves to a lesser standard and write all these boring business yarns for business, rather than for the public.” If finance reporters have to work through a boom-bust cycle or two to learn the necessary scepticism, then the wave of senior redundancies from newspapers looms as a real threat to corporate accountability, given print media dominate business journalism. As investigative journalist Ben Hills observes: “Unfortunately we don’t have enough journalists with enough skills, with enough talent, with enough motivation let alone enough time to do their job properly … Because there are fewer journalists, because they get less time to do their job, the proportion of genuine news in newspapers has just collapsed. An Australian Centre for Independent Journalism survey [conducted jointly with Crikey in 2010] found 55 per cent of all content came directly or indirectly from a press release. My own guess is it’s now closer to 75 per cent. “You just can’t do the same job in a newsroom that’s got 150 people in it and most of those are young kids. I mean the people who walked were the older hands who wanted to get their $200k, $300k, $400k superannuation, and they’ve been replaced by kids who are wet behind the ears who, even if they were given the time and resources, wouldn’t know where to start on an investigative story.” Higher turnover of increasingly junior finance reporters is exacerbated by the constant lure of more highly paid jobs in business, particularly the everexpanding public relations industry. Hill thinks that like NSW government ministers, journalists should have a three-year cooling-off period before they can go and work for a company they’ve been writing about – perhaps written into the Journalist Code of Ethics. He admits it would probably be impossible to enforce, but it would at least signal the profession’s disapproval and “indicate to the wider public that this was an unethical practice.” Business journalism certainly throws up unique ethical dilemmas. None of the journalists interviewed owned shares, for example – although some were more open to the idea than others, as long as it was disclosed as is clearly required under the Code. Is that enough? When he was at The Sydney Morning Herald, Verrender recalled, there was a requirement for the editor to keep a register of any journalists’ shareholdings. A similar obligation exists in the UK where the Press Complaints Commission has published a best practice note on financial journalism. Although the Australian Press Council has never published specific guidance for business journalism, its recently revised General Principles include for the first time a separate principle on conflicts of interest that goes beyond disclosure, requiring that reasonable steps be taken to ensure they do not influence published content. After five decades in the industry, Sykes says he personally has never been offered a bribe but he did know of isolated cases of corruption back in the late 1960s, and a couple afterwards. Both Sykes and Haigh recalled a quite widespread practice of journalists receiving shares in public floats in the 1980s. At The Age, then business editor Stephen Bartholomeusz put a stop to it, says Haigh. It is not just the journalist whose motives can be tainted, of course. Publishers come under commercial pressure and newspapers are certainly more vulnerable now they have lost the “rivers of gold” classified advertising revenue that came with absolutely no editorial strings attached. When David Jones’ chief Mark McInnes was forced to resign after admitting sexual harassment in 2010, Verrender wrote a sensational column revealing that the executive’s exploits were “legendary … numerous women, none of whom are DJs employees, have detailed similar advances to your columnist”. What Verrender didn’t say is that when he was business editor he had come under pressure not to run anything damaging on such a major advertiser. Someone higher up the chain at Fairfax admitted that if an offending piece was run they were going to get the “usual call” from David Jones. In last year’s Stop the Presses: How greed, ambition (and the internet) wrecked Fairfax, Hills wrote of the potential compromise to the editorial integrity of business coverage from the rise of highly profitable “round-tables” and other promotional events cohosted by the company’s newspapers and sponsors. These sponsors were told the Financial Review was “unashamedly pro-business”. Ferguson, now herself at Fairfax, says the probusiness stance has been tried – for example at her former employer BRW, but “it actually distorts the truth. People want to learn things, get insight. If you’re just writing a puff piece, with no critique, no-one’s going to think it’s real.” Given the commercial pressures, it’s all the more surprising that newspapers churn so much public relations material – a horror trend, more insidious than advertising. “We’re dying for the lack of ad revenue,” said West, “but at the same time we’re running PR campaigns for free. It’s absurd”. Business reporting is especially vulnerable to churning press releases, as it is often held captive to the ASX announcement cycle by major listed companies. As Haigh told Crikey: “Companies THE WALKLEY MAGAZINE 13 > OUR MEDIA have found out just how useful disclosure can be, because you completely inundate your audience, create all manner of distractions for them. Continuous disclosure was an antidote to the lack of disclosure in the 1980s, but companies learned to make it work for them. There’s a line of [economist] Herbert Simon about an abundance of information creating a poverty of attention – that certainly applies where business journalism is concerned. “An interesting and, I thought, pretty telling indictment of the business press back in 2004 came when James Hardie was spinning off its Medical Research and Compensation Foundation. In the course of the Jackson inquiry some emails came to light from James Hardie flack Greg Baxter, to the effect that the best way to handle the announcement was to make sure that it was positioned in the business pages rather than the news pages because the business pages would report the Foundation simply as a business transaction whereas if you got into the news pages it might get a little bit unpredictable.” The best way to get access to businesspeople, if that’s your goal, is to be non-threatening. Accepting redundancy in 2012 after 25 years at the Sydney Morning Herald, faced literally and metaphorically with clearing his desk, Verrender penned a must-read final column entitled “A business reporter’s greatest value lies in asking hard questions”, which touched a nerve, describing how “when it comes to business, the Australian media generally has opted for a soft and fawning relationship.” The threat of litigation is another increasingly powerful deterrent to corporate investigation. Ferguson, “We’re dying for the lack of ad revenue,” said West, “but at the same time we’re running PR campaigns for free. It’s absurd.” who wrote an unauthorised biography of mining mogul Gina Rinehart, found herself facing jail for her trouble, when she was sued to reveal her sources along with The West Australian’s Steve Pennells. Rinehart was still then the largest shareholder in Fairfax – to its credit the publisher backed Ferguson to the hilt. Backed by the Alliance’s Press Freedom campaign, Ferguson wants law reform: “Last year (2013) I had three writs to get my sources. It’s getting beyond a joke. They really have to have uniform shield laws. The problem is the legal costs. When you’ve got media empires that are stumbling, even if you’re right and you’re going to win the case, it can cost millions. Writs are cheap.” Despite the pressures, some business journalists are embracing the future and doing it all – having more reach and impact than ever across print, online, broadcast and social media – and there is no better example than Ferguson herself, last year’s Gold Walkley winner, who has taken on the world’s richest woman and the country’s biggest bank in an awardwinning investigation between Fairfax and the ABC’s Four Corners. In a cracking review of Dean Starkman’s book The Watchdog that Didn’t Bark, Haigh neatly identified the fundamental tension in business reporting between access journalism, which depends on information from the powerful, and accountability journalism, which involves information about the powerful. “The former privileges the ‘scoop’, the latter the long-form expose involving heavy investigative lifting.” Ferguson believes access and accountability journalism need not be at odds. “It’s not one or the other,” she says, “I will dig deeper, and always have. Get past the spin. But I think I’ve also got access. I do have a pretty good contact book. You can do both. If you do a good job exposing wrongdoing, you earn the respect of business.” For Verrender the role of journalists holding business to account is almost self-evident. “I don’t think you need to formalise it or hold it in such a lofty way. You just look at it, my job is to find out what the truth is.” This is an edited version of a five-part Crikey series, “Watchdog or Lapdog”, which began in January Paddy Manning is business editor of Crikey Peter Sheehan is an award-winning illustrator; www.petersheehan.com WALKLEY YOUNG AUSTRALIAN JOURNALIST OF THE YEAR AWARDS 2015 // CALL FOR ENTRIES ENTRY DEADLINE: 5.00pm Tuesday April 28, 2015 2015 Are you a journalist aged 26 years or under? Picture this… You’re amongst busy editorial staff in a CNN newsroom in the USA, watching as breaking news pours in from a global team of more than 4000 media professionals. Entry is open to employed or freelance journalists who have self-published or whose has been published or broadcast through Australian media outlets between April 29, 2014 and April 28, 2015. Then you’re bunkered down with the Washingtonbased Twitter government and politics team, assisting the White House and news organisations to increase public engagement and release critical information in times of crisis. Students aged 26 and under whose coursework has been submitted for assessment are also eligible to enter the student category, with eligibility for the main prize. Enter the Walkley Young Journalist of the Year Awards and this could be you! 14 T H E W A L K L E Y M A G A Z I N E Entries are now open, so it’s time to send us your best work. Visit www.walkleys.com for more information. > OUR MEDIA This old dog thrives on new tricks Everyone’s favourite science show is turning 40, and Robyn Williams has been there every step of the way. He talks about its great past and forecasts a brilliant future – science funding allowing. Cartoon by Matt Golding Y es, it will be 40 years this August since I started The Science Show on ABC Radio, and I’m still doing it. Is this odd behaviour? (I’m reminded of my obsessive border collies who learned a neat trick when young and repeated it endlessly – am I the same?) In fact, the program very nearly died after five months. Cuts, you see. The Science Show has always struggled with cuts. This one came at the end of 1975. I’d begun the show in Vancouver, at a huge Pacific Science Congress, replete with superstars like Thor Heyerdahl, Herman Kahn the futurologist and Lord Ritchie Calder the British energy expert. I had no long-term plans for the program, beyond ticking over week by week and maybe looking for a locum to do it when I wanted a change. Then came the Dismissal, followed by the election that Malcolm Fraser won resoundingly. Around that time I had been invited, out of the blue, to apply for a new ABC job in London: talks officer with a free rein. Who could resist? I applied and got it. As usual, following a federal Coalition win the first thing they did was cut the ABC budget. My London job was the first to go. So did hope of locums. So, on I continued with The Science Show. At first, the response to the show was jaundiced. “Here comes the lead-balloon brigade,” muttered one ABC manager, who preferred the cracked classical records they used to play at midday on Saturdays. Luckily, that week I’d done something on air that excited the audience and the mail turned up in large boxes. “Care to help me sort the fan mail?” I asked the cynic. He looked at the pile and stuttered. That’s been the story throughout: science and medicine were always enormously popular with audiences, and still are. Now we have at least six science programs – All in the Mind, Health Report, Body Sphere, etc. – in the top 20 podcasts of all combined networks, not just Radio National. The last ratings I checked for Catalyst was (for five cities) over 725,000, which translates to well over a million for the rest of Australia, even before you add repeats, downloads and overseas sales. But apart from the subject matter, there are the production values. I was lucky to land in the part of the ABC where standards were (and are) very high indeed. We edit, we polish, we edit again, we tell stories. We have an open door to all comers (unlike the Brits and Americans) that ensures a variety of voice and style. This density of material is clearly what the downloading public wants. Yes, I know youth is supposed to have It’s called rat-cunning improvisation... always sounding different within high levels of reporting and production an attention span of seven minutes and The Science Show is an hour long, but when you look at series for TV by HBO, popular American radio shows like This American Life and RadioLab, they are also at least an hour. People stay with substance; people leave chatter. Another myth is the case of the inarticulate boffin. Some are hopeless. But so are some catatonic lawyers, wooden politicians and flaky film stars. But scientists? Brian Cox, Simon Singh and my nephew Ben Goldacre talk to crowds of 8000 plus. In Oz, Paul Davies, Brian Schmidt and Fiona Stanley will fill large halls. And now the younger scientists have become simply magnificent. My evidence? We have just finished auditioning the five under-40 candidates – young scientists who are joining the ABC Science Unit to contribute to shows as part of the 40-year celebrations. I have to say that their performances were utterly brilliant. Our tough independent judging panel could hardly believe what they were hearing. The fact is that Three Minute Thesis Competitions and other efforts in our universities have trained, advised and nurtured science communication like never before. I now put on a PhD nearly every week, a 20-, 21- or 22-year-old who is so articulate and passionate in their brief talk. And this not only aids fluency, it also refines their intellectual understanding of their science and how it relates. No wonder our programs thrive. We can barely keep up with the ideas and the talent. This, just at a time when science is losing its government support and youngsters, as well as senior scientists, are losing jobs. It is a tragedy. Especially when you realise how much wealth (45-60 per cent of GDP) is created by innovation based on science and technology R&D at our universities and CSIRO. Are they actually thinking in Canberra? So what about those cuts that have shaped us from the beginning? Well, I suspect quite a few will be astounded that The Science Show has no reporters or researchers. David Fisher, the only other member of the ‘team’, has his work cut out assembling websites, transcripts, edits, pods, links – as well as the other programs he does, such as Naked Scientist. So we rely on the many willing freelancers, colleagues and students who provide their assistance. Among the heroic freelancers is Sharon Carleton, who once used her late husband Richard’s 60 Minutes frequent flyer points to fly to London to interview Prince Charles for us. Then there’s Pauline Newman, now a professor of communication at Arizona State, who will drop everything (as she did in February in the USA) when we need help. And there is Stephanie Pradier, a physics student from Melbourne, whom we dragooned into interviewing Steve Chu, President Obama’s energy secretary and Nobel laureate. It’s called rat-cunning-improvisation. It means we are always sounding different but within high levels of reporting and production. And this seems to be what audiences around the world like. Yes, it is a surprise to be 40, but what it really means is that science in Australia is thriving spectacularly, most young researchers are potential journos and, combined with Citizen Science, we could have a glorious brain-based revolution on our hands. Canberra, please don’t ruin this promise. Robyn Williams is a science journalist, broadcaster and a National Living Treasure (1987) Matt Golding is the Creative Director at Nous Ideas, Visual Corporate Communication www.nousideas.com.au and cartoonist for The Sunday Age SUPPORTING YOUR INDUSTRY, BUILDING YOUR COMMUNITY. See our full page advert on the back page for more information THE WALKLEY MAGAZINE 15 > STORYOLOGY The mapping of songlines and the telling of news In the MEAA Centenary Lecture 2014, Malarndirri McCarthy spoke about storytelling and the effect of being a journalist on her cultural identity as a Yanyuwa person. Illustration by Sam Wallman As a Yanyuwa Garrawa woman from Borroloola in the Gulf of Carpentaria, I pay my respects to the Gadigal people, the traditional owners of this land, where we gather this evening. I n Yanyuwa way, the art of storytelling is more than just art, it is our life. It is equally important to the three other clan groups in the Borroloola region – the Garrawa, Mara and Kudanji peoples. We have a word for it in Yanyuwa called Kujika. The Kujika can be loosely translated as ‘mapping of songlines’. The Yanyuwa would walk on country and paddle in canoes across the seas and rivers singing the Kujika of the country – singing the map of country – which would describe the terrain and the history of the area. It would assist in knowing where to travel for food and shelter, and where to stay away if near sacred areas. Kujikas are intrinsic to our culture because in the singing of the stories our culture is being passed on, and has been for thousands of years, so the Yanyuwa would and will not forget country and the many stories attached to it. My Kujika starts in Borroloola and weaves its way to the desert country of the Aranda people in Alice Springs. I completed my primary school education then went to Gadigal country, where I completed my secondary education. In 1989 I began my journalism career with the ABC at Gore Hill in Sydney on Cameraygal country. I was able to learn about other stories, and more importantly the modern methods of storytelling in broadcast television, gaining insight into the wider issues that impacted on all people, not just the First Peoples of this country. As an Aboriginal cadet news journalist with the ABC, my world expanded greatly beyond my Yanyuwa cultural understanding. The key, however, was not to lose my own cultural integrity and sense of self within this fast-paced and very competitive world. The first real test was reporting on the Royal Commission into Aboriginal Deaths in Custody (RCIADIC). It is tragic to note that the numbers of Aboriginal deaths in custody has not reduced since RCIADIC. One cannot help but reflect and ask, “Just how far have we really come in Australia?” Especially when a young Indigenous person like Ms Dhu in Western Australia can be jailed for not paying a parking fine, and then die a painful death in custody. Almost 50,000 people have signed a petition demanding answers over her death. WA Premier Colin Barnett has made a personal commitment to do more to stop tragic deaths like Ms Dhu’s. But the promise rings hollow and too late to the Dhu family and other families. The high incarceration rate and the deaths in custody are incredibly important issues to the First Nations peoples in this country. But I want to give you 16 T H E W A L K L E Y M A G A Z I N E It was important to me as a Yanyuwa person that I did not fail the expectations of those families who put their trust in me to cover their stories properly. But something else happened that day another perspective to consider in the lives of First Nations’ journalists and the experiences we have in covering these stories. The Royal Commission into Aboriginal Deaths in Custody was established by the Hawke government in 1987, and over the next four years the Commission would travel the country investigating deaths that had occurred between January 1, 1980 and May 31, 1989, and the actions taken in each case. In all, the Commission investigated 99 deaths and made 339 recommendations. In 1991 I was working as a journalist in the ABC Sydney newsroom and my assignment was to prepare for the Commission handing down its recommendations. I spent a few weeks preparing for it by speaking to Indigenous families across Australia who had gone through the painful process of giving evidence about their loved ones. Many were very reluctant to speak to the media, for various reasons, including fear of being misrepresented, particularly in a cultural context. I had set the interviews in place around various parts of the country and coordinated the logistics for camera operators to meet with the families while I would do the interviews by phone, and then have the vision sent as soon as possible to Sydney. This was a huge story. Both in terms of the public and media expectations, but more importantly to First Nations peoples who were hoping this country would provide justice in the deaths of their family members. It was important to me as a Yanyuwa person that I did not fail the expectations of those families who put their trust in me to cover their stories properly. But something else happened that day. I arrived at the newsroom keen to get started with the Commission and interviewing the families. A schedule of the day’s rundown and logistics were in place. But an editorial decision had been made to remove me from the story and put a more senior journalist on the story, and my world as a journalist and my cultural identity as a Yanyuwa person hit head-on in a mighty way. I felt totally used and betrayed by those beside whom I worked closely. In Yanyuwa way, such behaviour would result in an open forum amongst the clans where the aggrieved person could express their suffering to all present, whilst the aggressor would be made to speak their reasons for their actions. The very public debate would go back and forth until the aggrieved person felt he or she could move on and all poisonous feelings were ejected from within. It is important to the Yanyuwa that in order for right spiritual growth we must not cradle such bitterness. This teaching is integral to our need to live harmoniously with country and with kin. Mind you, it does take great effort and a great deal of vigilance, but there is always a process within the kinship structure that allows for this teaching to become a valued way of life. In the ABC newsroom I couldn’t do any of that – it was not Yanyuwa country and it was not a Yanyuwa kinship conflict. So I prayed that the spirits of the Cameraygal people on whose country we were on would help me find a way through this day. They did. I made it clear to those that needed to know that their decision was wrong. And that this type of injustice towards me – no matter how small in the scheme of things – gave insight into the injustices, the unfair practices, often gift-wrapped in excuses that pacified those who inflicted such unfairness, on Indigenous people. But I concluded with the view that as devastating and humiliating as it was to have the story taken from me in such a way, it was insignificant in comparison to the deep hurt and suffering of hundreds of Indigenous families across the country. I stayed focused on their pain. It helped me to overcome mine and get rid of the toxic feelings from within. In Yanyuwa way, I could move on. Yes, another journalist did the story. Yes, I made sure I produced it and worked with the journalist to ensure the stories of these families were told well. Yes, editorial integrity was maintained. Yes, standing strong for cultural integrity was a lesson learned. And, yes, the ABC News bulletin looked really good that night, too. A year later in 1992 at Lake Mungo on the NSW and Victorian border, I was assigned to the story of the return of the oldest cremated remains in the world, that of Mungo Lady, to the Paakantji, Mathi Mathi and Ngiyampaa people. Like in most cultures, in Yanyuwa culture ‘Sorry Business’ is sacred business. To the Yanyuwa, ‘Sorry Business’ is known as the ceremony that occurs once a person dies. First Nations peoples each have our own definition of ‘Sorry Business’ and the way in which the deceased is mourned, remembered and spoken about, then buried. There are also different rituals in the viewing of the dead before burial. Covering this story of the 40,000-year-old cremated remains of a woman meant an even deeper awareness of the sacredness of it. I admit that as a young Yanyuwa person and journalist, I was not sure how to proceed in walking my Kujika here, by trying to meet the news-integrity requirements and maintain my own cultural integrity through it all. In Yanyuwa way, I needed to consult my Elders, the Jungkayi and Ngimarinngki, to give me guidance. I rang them from Sydney prior to doing an interview in Canberra with Professor Alan Thorne who would show me the box in which Mungo Lady was housed in the Australian National University. “While women play an important role in Sorry Business ceremonies, in Yanyuwa Law the dealing with the bones of dead people is serious men’s business, it is not a world for women.” Jungkayi means ‘protector or policeman of your mother’s country’. Ngimarinngki means traditional owner of country. No decisions can be made about Yanyuwa country without the two involved. In ‘Sorry Business’ the Jungkayi takes the lead in the ceremony. I needed the guidance of the Jungkayi in helping me to walk this path appropriately in the sacred ceremony of Mungo Lady, and still deliver my news story on deadline. But something went horribly wrong. My mother, a Ngimarringki said, “Stay way from looking at the deadbulla – not your country.” In other words, I was not to go near the remains out of respect for the Paakantji, the Mathi Mathi and the Ngiyampaa peoples. Her words stayed in my heart as I flew from Sydney to Melbourne and met an ABC News crew there, then drove to Mildura and out to Lake Mungo. We followed Professor Thorne as he carried the box with the remains of Mungo Lady to the Elders sitting and waiting on the sands of Lake Mungo. It was a deeply moving occasion as the Elders wept at her return. With the ceremony over, I began to relax and moved around to talk to people as they ate lunch. During this time I looked over across the sand dunes to where Professor Thorne was standing and saw my news crew filming as he opened the box. Suddenly I felt the sand sting me as the wind blew up and my spirit felt kurdardi yamalu – ‘no good’. They’d had no intention of opening the box but obviously had changed their mind and I had not instructed the camera crew not to film inside it. We then had to leave Lake Mungo and drive to Mildura to get to the feedpoint to send our story back to Melbourne for the 7pm ABC News bulletin that night. But we never made the deadline. Along the dusty dirt road to Mildura, as I sat in the back of the car with the camera on my lap, headphones on listening to the interviews and writing my story, the cameraman lost control of the car. I remember looking up to see the car sliding off the corrugated road. We rolled and rolled and all the while I held the camera tight, fearing it would be a loose missile in the vehicle. After the second roll, the car came upright and kept driving towards a tree, then the branch of the tree snapped onto the car, damaging the roof above the driver’s head. The car was still running and I thought it was going to explode. One crew member in the front jumped out through the passenger window. I couldn’t open my door, so I jumped across to the other back passenger The Yanyuwa Elders said I had “left people behind”, and that’s perhaps why we had the accident door to get out. Then I tried to help the driver, who was bleeding from the head. We both got to safety under a tree with the third crew member. We sat there, watching the car and waiting. The engine died and then there was only silence. Once back in Melbourne, I completed the story on Mungo Lady’s return to her people and it aired that same weekend. The editorial integrity was maintained. The Paakantji, the Mathi Mathi and the Ngiyampaa were pleased with the story, too. The ABC News crew were recovering well, although badly shaken with minor injuries. But there was a lesson of cultural significance for me. The Yanyuwa Elders said I had “left people behind”, and that’s perhaps why we had the accident. The Jungkayi and Ngimarrinkgi said I should have explained to my News team about the sacredness of ‘Sorry Business’ on this journey. Inexperience as a journalist, and fear of being ridiculed and Yanyuwa ways disrespected, were the reasons for my inability to do so. It was through the coverage of Mungo Lady that I learned as a journalist that the cultural integrity of First Nations people could not be disregarded in newsgathering if black and white Australians were going to better understand one another in this country. In late 2012 I joined NITV NEWS as a senior journalist and in 2013 I returned to Lake Mungo to meet with the Paakantji, the Mathi Mathi and the Ngiyampaa people to follow up on the return of Mungo Man, whose remains still sit in a vault in the Australian National University. His story and that of Mungo Lady hold deep significance to my Kujika and the Kujika of NITV – Australia’s National Indigenous Television Service. NITV NEWS is part of WITBN – the World Indigenous Television Broadcasting Network. I am very proud of our small but very dedicated NITV NEWS team of 15 people who produce a nightly bulletin at 5.30pm each weeknight, which is repeated at 7pm and 11pm. We regularly take NITV NEWS-on-the-Road with TVU Backpacks and present the entire bulletin out on the road. Presenter Nat Ahmat, chief producer Chris Roe and chief-of-staff Michael Carey join me in leading this incredible team to remote regions across Australia, as well as just across the Sydney Harbour for special ceremonies or events. Gomeroi man Danny TJ travels the length and breadth of NSW, Wiradjuri woman Tara Callinan is a tireless young VJ, and Kris Flanders is our super sports reporter, all supported by the talents of Gomeroi cameramen and editors Shayne Johnson and Steve Ellis. We have Craig Quartermaine in WA, David Liddle in Queensland and Myles Morgan in Parliament House in Canberra. Michelle Lovegrove is a senior journalist with NITV News, on secondment from her role as the executive producer of Living Black on SBS Radio. Our technical capability and youthful exuberance in challenging everything and anything about TV broadcasting from where First Nations people are makes it an incredibly dynamic newsgathering process. Now with News online the future looks even more exciting. We are based at the SBS Headquarters in Artarmon and work with the SBS Editorial team. Given the tight fiscal times, as executive producer I have also implemented a process where we work on a daily basis with the other taxpayer-funded broadcaster, the ABC. NITV NEWS also interacts regularly with our colleagues in the Indigenous Media news services. The NITV NEWS team maintains its own cultural integrity in the newsgathering process. Each NITV News journalist carries their own Kujika, their own cultural story and background. Together we strive to air the voices, the issues, the highs, the lows, the impact of Government decisions, the good news, the contradictions, but most importantly the incredible resilience and endurance of First Nations peoples in Australia. And, believe me, the First Nations peoples of Australia also test and challenge the cultural integrity and editorial integrity of our NITV NEWS team. But the task of media in a democratic society is to keep asking questions – especially of those in decision-making positions. Indigenous media in this country – be it NITV, National Indigenous Radio, or CAAMA, NIT, Koori Mail & First Nations Telegraph and other media organisations, along with the numerous First Nations journalists such as New Matilda’s Amy McQuire, ABC ‘Awaye’ host Lorena Allam, and ABC AM Reporter Lindy Kerin, ‘Living Black’ host Karla Grant, Dan Bourchier at Sky News, and NITV Awaken host Stan Grant – will all continue to ensure the voices of Australia’s First peoples are never silenced. Malarndirri McCarthy is executive producer of NITV NEWS. This lecture was amended for print purposes THE WALKLEY MAGAZINE 17 > STORYOLOGY Everything we learned at Storyology Andy Huang and Hattie O’Donnell wrote up their best lessons from Storyology for Junkee.com, and share the love with us. Cartoon by Sam Wallman to have a ‘h8rs gonna h8’ attitude, violent and criminal threats are nothing to be blasé about. Online harassment is not okay. Not for women, not for men, not for anyone. As Caro said, “We’re living in a culture of intimidation”. Trolls are lurking for engagement, and for a reaction. If someone is giving you serious beef, block them. There’s a time and place for intelligent debate, and Twitter has a reputation for often descending into a chaotic match of mud-slinging, so it’s important to know your boundaries and step away when you need to. Find your niche It’s never been a more thrilling (and perhaps troubling) time for freelancers, creatives and entrepreneurs: there are more opportunities than ever to experiment, and more platforms to get your stuff out there and reach a wider, global audience. The projects that do take off are created by people who can see what’s missing in the market, and fill that gap. Broadsheet, an online start-up that publishes local city guides, seems to be killing it right now. It began with founder and publisher Nick Shelton abroad in his twenties, searching near-constantly for local watering holes, and a lack of timely, detailed, and youth-oriented content in print or online. Enter Broadsheet, which in five years has gone from the passion project of one guy with a laptop, to a growing operation with offices in Sydney and Melbourne that attracts over 600,000 eyeballs per month. LESSON: The key here is specialisation. Find something you’re good at that no-one’s doing, and do it well. Become an expert; be the thing people go to for information. Find a gap, figure out how you can fill it, be flexible, and do your research. Understand your target market, have a clear (and achievable) vision, and learn from others’ mistakes. Rethink. Redesign. Repackage. Social media has had by far the biggest influence on how content is consumed and produced today. And the greatest competition isn’t between print or digital. It’s not between different media outlets and publishers either. It’s competition for people’s time. “We’re an attention economy,” said Neal Mann from Wall Street Journal, in his keynote address on media innovation. “A journalist’s problem is their own thinking.” Or, as Aron Pilhofer from Guardian Digital said, “Part of the problem is us.” The problem is newspapers still making newspaper-shaped things for the digital space; the problem is stuff made for TV being distributed the same way online, which just doesn’t work. The point here is to adapt the way your product is delivered, in a way that best suits what you’ve made. LESSON: Those catching on are moving towards a mobile-first approach. How do you make content more engaging for audiences on their phones? Look outside the industry. Look to Tinder. (Yes. Tinder.) In the same way that Tinder does dating for your phone, how about journalism that’s designed specifically for mobile? AJ+ and Circa (its motto: Save time. Stay informed.) are breaking down information into smaller, more digestible bites – and so far, it seems to be working for them. 18 T H E W A L K L E Y M A G A Z I N E Data is your friend Changing cultures, changing perspectives SBS and NITV’s series First Contact brought to the fore much discussion about the representation and treatment of Indigenous Australians. What roles and responsibilities do we have in telling Indigenous stories? While First Contact meant well, it nonetheless continued what Wesley Enoch from Queensland Theatre Company describes as the “crisis” narrative, which focuses on “what’s wrong” with Indigenous culture – when there’s a whole set of positive narratives that continue to be sidelined by the mainstream media. LESSON: Don’t buy into the mainstream; look for the alternative. Instead of focusing on the ‘problems’, shift the narrative to what we can learn from Indigenous culture: their knowledge of the land and how they approach the environment to deal with climate change; their recognition of the significance of art, and its contribution to society and culture. Also, when it comes to representing Indigenous perspectives and really changing the narrative, make sure to constantly consult. Women had a particularly strong presence at Storyology this year, including amazing babes Malarndirri McCarthy (NITV), Sarah Ferguson (ABC), and Maria Ressa (Rappler). There was a particularly great panel on the treatment and participation of women online with Tara Moss, Madhu Trehan and Jane Caro. The liberating feeling of speaking openly to a global audience comes with serious risks – and though it’s easy Find stats confusing and/or traumatising? Chances are there’s a whole lot of people out there who are confuddled too. That’s why learning how to read patterns and understand trends is super useful. Great journalism and storytelling can be about finding the meaning behind facts and numbers and other mind boggling data, and organising and presenting it in a way that makes sense. Data mapping can be a fantastic way to harness your potential in the current media landscape, as Maria Ressa from Rappler has shown with Project AGOS: a crowd-sourced weather alert system that has saved lives: Another “scrappy” start-up that’s making some major waves over in the States is the Texas Tribune, a non-partisan, non-profit media organisation. Launched in 2009, their focus is on traditional beat reporting but as a digital outlet, their game – and edge – comes from data-driven journalism. For the Trib, data is journalism. LESSON: Be creative and think about how you can break a topic down into something useful. For example, instead of a wordy explainer article about health insurance, how about a choose-yourown-adventure-type game? Or instead of a lengthy summary about the impact of fracking, what about an interactive map? TL;DR: Find your niche. Work out the best form for your package. Times they are a’changin’. Data is cool. Understand what native advertising is, and judge it accordingly. Learn the things, use your head, conquer the world. Andy Huang is a past intern at Junkee, who studies Communication at UTS and makes radio at 2SER Hattie O’Donnell is a past editor of Vertigo. She was an intern at Junkee and Hachette Australia, and also makes radio at 2SER. Tweets @hattieod Sam Wallman is a political cartoonist and comics journalist based in Melbourne, Australia. He attended the Walkey Foundation’s Storyology conference in 2014 on a scholarship thanks to Copyright Agency. He works part-time as an organiser for a trade union Writing from the inside out Penny Chapman, producer of some of Australia’s best loved stories, shared her advice for storytellers of all stripes at Storyology. Illustration by Sam Wallman A n accomplished scriptwriter friend, on leaving school, decided to do a university course in journalism. When he won an award for a story, most of which he had made up, he decided it was time to switch to writing fiction. My daughter also started out studying journalism. At the end of her first year, she also switched to a filmmaking course, declaring, “I’d much rather be making it up.” There is a necessary ethical delineation between journalism and fictional drama. At some point, though, the delineation wears out. In several decades of making both fictional and documentary programs, I have learned that when the two share ground, they bring much mutual benefit. There is an essential ingredient in documentary and reportage that is a gift from the art of fiction, and there is a precious quality of much great drama that takes its lead from the disciplines of reportage. The first gift, which fiction gives documentary, is the act of narrative. The “and then and then and then” quality of a story. As humans we are hotwired to share narrative. All great documentarians and journalists ask you to invest in a proposition that they then craft as a narrative that hooks you into both the proposition and its protagonist. The idea is only any good if the story works. The other gift, which reportage and documentary give to fiction, has a big influence on the way I shape my television dramas. It is the knowledge, the map, of how the facts shape up, what the landscape might be like, where the layers of emotional truth might lie, what experiences out there might shape the terrain of the story, things that happened – or might have – to people who lived. It is research of the known that can make the fictional feel worth it. I am not saying this is the only requisite of good drama. Science fiction and horror have their place. But I am a dramatist who has most often been drawn to the stories that arise from real experiences. The television dramas that I have most enjoyed making are ones like these: • Brides of Christ, based on my experience at a Catholic boarding school and the changes in the lives of women and the Catholic Church in the 1960s, and my urge to explore the dialectic of women and authority • The Leaving of Liverpool, based on the lives of the so-called orphan children packed off to Australia from Britain in the mid-20th century • Phoenix, inspired by the Russell Street car bombing of 1986 • Blue Murder, the story of the relationship between corrupt detective Roger Rogerson and the criminal Neddie Smith • RAN Remote Area Nurse, inspired by my sister’s work as a nurse in the Torres Strait in the 1990s • The Straits, inspired by a man who worked for a These programs have been entirely fictional. But in creating their worlds, we must first plunder the real and know it as intimately as we can. family of smugglers in Far North Queensland • My Place, the children’s series based on the Nadia Wheatley book. This drama was based on the imagined, but meticulously researched, lives of children who lived in one spot in South Sydney from before Europeans arrived to 2008 • Devil’s Playground, informed by the revelations of endemic sexual abuse of children inside the Catholic Church • Deadline Gallipoli, the story of the journalists who went to Gallipoli and how they coped with the often conflicting realities of truth and war. With the exception of Blue Murder and Deadline Gallipoli, all these programs have been entirely fictional. But in creating their worlds, we must first plunder the real and know it as intimately as we can. When my colleagues and I start a project, we first assemble as much research about the subject as we can. Then we bring together a writer’s room to brainstorm what we call “the bible”, which will set out the story and the characters. We spend many days in the writer’s room talking to people with the knowledge – journalists, novelists whose work we are adapting, people who have experienced the story we want to tell. In the past few years, David Marr, Stephen Crittenden, Paul Collins and Suzanne Smith been an excellent resource as we developed Devil’s Playground. John Van Tiggelen was a very good resource when we were developing The Straits. Christos Tsiolkos has been exceptionally generous as my colleague Tony Ayres and his team developed adaptations of his novel The Slap and now Barracuda. We are now developing a political thriller based on the books The Marmalade Files and The Mandarin Code by Steve Lewis and Chris Uhlman. The liberating thing about Christos, Chris and Steve as novelists is that they’re in no way precious about their original work. They also bring ideas about the real world that spark fresh dramatic perspectives on the fictional world we are creating: David Marr on the complex, self-serving deals that are sometimes done between church and state; Paul Collins on how he sees religion as poetry; Chris Uhlman and Steve Lewis on the culture of the “rough men” who guard our national security. That great television series The Wire was developed by David Simon with the help of a room of journalists who knew Baltimore and the underclass. If you scratch any of the great US television shows since the resurgence of TV drama, you’ll find a great respect for the knowledge that can come from rigorous research. But what then? Without that dark artist, the screenwriter, no amount of research will yield much of value. THE WALKLEY MAGAZINE 19 > STORYOLOGY I once worked with the great scriptwriter Jimmy McGovern, who met one of my friends who was a psychologist. “I’ve never met a bloody psychologist before,” he said. “What did you base Cracker on?” I asked. “Out of my head,” he said. Cracker, created by Jimmy, ran from 1993 to 1995, starring Robbie Coltrane as a troubled criminal psychologist brought in to help the Manchester Police Force profile killers. It was a phenomenal success. Then I got a glimpse of how Jimmy makes things up. We were developing a First Fleet story and Jimmy holed up with another writer for a month in a house in Coogee. I plied him with the best writing I could find on the early colony – original texts like Watkin Tench and histories including Inge Clendinnen’s forensic Dancing with Strangers. One morning, Jimmy said, “I’ve got it – I’ve got my character and my story!” He had read about a young convict caught stealing food (a hanging offence) who traded his life for the job no-one wanted – that of the hangman. That’s all that was known about the young man, and Jimmy thought it marvellous. Now he could make the story of that young convict his own and let rip, but the writings he had been inhaling had informed the territory on which he would build this character’s story. McGovern is one of those people David Malouf writes about in an essay where he asks how Will Shakespeare – a very common person, the son of a small time official in a country town, a glovemaker and sometimes a legal speculator in wool – could acquire the experience of the court and its matters, the law, foreign places, the life of a soldier in the field, that would allow him to produce such a body of work. Malouf points us to Henry James, who asserted that a writer should write out of his experience. But what kind of experience? James tells of an English novelist, a woman of genius, who had been lauded for the way she portrayed the French protestant youth. Actually, James tells us, her experience consisted of having once, in Paris, as she ascended a staircase, passed an open door where in the household of a pastor some of the young protestants had just finished a meal. The glimpse lasted only a moment, but it formed a picture. The novelist knew that when given an inch you take a mile – and she had the capacity to take that mile. Malouf says the writer should be one on whom “The poets… are the ones who lead us back into the mystery of things.” nothing is lost – an observer, a listener, a scavenger, a close attender to the world’s smallest affairs. Everything he sees or hears or overhears should be laid down in his memory, taken into the spider web of the unconscious and kept there until the moment when it will be transformed by the imagination and find its use. Australian essayist and journalist Robin Davidson once wrote that it is “the poets (for which I read the writers) who are the ones who lead us back into the mystery of things”. It is writers like Helen Garner who have the capacity to take us into the electrifying, palpable essence of a moment. In This House of Grief, her account of the trial of a man who drowned his sons in a dam, she describes how three of the jurors had started to nod off, their heads tilted at one angle like “tulips dying in a vase”. It left me gobsmacked. When you’re creating a drama about real people, you can’t, like Jimmy McGovern, gleefully make it up. Blue Murder and Deadline Gallipoli were based on real people. We got ourselves into a bit of dead water at one stage in the writing of Deadline Gallipoli, which was based on the journalists Charles Bean, Allis Ashmead Bartlett, Phillip Schuler and Keith Murdoch. Our characters were feeling a bit dull; the writers were feeling the pressure of history as the centenary of Gallipoli bore down on us. One morning, one of the writers, Stuart Beattie, bailed up head writer Jacquelin Perske and me at breakfast and said, “Guys, now is the time to put the history aside and start writing from the inside out, not the outside in.” It was liberating. We found a way to imagine these four men as dramatic characters and the upshot is that, if such truth exists, we have been incredibly true to them. Writing from the inside out has become the new black for me. As the real world becomes weirder and weirder, it may be a good place to be. Penny Chapman is founding partner of Matchbox Pictures. This is an edited excerpt from her keynote address at Storyology in Sydney in December 2014 If a pIcture Is worth a thousand words, It’s worth sharIng wIth epson. Proudly supporting the Walkley Awards For Excellence In Journalism since 2005 © Jason Pang 20 T H E W A L K L E Y M A G A Z I N E www.epson.com.au > OUR MEDIA Creating a ‘town square’ for workers online Working Life brings the concept of the labour press into the 21st century, says Mark Phillips. Cartoon by Andrew Weldon T here was a time when papers with names like The Worker, Labour Herald and Common Cause proudly sat on news stands alongside The Sydney Morning Herald, The Argus or The Courier-Mail. Fuelled by a mistrust of the “capitalist press” and a desire to give voice to their achievements and aspirations, unions have been publishers as long as they have existed. In his Labor in Print (1975), HJ Gibbney listed 488 newspapers published by the labour movement in Australia between 1850 and 1939. But as the 20th century progressed, the labour press slowly declined and most of the great names of the past disappeared. Some – like the AWU’s The Australian Worker and the CFMEU’s Common Cause – continue as glossy union journals, but their audience is mostly limited to members of their own union. For a long time, there has been no strong and single voice for the union movement. And it is this tradition of the labour press that Working Life (www.workinglife.org.au) is seeking to revive. Our website is now almost two years old, and has published hundreds of stories from throughout the labour movement. Established and supported by the ACTU, Working Life is an editorially driven website that, apart from continuing a labour press tradition, is also a case study for the possibilities of owned media in the fragmented online marketplace that has created potentially fatal disruption for legacy media organisations. We launched in April 2013 with the ambition to be a virtual town square in which the union movement could meet and exchange ideas and stories. Our mission is simple: to provide news, opinion and features to an audience that does not see their values and beliefs, nor the reality of their lives, reflected in the mainstream media. We seek to inform, entertain, provoke and inspire through stories that also build the sense of a movement that has contributed greatly to the development of modern Australia. Working Life was partly born out of frustration at the over-arching negativity towards unionism in the mainstream press, the decline of serious industrial reporting due to the shrinking numbers of journalists, and the difficulty unions face in communicating with the public through mainstream media. All serious media organisations devote pages of copy or many hours of airtime to coverage of business and finance, and the views of businesspeople are taken as gospel. But the other side of the equation – the voices of workers – are not given anything like parity. Even an organisation as institutionally important and credible in Australia as the ACTU struggles to get its views across in the media, and when it does so it’s drowned out by counter views from the business community. A key part of establishing Working Life was a We seek to inform, entertain, provoke and inspire through stories that also build the sense of a movement that has contributed greatly to the development of modern Australia recognition that this institutional bias was not going to change. It was no longer acceptable to get a five-second grab or a two-sentence quote in a story, and a story on the left-hand page of a smallcirculation national or financial daily wasn’t really cutting it. The solution was to put more resources into creating our own content and distributing it through our own media. Having covered industrial relations for the Herald Sun in the early 2000s, I knew the union movement had many more interesting stories than the mainstream media ever published. It was a constant source of frustration that any “good news” stories – stories that positively portrayed unions or their causes – that I’d pitch to the news desk would be rejected because they didn’t fit the paper’s editorial stance. Moving to work at the ACTU as its media officer in 2008, I could see from the inside just how many stories were never amplified beyond a union’s own membership, or were so deliberately distorted or unintentionally misreported by the media that they might as well have not been covered at all. More than once, I mused that if only the union movement could publish itself… The greatest breakthrough from the internet has been the boom of diversity in the media, as the old gatekeepers have watched their influence diminish and a new tide of small, innovative start-ups have been able to provide audiences with alternatives and encourage a true two-way conversation. The opportunities are enormous for small media operators when today’s consumers of news can pick and choose content from a smorgasbord of sources, rather than a handful of monolithic sources. In a way, the genesis of Working Life happened well over a decade ago when, in 1999, the weekly Workers Online – irreverent, informative, intelligent and frequently controversial – was published. Edited by Peter Lewis, then the media officer at the NSW Labor Council, and backed by the Labor Council’s then secretary, Michael Costa, it brought a fresh tabloid sensibility to the coverage of union and industrial affairs, mixing short news stories with longer features, set piece interviews, book reviews, sport and the much-loved “Piers Watch” and “Tool of the Week”. Workers Online lasted seven years and published 356 editions before Lewis folded it at the end of 2006, ironically less than a year before one of the union movement’s greatest triumphs – the Your Rights at Work campaign that defeated John Howard’s WorkChoices laws. “Workers Online came about, like most good things, from a discussion in a pub in late 1998,” says Lewis. “Noel Hester, who was at the time working with Social Change Online, had noticed that the new media officer at the Labor Council – me – had been putting up lots of media releases on the institutional website: ‘Surely we could do something more with them’. “It was a good question – we had a lot of issues – but the idea of pitching them all to the media was becoming harder as the industrial rounds, which in their heyday had a fraternity of more than a dozen reporters, had begun to fall away. “As a former reporter on the Tele, I knew the stories were there and there were great little gems each week at the weekly Labor Council meeting – but without journos, they were disappearing into the ether.” The idea of a workers’ newspaper germinated. But would it be possible online? A successful pitch was made to Michael Costa for an online workers publication in the tradition of the old union newspapers – “tabloid and inyour-face”. But by 2006, Lewis believed the original need for a union publication had been made redundant by the revival of tabloid and TV media interest in the movement as a result of the Your Rights at Work campaign, which his company, EMC, was THE WALKLEY MAGAZINE 21 > OUR MEDIA heavily involved in. “The niche we set out to occupy has been backfilled,” he wrote in his final editorial in 2006. But he spoke too soon. And today, we are back in the same position that led to the establishment of Workers Online 15 years ago. Working Life differs from Workers Online in that we aren’t a once-a-week publication. In the intervening decade and a half, the internet has been transformed by social media, blogs, the emergence of sites like BuzzFeed and the ubiquity of smartphones that mean we are never truly offline. We publish every day, beginning with our summary of what’s making news, “Clocking On”, at 8am. We aim to publish at least three major features a week, augmented by other stories each day. While we like to break news and will jump onto a big story if it has merit, we do not aim to be some kind of union wire service, regurgitating media releases and hastily rewriting stories that have appeared elsewhere. We have no interest in participating in the churnalism of the 24-hour news cycle or competing with generalist legacy media. Instead we seek to provide depth, context and analysis – which are rarely afforded to worker organisations by mainstream media who are all too obsessed with being first to a story in the 24-hour cycle. We are not greatly interested in internal union dynamics, and we are not a wonky IR publication that covers every decision in the commission and every dispute. There are already capable, subscriberonly newsletters – Workplace Express and Workforce, to name two – that do that for a readership made up of IR practitioners, union officials, HR managers and lawyers. But those stories don’t interest our perceived audience. We enjoy parody, satire and the offbeat. One of our most popular columns is the “Hall of Shame”, where we mercilessly satirise a “class enemy” such as Gina Rinehart, Maurice Newman or Andrew Forrest. When there is a breaking news story – such as the minimum wage decision or the death of Gough Whitlam – we will cover it with a live blog. We also publish lots of opinion – not just from union leaders but from other “progressives” such as John Falzon, Cassandra Goldie, Mark Zirnsak, Wayne Swan and Andrew Leigh. Through links with Equal Times, a similar publication from the International Trade Union Confederation, and the LabourStart news organisation – whose Asia-Pacific editor Andrew Casey is an old newspaper and union hack – we also bring an international perspective to the site with union-related stories from other parts of the world. At Working Life, we also focus on storytelling because our stories are one of the strongest assets the union movement has. “My Working Life” allows workers to tell their stories – what they do, why they like their job, why they are in the union and what are their main issues at work – in their own words. Through “My Working Life”, readers have learnt about Frank the firefighter, Penny the social worker, Chris the milk factory worker and Paul the steelworker. Each has their own struggles and triumphs, but what brings them together is they are all members of a movement of almost 2 million. We have no interest in participating in the churnalism of the 24-hour news cycle or competing with generalist legacy media Probably my two favourite stories in the last 12 months have been Sam Wallman’s comic strip about the story of the minimum wage, and our two-part series – totalling about 4000 words – going behind the scenes of Australia’s most controversial union, the CFMEU, to examine the role they play on building sites every day. The Wallman comic strip, made up of 34 frames, was a huge hit and our readers loved it when we profiled Sam and revealed that his day job was working as an organiser for the National Union of Workers. The CFMEU story was important because while the union may generate negative headlines and vitriol, it plays a crucial and under-recognised role in making sure construction sites are safe, that workers are paid properly, and in training and educating generations of construction workers. Another two-part series, based on a long interview with Greg Combet, was also popular, while we scooped all other media organisations who covered the National Commission of Audit in May with our angle about the recommendation to abolish the minimum wage. We knew we were having an impact when we were attacked by Andrew Bolt in one of his Herald Sun columns last year. Working Life has a fraction of the resources of other media organisations – our one full-time staffer is me. But we are fortunate that we can draw on the newsrooms of union media and communications staff around Australia, some of whom – like Ian Munro at United Voice, Julian Lee at the CPSU and Neil Wilson at the AMWU – have had distinguished journalism careers with mainstream organisations before coming to work for unions. Working Life strives to be a voice for a movement, but not for an institution. The ACTU remains our financial backer, but we are not a mouthpiece for the ACTU – it has its own website for that purpose. Indeed, if Working Life was no more than a Pravda for the ACTU, it would be fatal to our credibility as a publication. So what is the future for Working Life? Currently the site exists through the support of Dave Oliver and the ACTU, but like all media outlets, the challenge is to become financially self-sustainable and to monetise what we do by drawing in more advertising. We have proved the model works and that labourowned media can find a niche in the online world. But the really exciting potential for Working Life in years to come will be to collaborate and build relationships with a wide range of progressive organisations and think tanks, to provide a powerful platform for them to communicate their views and ideas as they face the same issues with mainstream media as unions do. Under this model, our site could grow into a Down Under equivalent of the highly successful Think Progress website in the United States, a left-leaning news and opinion publication that grew out of a blog published by the Centre for American Progress, and now has 1.4 million likes on Facebook and 350,000 followers on Twitter. In the meantime, we’re happy to continue delivering quality news and opinion to an audience that is sick of being told what to think by corporate media from the big end of town. Mark Phillips is editor of Working Life, and a former industrial reporter for the Herald Sun Andrew Weldon is a Melbourne-based freelance cartoonist. His work appears regularly in The Age, The Sunday Age and The Big Issue Australia; andrewweldon.com CommsDirect SAVE THE DATE: Thursday June 11, 2015 Melbourne www.walkleys.com/commdirect 22 T H E W A L K L E Y M A G A Z I N E > OUR MEDIA All of a twitter! Walkley Foundation Young Australian Journalist of the Year Award winner Ella Rubeli shares the highlights of her eye-opening prize. S tanding in the bustling interior hall of the CNN Centre, with newsrooms and giant flashing television screens towering above, one cannot help but feel giddy. This is enhanced by the fact that the building retains several structural traits of its first life as an indoor amusement park, which has more in common with the quick-thrills approach of contemporary news journalism than I dare to dwell upon. CNN headquarters in Atlanta was the first stop on my trip sponsored by Twitter and CNN International for winning the Walkley Foundation’s Young Australian Journalist of the Year Award in 2014. The tour took me on a journey into mazes of pulsing newsrooms, TV studios and production rooms, where for two days I had rapid-fire conversation sessions with a line-up of news executives, editors and producers. The institution was thrumming with the whirrs and clicks of ongoing reinvention. Old CNN radio studio signs hung in a room populated by flatscreens and digital video producers. Under one roof work thousands of people, a whole spectrum of journalists, from BuzzFeed-style video curators to television presenters to documentary producers and web coders. However, peek into the window of a TV studio and it is just about empty of humans, occupied only by the presenter being recorded. As a producer explained to me, now everything is controlled externally. The video cameras are robotic. The digital newsrooms were crowded with reporters voraciously flicking through emails and CNNwire, the interior news distribution system. Correspondents aside, the romantic ideal of newsgathering, like going out into the fields with a wicker basket in search of mushrooms, is well dead. But much of the rigour of reporting is stronger than ever. In my first few conversations, I heard mutterings of this thing called “The Row”. Was it a place? A machine? And then I met Ram Ramgopal, executive producer of The Row, the team who wield the CNN fine-toothed comb. The quality controllers have the job of reading However, peek into the window of a TV studio and it is just about empty of humans, occupied only by the presenter being recorded. As a producer explained to me, now everything is controlled externally. The video cameras are robotic. stories and scripts and checking for clarity, storytelling, balance, CNN style compliance and any legal requirements. My second pit stop was to Twitter in Washington, DC. Equipped with colourful bird-themed meeting rooms, “thinking pods” and enthusiastic young people wearing Twitter T-shirts, the Twitter offices fulfilled the tech stereotype. I was hosted by the Twitter @gov team who are a dedicated group of consultants WALKLEY AWARD FOR BEST FREELANCE JOURNALIST OF THE YEAR 2015 who flitter around the Capitol teaching people of Congress to use Twitter as a campaigning tool. They also work with journalists, assisting us to use Twitter more effectively as a reporting tool. Twitter had me staying in possibly the nicest hotel in town and the gregarious team took me out to lunch and on a tour to see the White House – where we saw an impressive eight-car motorcade, which was the First Lady’s escort to the gym – and then to the Capitol. As we walked through the halls of America’s political history, the team of Congress enthusiasts bickered over historical micro-details (was Abe Lincoln’s desk in this corner, or that corner?). I was particularly enthralled by the bloodstains on the staircase in the East Wing, where in 1890 the representative of Kentucky was shot – by a journalist, of course. And I cannot go past a mention of the aptly named “Newseum”. On the famous Pennsylvania Avenue, most familiar as the place where crowds fill during presidential inaugurations, the Newseum is a journalism history museum that houses outstanding examples of American journalism. I spent hours watching archival footage of the biggest stories of America’s modern history. What affected me most while there was a particular exhibit in the 9/11 memorial museum – the final photographs and the charred remains of the camera of New York photojournalist William Biggart, the only journalist who died covering the 9/11 attacks. America has always been an enigma to me. But after spending a little time in two big powerhouses of the country – CNN headquarters and the Capitol – the splendid mirage became slightly more lucid. I left feeling in awe of the adaptability of contemporary media houses, as well as humbled by the legacy that we are all attempting to maintain. Thank you to the Walkley Foundation for making it possible. Ella Rubeli is a photojournalist. She was the winner of the 2014 Walkley Young Journalist of the Year Award PRESENTED BY ENTRIES CLOSE APRIL 28 at 5pm www.walkleys.com THE WALKLEY MAGAZINE 23 > OUR MEDIA Free speech — a fun but dangerous business Ward O’Neill juxtaposes a happy gathering of cartoonists in a French village, a light-hearted film about their ilk and the tragic events of the Charlie Hebdo attack The cover of Cabu’s Can We Still Laugh at All? 24 T H E W A L K L E Y M A G A Z I N E Mark Knight, Herald Sun T he 33rd Salon International de la Caricature du Dessin de Presse et d’Humour was held in September and October of 2014. Visiting the small French village of Saint-Just-le-Martel, home of the Salon, were 185 cartoonists from all parts of the world. This is an extremely popular event in the Limousin region, and over eight days thousands of visitors crowded the exhibition hall to see the large display of cartoons and, if they were lucky, to have their caricatures drawn by the visiting cartoonists. It was an extraordinary festival, memorable for the generosity of the villagers, the degree of organisation, the range of events and the many new friends made in the international world of cartooning. At the reception desk there was a makeshift bookshop where you could buy copies of collections of cartoons by Cabu (Jean Cabut) and Georges Wolinski – both famous contributors to Charlie Hebdo. For many, these books are now poignant souvenirs of a visit to Saint-Just-le-Martel. The title of one of Cabu’s books, translated from the French, is Can We Still Laugh at All? The cover shows a gaggle of people – priests, rabbis, mullahs, police, army veterans and even a chef – all declining to be the subject of laughter or irreverence. The cartoons themselves are disrespectful, crude, vivid and funny, and sometimes not. To be the butt of a cartoon such as these would, in all probability, be quite painful. The French themselves love these cartoons – mostly. Even President François Hollande (or Flamby, as he is called, after a commercial crème caramel product) concedes the popularity of his tormentors. Tragically, Cabu and his Charlie Hebdo colleague Georges Wolinski, a guest of the Salon, are now dead – murdered in the Paris office of their newspaper along with eight other colleagues and two police officers. Many others were critically wounded. Another visitor But being sacked, harassed, ostracised, fined or jailed is nothing compared to a bloody and purposeful assassination carried out by extremists. Suddenly, and dramatically, the stakes have been raised and cartoonist at the Salon, Corinne Rey – or Coco as she is known to her readers – was forced at gunpoint to open the office door by the gunmen. Like many terrorist attacks, it is not only a heartless crime against people but also a calculated blow against free speech. Whatever anyone says, these events have and will intimidate people anywhere who are publishing challenging, perverse and sometimes offensive ideas. Undeniably, Charlie Hebdo is an unconventional and, as they themselves say, an irresponsible newspaper. One event during the Salon with direct relevance to the Charlie Hebdo shootings was the screening of the film Caricaturistes – Fantassins de la Démocratie in the lovely medieval village of Saint-Léonardde-Noblat, some 12 kilometres from Saint-Just-leMartel. The title translates as “Cartoonists – Foot Soldiers of Democracy” and the film, directed by Stéphanie Valloatto with Le Monde cartoonist Plantu (Jean Plantureux), centres on the challenges faced by 12 cartoonists working in different circumstances, with differing degrees of difficulty, around the world. Plantu visited his subjects in their home environments. What seems at times, even to its practitioners, as a light-hearted and less than substantial filmic contribution to the world of letters and ideas changes when we consider the lengths that some will go to in stopping the cartoons and their messages getting out. The film takes us from Tunisia to China, Israel, the United States, Venezuela and several other countries. Cartoonist Rayma Suprani, winner of the main prize at the Salon and a visitor to Saint-Just-le-Martel, suffered the indignity of being sacked in absentia from her newspaper in Caracas after it was taken over by the Venezuelan government. But being sacked, harassed, ostracised, fined or jailed is nothing compared to a bloody and purposeful assassination carried out by extremists. Suddenly, and dramatically, the stakes have been raised. These shootings are a tragic postscript to an interesting film, a sad reminder that free speech for some is a deadly business. Both Cabu and Wolinski challenged powerful and entrenched ideas. Their cartoons were undoubtedly offensive to the Catholic church, to Islamists, to Israel, to women and many others. A nasty idea has taken foothold, that the staff of Charlie Hebdo were somehow the agents of their own demise. That has already happened in the United States, among sections of the churches, extremist Islamic groups and on the far right. The intimidating methods of terrorism – pour encourager les autres as the French say – can only be countered by an overwhelming demonstration of revulsion at these awful crimes by the people of France and everywhere else. This has happened in France and across the world. Hundreds of thousands of people Cathy Wilcox, Fairfax Media Jason Chatfield, jasonchatfield.com Peter Broelman, Illawarra Mercury Glen Le Lievre, Sun Herald Neil Matterson, The Sunday Mail have demonstrated their support for the victims at the Charlie Hebdo office. In contrast to these terrible events, at the SaintJust-le-Martel Salon, 400km south of Paris, we had enjoyed the spirited hospitality of the villagers and our generous hosts. Each day we sat down together at lunch and dinner in a large tent, eating meals prepared and served by young and enthusiastic volunteers. We were entertained by choirs and cabaret performances. We witnessed Justine – a Limousin cow – being led into the exhibition hall to officially open the 2014 proceedings. Justine, something of an old trouper, has been up the Eiffel Tower and travelled on a TGV train. What sangfroid. Some poor sheep were harmlessly spray-painted with cartoon figures. The Australian contribution to the Salon – the work of 45 cartoonists – was represented by Eric Lobbecke, Peter Sheehan, Judy Horacek, Christophe Granet and me. We were awarded the International Press Prize for our collective efforts. Eric and Christophe – both with French backgrounds – were able to communicate more effectively and graciously with the French audience than their largely monolingual colleagues. We did do our best however, and became quite adept at ordering aperitifs. The cartoonists owe their hosts, volunteers and organisers a debt of gratitude. The director, Gerard Vandenbroecke, deputy director Guy Hennequin, Corinne Forrestier and many others deserving of recognition – especially the chef – will be back in September with another Salon. Sadly, some well-remembered faces will not be there. Ward O’Neill is an Australian illustrator, caricaturist and cartoonist THE WALKLEY MAGAZINE 25 Photo: Nick Moir/Oculi HELPING JOURNALISTS IN NEED The NSW Journalists’ Benevolent Fund has been helping colleagues since the 1920s. To find out more or to apply online visit nswjbf.org Established with a bequest from the founding editor of The Bulletin, Jules Archibald, the fund today assists journalists and their dependents during times of financial stress such as: Email [email protected] or call 1300 65 65 13 (toll free) • • • • • • • • Job loss and redundancy Short-term financial crisis Serious illness and medical treatment Funeral benefit for members and former members Other major life crisis Education assistance Problems with addiction Possible assistance with legal fees You can help the fund by giving a donation online – or you can ask for help yourself. Trustees: Catriona Wilson Alan Kennedy Richard Glover Lindsay Foyle The NSW Journalists’ Benevolent Fund considers applications from current or former NSW journalists and their families as well as journalists in exile looking to relocate to NSW. All requests for assistance are kept in the strictest confidence. nswjbf.org PRESS FREEDOM Security tips the scales against liberty Now more than ever we must stand up for press freedom, writes Christopher Warren. Cartoon by Glen Le Lievre W hen Prime Minister Tony Abbott said in September last year, “Regrettably, for some time to come, the delicate balance between freedom and security may have to shift,” it’s unlikely anyone envisaged the shift would result in the greatest assault on press freedom in Australia in peacetime. The rollout of three tranches of national security laws has placed journalists at risk for simply doing their jobs. Our computers and communications are under surveillance, our work is compromised and our confidential sources face exposure. The media organisations we work for can have their computer networks copied, tampered with, altered or even deleted. Under new ASIO powers, reporting news and information in the public interest will be tested by the Commonwealth Director of Public Prosecutions, and if the journalist and media organisation have reported “recklessly” they face stiff jail terms (regardless of what the AttorneyGeneral may say). Most recently, the parliament’s Joint Committee on Intelligence and Security has confirmed that the metadata retention bill will be used to identify journalists’ sources. We now also know that when journalists write about asylum-seeker issues, they can be referred to the Australian Federal Police, who will investigate alleged “unauthorised” disclosures of information by the journalists’ sources. And, of course, the longer that asylum-seeker stories remain hidden behind government denials of access to information about what is going on in our name, the more journalists will have to rely on whistleblowers. Just four years ago, politicians were embracing the concept of shield laws to protect journalist privilege. It was recognition of the journalists’ ethical obligation to never reveal the identity of confidential sources. That attitude, despite the statements supporting press freedom in the face of terror attacks, seems to have been forgotten in the rush to shift the delicate balance the prime minister was talking about. Even as recently as January, in response to the Charlie Hebdo attack, he said: “Freedom of expression is the cornerstone of a free society.” MEAA has consistently opposed the assaults on press freedom contained in the three tranches of national security laws. We have sought a media exemption so that journalists can be allowed to do their jobs without fear of harassment, intimidation or having the integrity of their relationships with sources compromised. But it is clear that in this chillier environment for journalism, we must take steps to protect We must educate ourselves on the laws that seek to impede and undermine our work. We must campaign for press freedom ourselves, our news stories and our sources. We must educate ourselves on the laws that seek to impede and undermine our work. We must campaign for press freedom. We must encourage our employers to implement changes in the way we work and communicate to ensure our sources and stories are secured – and if need be, implement the tools of counter-intelligence including anonymisation and encryption for our data. Journalists need to be more aware of the scope of the shield laws, which jurisdictions they operate in and what they cover. Journalists need to be aware that jurisdiction-shopping could expose them to subpoenas demanding they reveal the identity of a source only to discover that the state the subpoena originated in refuses to implement a shield. Defamation law, despite the implementation of a national regime, also threatens our work. Litigation is increasingly expensive and damages are now being sought in astronomical sums that threaten to severely cripple cost-conscious media organisations. Earlier this year, Tasmania even attempted to break away from the uniform national defamation scheme by reinstituting the ability of corporations to sue. MEAA and many other organisations helped encourage the state government to back down on the plan. Threats to press freedom can take many guises but they all share a common theme – a threat to the ability of the media to tell important news stories in the public interest. Any loss of jobs in our industry hampers that ability. Over the past three years we have seen up to 2500 jobs lost – for the most part in commercial media operations struggling to chase fragmented revenue and provide a service on a multitude of platforms. But the cuts to our public broadcasters announced last year were political decisions, broken election promises that slashed vital resources and skilled expertise from two great Australian institutions. Hundreds of jobs have been lost and we are all the poorer for it. These assaults on press freedom in Australia are serious and unprecedented. But they are nothing compared to the dangers faced by our colleagues in the Asia-Pacific – the most deadly region for our profession – where 39 journalists and media workers were killed in 2014. Five years after the death of 58 people including 32 journalists in the Philippines’ Ampatuan Massacre, impunity continues to reign across the country. President Aquino, who took office seven months after the massacre, has already seen 35 journalists killed during his administration. And meanwhile the massacre trial continues to drag on, with justice continuing to be denied to the families of the slain journalists. Attacks on press freedom start with a delicate shift. Then, increasingly, journalists are targeted in efforts to control information. As we saw from the arrest and jailing of our colleague Peter Greste, simply doing your job can send you to jail. If no-one stands up for press freedom, it can also have you killed. Christopher Warren is federal secretary of MEAA Glen Le Lievre contributes to The Sydney Morning Herald, The Sun-Herald and The Age THE WALKLEY MAGAZINE 27 PRESS FREEDOM Fishing for metadata aims to net sources “We’re from the government and we’re not here to help you,” seems to be the underlying message of the data retention bill, writes Mike Dobbie. Cartoon by Lindsay Foyle I n 2012-13, Australians’ metadata was being disclosed to law enforcement agencies, including police forces and anticorruption star chambers, at a rate of more than 26,000 “authorisations” a month, according to the annual report of the federal Attorney-General’s Department. That doesn’t include disclosures provided to the Australian Security Intelligence Organisation (ASIO), whose access requests are kept secret. Nor does it include disclosures made on behalf of city councils, societies for the prevention of cruelty to animals, and other government departments and statutory authorities. But it does mean you don’t have to come under the gaze of Australia’s spy agency to have your metadata trawled through by government. Politicians will tell you they can’t understand what all the fuss is about. Accessing metadata has been going on for years and all they are seeking to do with the data retention bill is introduce amendments to the 1979 Telecommunications (Interception and Access) Act. However 36 years ago, journalists and their confidential sources didn’t use smartphones, email and laptops. The third tranche of the Abbott government’s national security laws focusing on data retention clearly aims to bring the old 1979 law up to speed and ensure carriers retain several years’ worth of data so government agencies can go time travelling into the details of Australians’ use of the latest digital technology. The Media, Entertainment & Arts Alliance (MEAA), like many media organisations, told the parliamentary committee inquiring into the proposed amendments that entrenching and extending the reach of metadata disclosures is an attack on journalists’ ethical obligations to never reveal a confidential source. Clause 3 of MEAA’s Journalist Code of Ethics states that obligation clearly: “Where confidences are accepted, respect them in all circumstances.” The ability of law enforcement and surveillance agencies to access journalists’ metadata means that journalists are powerless to protect any communication, whether a call or an email, with a confidential source. The net result is a chilling effect on important journalism, because if a whistleblower cannot trust the journalist to protect their identity, important revelations of wrongdoing, safety breaches, dishonesty, corruption and illegal activity may never come to light. We know that in at least eight cases in 2014 journalists from the Guardian Australia and news.com.au websites, and the West Australian newspaper, were referred to the Australian Federal 28 T H E W A L K L E Y M A G A Z I N E In short, every journalist is on notice that the government will use the bill to trawl through your metadata in order to hunt down your sources. Police for investigation into their sources for news stories about the government’s asylum-seeker policies. Those stories were written as a result of the lack of information available after the Abbott government militarised customs and immigration through Operation Sovereign Borders. We also know that in the Allan Kessing case in 2005 and also the 2007 case involving the Herald Sun journalists Michael Harvey and Gerard McManus, who refused to identify a source and were subsequently convicted of contempt of court, it is possible that journalists’ phone records were scrutinised. Three months after the data retention bill was tabled, the parliamentary committee issued its report. Despite receiving 204 submissions, including from MEAA and many other media organisations, it still had not made up its mind about the press freedom implications of the amendment bill. It suggested holding a second inquiry. But in the meantime, the committee determined that the bill should be passed by the federal parliament – a puzzling move as it aims to enact flawed legislation in advance of fixing the flaws. There was an added surprise in the committee’s recommendations. Just to ensure there were no misunderstandings, the committee spelt out that the bill would indeed be used to authorise “disclosure of information or documents… for the purpose of determining the identity of a journalist’s sources”. For the first time, journalists are being told they and their sources will be deliberately targeted by the Commonwealth. In short, every journalist is on notice that the government will use the bill to trawl through your metadata in order to hunt down your sources. It seems the championing of press freedom in the aftermath of the January attack on the offices of Charlie Hebdo has been quickly forgotten. These assaults on press freedom aren’t confined to Australia. In Britain, three weeks before the committee released its recommendations, the UK’s culture secretary was insisting on amendments to that country’s Regulation of Investigatory Powers Act (RIPA) after it was discovered that over three years, more than half of Britain’s police forces had made 608 applications to trawl through journalists’ metadata with the aim of finding their contacts and their sources. MEAA consistently called for a media exemption to be applied to all three tranches of national security laws because each has serious press freedom implications. The laws challenge the ethical obligations of journalists to never reveal a confidential source – a principle acknowledged and protected by the Commonwealth when it introduced shield laws to protect journalist privilege in 2011. Breaching these laws could carry jail terms of up to 10 years for both journalists and their sources. Now the Data Retention Bill has seen the introduction of journalist information warrants and a public interest advocate. Regardless, our sources are still vulnerable and journalists must take steps to protect themselves and their sources. The tools of counter-surveillance may now become part of the regular working kit for most of us; tools that include anonymisation and encryption of your communications and computers so that you, your sources and your stories can be protected, so that you can continue to do your job. In the battle to ensure news and information in the public interest can still be published and broadcast, courageous whistleblowers will seek out journalists to get the story told. But that won’t happen if journalists and their employers have their ability to operate compromised by agencies of government. Mike Dobbie is the communications manager for the MEAA Media section Lindsay Foyle is a past president of the Australian Cartoonists’ Association PRESS FREEDOM Gloves on in fight to hide digital fingerprints There is no way to secure the absolute protection of a source in the digital world, but Josh Taylor has a few suggestions on what you can try. Cartoon by David Pope A re journalists just collateral damage in the ramp-up of the surveillance state, both in Australia and the rest of the world, or are they carefully considered targets? The mandatory data retention legislation introduced by the Australian government late last year has, rightly, been identified as a major threat to the ability for journalists to go about our job. The legislation requires telecommunications companies to keep logs of the phone calls made, the assigned IP addresses, the mobile device location, email addresses and other identifying data for at least two years. Law enforcement agencies can then access this data without getting a warrant first. All that is required is an approved officer to sign off on it, and the telco will then hand over all the data they want. For the average citizen, this is a breach of their privacy; for a journalist it is a massive compromise on our ability to just do our jobs. Consider wanting to arrange a meeting with a contact. You can’t call them on your phone, you can’t SMS them, you can’t use your work email address, you can’t take your phone to the meeting. This data is already available today, and has been used to track down the sources of journalists including Laurie Oakes and Nick McKenzie. But the new legislation locks in a guarantee that when the agencies go knocking on doors for that data, the telco will have it. What can journalists do about it? There is, unfortunately, no way to secure the absolute protection of a source in the digital world. There are, however, steps you can take to minimise the risk that whistleblowers take in leaking information to a journalist. data retention but could potentially be captured through other surveillance methods deployed either in Australia or through the US. In the US, many people use ‘burner’ phones they can use once or twice and then get rid of. This is slightly more difficult in Australia because the government requires registration of SIM cards using ID before the service can be activated. This change was also made due to ‘national security concerns’ in 1997. Call a source if you have to, but try not to do it from anything with an account linked to your name. Messaging SMS isn’t safe. The rise of device-side encryption in iMessage is an improvement, and means Apple shouldn’t be able to see your messages, but if anyone breaks into your phone, they could. Disposable email addresses are also a way to ensure a greater level of anonymity for one-off communications. You can use these one-off emails if sources need to send you a file. But the source should also be sure to use encryption. Every journalist should also use the PGP – Pretty Good Privacy – email encryption program. This is an encryption method that is a little more complicated to set up, and a little more timeconsuming, but offers a higher level of encryption for those longer communications with sources. Journalists can even link to their public key in their emails or in their social media profiles so that sources know exactly how to get in contact with that journalist securely. To use a cliché, there is no silver bullet, and no way to guarantee that sources will be safe. As well, it relies on your sources knowing how to use the Car parks and plain envelopes offer much more protection than Gmail and phone calls. Internet browsing There are a couple of ways to mask how you browse the internet. The simple way is by using a virtual private network (VPN) service. It’s not just for watching Netflix anymore! It is a good way to make your IP address appear to be somewhere else, and avoid logging under mandatory data retention. Using the Tor Browser goes one step further, allowing you to access ‘dark web’ or ‘deep web’ sites that you can’t access through a normal web browser. Law enforcement has managed to crack down on some of the less legal sites, such as the online marketplace Silk Road, but it is more secure than your run-of-the-mill web browser. Calls Unfortunately, mandatory data retention means that for journalists, any mobile or fixed line account linked to their name is now compromised. Any source that calls you on a phone linked to your name will have their number made available to Australian law enforcement if officers ask for it. Over-the-top voice messaging services such as Skype or WhatsApp are excluded from mandatory For short messages, you can always find apps that use Off-the-Record encryption, such as ChatSecure for iOS and Android. Or alternatively, you could follow in the footsteps of our very own communications minister Malcolm Turnbull and use an app like Wickr that destroys messages after a set amount of time. Email One of the more absurd aspects of the mandatory data retention legislation is that the government wants ISPs to hold records of emails sent by their users, but ISPs only have the ability to record emails sent by their own services. So [email protected] emails will be captured but, by their own admission, [email protected] won’t be caught by the scheme. So using international email services will be outside the scope of data retention. However, the Edward Snowden leaks have shown that security agencies can get access to emails held by US companies. same encryption methods as you, and that will ultimately present the biggest hurdle. Despite token gestures by the parliament to attempt to protect journalists and their sources, there are still enough gaps and loopholes in the legislation to ring alarm bells over the potential for sources to be compromised by government agencies accessing the data of journalists. The Australian Federal Police has also confirmed it has received 13 referrals to trace the source of leaked Commonwealth information in just the last 18 months. Sadly, the best way to protect your source online is to take all communications with them offline. Car parks and plain envelopes offer much more protection than Gmail and phone calls. Josh Taylor is the Sydney-based senior journalist for technology news website ZDNet David Pope is a cartoonist for The Canberra Times THE WALKLEY MAGAZINE 29 PRESS FREEDOM Inquiry puts spotlight on official information delays A review of government agencies’ response to New Zealand’s Official Information Act has Brent Edwards and other journalists hoping for a clearer path to timely newsgathering. Cartoon by Rod Emmerson N ew Zealand journalists are hoping a longawaited review of the Official Information Act will lead to more government transparency and end a culture of delay and obstruction evident in many government agencies. Twelve central government agencies will be formally reviewed by the Ombudsman’s Office, while another 63 agencies and all 27 ministers’ offices have been asked to complete a detailed two-part survey covering all aspects of the way they deal with requests under the Official Information Act (OIA). But the review, which was announced at the end of last year, has been a long time coming. It was first signalled in December 2012 by Ombudsman David McGee – who has subsequently retired – after he investigated the Ministry of Education’s response to a request for information about proposed school closures in Canterbury in the wake of the province’s devastating earthquakes. That report found that the ministry had tried to remove requests from the OIA process and there was a suggestion that other departments were doing the same thing. As well, the office had received anecdotal reports that journalists and others had encountered what it called “a variety of approaches” to OIA requests during the previous year. It said it had culminated during and since the 2011 election campaign in the OIA process being circumvented. New Zealand’s Chief Ombudsman, Beverley Wakem, says this has the potential to erode public confidence in the OIA throughout the core public sector. “The public needs the assurance that both the letter and the spirit of the law are being observed by the custodians of public information,” she says. “Our independent review of agencies’ OIA practice combined with greater transparency of OIA processes should help renew the foundation for that assurance.” While she uses diplomatic language to describe the problem, most journalists are more blunt about what is happening: many would argue that not only is the spirit of the law being ignored, but so too is the letter. Here is a not untypical response to a request, particularly one made to a minister’s office. First, just ignore the request. The onus is then on the journalist to follow up and demand a response. Often, busy journalists might let it slip before they they follow up their initial request. Several weeks can pass by. Once an office is reminded of the request, it will often plead ignorance and then start the process from the time it gets the second approach. That means considering it over the next 20 working days, as required by the Official Information Act. More often than not, at the end of 20 days the office will reply saying it needs more time to respond to the request. Then, if you are lucky, you get some information. But generally it is received so late that it is less newsworthy than if the minister’s office had responded on time. The same approach is often 30 T H E W A L K L E Y M A G A Z I N E At the moment, the government and its agencies know they can get away with abusing the law because the Ombudsman’s Office has neither the power nor the resources to enforce it. adopted by government agencies, as they almost inevitably alert their minister to information requests they receive. This has been the approach taken under the government’s ‘no surprises’ policy, which was first put into effect by the previous Labour government. While it no doubt helps the government’s political management of issues, it works against the purpose of the OIA to foster open government. What will come of the Ombudsman’s Office’s investigation is unclear. What the legislation needs is more power so that government ministers and agencies that flout the law actually face a penalty for doing so. And the Ombudsman’s Office needs more resources so it can properly investigate complaints about OIA requests that have been delayed or rejected. At the moment, the government and its agencies know they can get away with abusing the law because the office has neither the power nor the resources to enforce it. An appeal to the Ombudsman’s Office can take months, even years, to be settled. At that point the minister’s office or agency will grudgingly release the information. But by a deliberate strategy of delay, they ensure the public effect of its release is much less than had it been released properly under the time frame of the Official Information Act. There is, however, some hope that the inquiry by the Ombudsman’s Office will have some effect. It is, at least, putting the spotlight on the government’s current handling of the process. And the office says that as evidence emerges of problems, a determination will be made on each specific case as to whether it can be addressed properly by the inquiry or whether it requires a separate stand-alone investigation. It also says any problems that can be resolved during the inquiry will be rectified immediately. Journalists have long been frustrated by the stonewalling when it comes to Official Information Act requests that seek information an agency or its minister would prefer to remain secret. At the very least, the Ombudsman’s Office’s inquiry should lead to a renewed commitment to releasing information in the public interest rather than withholding it for political interests. Brent Edwards is the political editor at Radio New Zealand Rod Emmerson is the editorial cartoonist for The New Zealand Herald PRESS FREEDOM Secret journos’ business Joseph Fernandez analyses a survey of Australian journalists on their use of confidential sources — with some curious and some concerning results. Cartoon by Greg Smith D o journalists work with “sources”? No, according to one respondent in a recent nationwide survey of journalists. The 42-question survey drew 154 illuminating – some curious – responses. In response to a question on what influences the making of a confidentiality promise, one answered: “I don’t work with sources.” And, to a question that reads “Are you aware of the penalties for withholding information from the police, other investigating authorities and the courts?” the responses included “Pretty much tell them to stuff off ” and “But I don’t care, sources are protected”. As for being aware of the penalties, 25 per cent (of 146 respondents) said they were not aware in relation to the police and other investigating authorities, and 19 per cent were unaware in relation to the courts. The author conducted the survey between August and October 2014, and the responses included partial completions, with 30 follow-up interviews with respondents and senior journalists, including editors. The Media, Entertainment and Arts Alliance Media Section was the main survey distributor, while a selection of large media outlets, including the ABC, The Australian, The Sydney Morning Herald, The Age and The West Australian also helped with distribution. The survey’s broad themes covered participants’ general profile; familiarity with shield laws; when, on what terms and to whom confidentiality was promised; the processes governing such undertakings; perceptions of shield laws’ effectiveness; concerns about official surveillance; and perceptions of outcomes from confidentiality promises. Here are some of the key findings. Shield law familiarity The general lack of understanding of shield laws among journalists stood out. A whopping 75 per cent (of 154) were “uncertain” if they were covered by shield laws, 29 per cent had “no understanding” and 62 per cent had “some understanding”. Only 10 per cent had a “good” or “excellent” understanding. MEAA’s media section communications manager Mike Dobbie said: “There doesn’t seem to be a very good understanding of what shield laws are, how they work, how they apply, and who they apply to.” Former ABC Media Watch presenter and now columnist with The Age Jonathan Holmes said: “It is rather shocking that there is such widespread ignorance as to whether a shield law exists, let alone knowing how it works, which itself is pretty complicated.” The Age editor-in-chief Andrew Holden said: “For most journalists, certainly those in larger organisations, there is probably a reliance on legal advisers, and journalists ask themselves ‘Do I have to know the ins and outs of my local shield law when I have lawyers who will step in?’” “Shield laws are a useful part of the media’s legal armoury but, as their application remains largely untested in the courts, it’s still unclear how much protection they would offer” When and on what terms are promises made? Respondents’ answers were puzzling, with 19 per cent (of 108) saying the terms were “not clearly defined but implied from the circumstances”, or that the terms were “clearly defined but done orally” (61 per cent). Only 12 per cent said the terms are “clearly defined and captured on the record”. A staggering 42 per cent (of 104) said it was not always relevant whether the information obtained through a confidentiality promise was available from an alternative attributable source, while 18 per cent (of 147) said they had “no understanding” or only “some understanding” of the terms on the record, off the record and background information. Dobbie said: “From MEAA’s perspective, that is probably a bit disconcerting… If journalists can’t answer that question, and it seems that a lot of respondents couldn’t, how then does that translate to your understanding of confidentiality and the obligation concerned?’” ABC head of editorial policy, Alan Sunderland, said while some journalists assume they have a good sense of what dealing with sources entails, “when it comes to the controls, risks or limitations they face they generally have only the vaguest of understanding. That was the biggest feature of the findings.” Editor of The Australian, Clive Mathieson, said: “The best practice for journalists remains to get sources on the record wherever possible and, where that is impossible or ill-advised, be sure you are doing the right thing, that your story is in the public interest and your source worthy of protection. Until proven otherwise, you can’t rely on the courts or the code of ethics to protect your sources.” A sizeable 73 per cent (of 108) said sources claimed they would face adverse consequences if the confidentiality was breached, and 72 per cent said the source made a confidentiality promise a condition for releasing information, while 69 per cent said the magnitude of a story from a public concern perspective was a factor in considering a promise. The vast majority (85 per cent of 74) said they followed the MEAA code – even those employed by media organisations. Other codes cited were the ABC, Fairfax, News Corp, Age and IFJ codes. Surprisingly, given that major media organisations were covered in the survey, 57 per cent (of 134) said their organisation had no rules “specifically” for confidential sources. Follow-up interviews showed that some journalists were unaware of their employer’s rules. Sunderland said: “There are some big messages out of this… the more you can overtly confront and examine these issues in the workplace the better.” Processes governing promises While 22 per cent (of 134) said they alone made the decision whether to honour the confidentiality undertaking and publish without identifying the source, triple that number said they alone were “best placed” to decide whether a source should be protected. Only 15 per cent said the line manager or supervisor was best placed to decide. Asked who THE WALKLEY MAGAZINE 31 PRESS FREEDOM else in the organisation had the right to know the confidential source’s identity, 32 per cent said “noone else”; while the others who figured prominently as having the right to know were a subeditor, editor, managing editor and legal adviser. Notably, 11 per cent said they “often” or “always” felt unable to comply with the requirement to reveal the source identity to another person in the organisation. The remaining 69 per cent said they “never” or only “sometimes” felt unable to do so, while 20 per cent were neutral. Dobbie said: “Does the source know that all these people are going to be told?” Perceptions on shield law effectiveness Unremarkably, 96 per cent (of 95) said it was “extremely important” to be able to provide strong protection for confidential sources. As to how such protection should be provided, 77 per cent said “through a professional code of ethics that you can show binds you”, while 40 per cent said protection should be provided through the employer’s rules, 72 per cent through law made by parliament, and 51 per cent through court decisions. Only 34 per cent found the present state of shield law “totally inadequate”, while 65 per cent said it was “somewhat adequate”. The long answers accompanying this question indicated that some respondents did not understand shield laws (“to be honest, I don’t know what they are”; “not qualified to answer”, “not sure”, “I don’t know anything about existing laws, didn’t even think we had any”); or unrealistically favoured absolute protection (“total protection required”, “absolute protection should be guaranteed”, “police should under no circumstances be able to raid media offices, nor courts demand any information”); or justifiably wanted the rules to be “uniform, more clearly defined”, and “national”. Asked what you would do if it were entirely up to you to introduce shield laws, 59 per cent advocated “absolute protection”, while 35 per cent would retain the qualified protection with a presumption against disclosure. Answering a related question, 41 per cent (of 93) said shield law should “protect confidential sources only when the confidentiality is justified”. The Age, whose award-winning reporters Nick McKenzie and Richard Baker faced a pursuit of their confidential sources, was able to block it by relying on shield laws. Editor-in-chief Holden said: “Shield law helps but it is not the solution to all our problems because, quite frankly, the law of defamation is a more real and daily threat to journalism.” A deep divide emerged on the question Who should shield law cover? Participants were asked to choose from a list: all journalists, in any circumstance, regardless of whether they can show that they are bound by a recognised code of practice (24 per cent of 93); all journalists including citizen journalists, bloggers and others who produce journalistic content (18 per cent); all journalists as long as the content met a journalistic code even if it did not bind them (32 per cent); only those who practice journalism for a living (18 per cent); and only able to show they are bound by a recognised journalistic code (39 per cent). How a “journalist” should be defined drew a similarly varied response: 45 per cent (of 93) would limit “journalist” to a person who works in 32 T H E W A L K L E Y M A G A Z I N E intelligence law, data retention law – it’s constantly upping the ante on journalists.” Perceptions on outcomes “There are some big messages out of this… the more you can overtly confront and examine these issues in the workplace the better” an organisation with a news and current affairs function; the person is not strictly a journalist but the work concerned is “journalistic output” (38 per cent); and the person belongs to a professional journalism body with a professional practice code (48 per cent). Dobbie said: “Let’s stop trying to label the individual and try to label the subject matter at hand, the journalism.” Concerns about official surveillance In response to questions on arguably the most serious contemporary challenge to journalistic sources – official surveillance – respondents provided a mix of answers, some of them curious. Many (41 per cent of 95) were “not concerned” or “a little concerned” or “neutral” about official surveillance of their communications. Less than one third (31 per cent) were “very concerned” while 27 per cent were “generally concerned”. As to concern about the prospect of an official raid at home or work that would identify the source, only 14 per cent (of 108) said “often concerned” or “always concerned”. The rest were “not concerned” (46 per cent), “sometimes concerned” (22 per cent) or “neutral” (18 per cent). These responses supported feedback elsewhere in the survey and through interviews that some journalists did not consider their work controversial, altogether avoided confidential sources, or simply underestimated source disclosure threats. As to what actions journalists took to safeguard their sources and materials, 6 per cent (of 108) said they took “none”, while others said “do not record identifying information” (36 per cent), “keep the materials at my workstation” (15 per cent), “keep the materials at home” (26 per cent), “avoid using the telephone to communicate with the confidential source” (31 per cent), “avoid using email” (62 per cent), and “avoid using any form of traceable record of communication with the source” (38 per cent). Dobbie said: “Since the survey we now have a whole new regime of national security laws which are imposing to a far greater extent, or threatening, that beyond the journalist’s best wishes, that information can be discovered.” Sunderland said: “New laws are coming in all the time, for example, the foreign fighters law, Interesting, although not surprising, were the responses to the question asking respondents to rate themselves and other journalists on the overuse of confidential sources. Respondents rated themselves more favourably on whether they ‘overused’ confidential sources – 57 per cent (of 94) said they “never over-used” confidential sources but said only 16 per cent of other journalists did not. When rating themselves 12 per cent said they “sometimes over-used” confidential sources but that 50 per cent of other journalists did. Similarly, when rating themselves only 1 per cent said they “often over-used” confidential sources but that 12 per cent of other journalists did. Conclusion The “tell them to stuff off ” comment mentioned earlier may be less about foolhardiness and more about a journalist’s quintessential resoluteness to protect a source regardless of the consequences to themselves. As Holmes observed: “That’s what MEAA tells you to do, although not in such crude terms. But that there could be consequences is something you would think every journalist would be aware of. But not all are.” Brisbane Times editor-in-chief Simon Holt said many journalists don’t have the same urgency about shield laws as others. “It doesn’t surprise me at all because there are so few journalists doing good investigative work, that there will be a lot of journalists who are not interested in shield law,” he observed. Mathieson said: “Shield laws are a useful part of the media’s legal armoury but, as their application remains largely untested in the courts, it’s still unclear how much protection they would offer… the differing qualifications, definitions of journalists, informants and the discretion given to the judiciary under the various state and federal laws make it hard to assess at this time their impact on free speech.” This study clearly highlights the importance of education in this area. Dobbie added: “The main point about what the survey has raised is that there can be areas of improvement in terms of the education of journalists… The survey has been great in getting respondents to talk about shield laws and to explain their understanding of them.” Many questions remain, of course, on the lessons to draw from this survey, but the present groundwork provides ample grist for identifying future education, law reform and professional practice directions. Associate Professor Joseph Fernandez is the head of the journalism department at Curtin University and is the author of Media Law in Australia – Principles, Pitfalls and Potentials (2014) Greg Smith is a cartoonist for The Sunday Times, Perthnow and Perth’s Community Newspaper Group For a convenient summary of the nation’s shield law position see Joseph M Fernandez, ‘Chaos reigns as shield fail’ in MEAA’s 2014 Press Freedom Report, Secrecy and Surveillance: The Report into the State of Press Freedom in Australia in 2014, 24–25; and ‘Overview of journalists’ shield laws in Australia’, 26–29. PRESS FREEDOM Australian broadcasting sounds the retreat as Canberra’s cuts bite deep Quentin Dempster outlines the fallout from the cuts to the ABC, and what it means for Australia’s presence in the world. Cartoon by Lindsay Foyle W e need a debate about the role and sustainable future of the taxpayer-funded public broadcasting system in Australia, particularly as the digital revolution is enabling aggressive global players to have smart-TV access potentially and eventually to every Australian household through Wi-Fi video streaming. The federal government’s “efficiency dividend” – in reality a budget cut – will have a massive impact on the ABC’s international reach, and on the stories it can tell its audiences. Australia Plus TV was launched immediately on the closure of the Australia Network on September 29, 2014. This network continues to reach audiences across India, Asia and the Pacific through its established arrangements with rebroadcasters. While the number of rebroadcasters has dropped significantly, the remaining partnerships contain all the region’s largest subscription television operators in all the key Asia-Pacific territories. The actual potential reach (which is assessed through the quantum of individual rebroadcaster subscriber numbers) seems to have slightly increased due to a small number of new rebroadcasters coming on board late last year. Our potential reach is now more than 170 million people in the region. We have retransmission agreements with subscription-TV companies in India, Thailand, Malaysia, Indonesia, Hong Kong, the Philippines, Japan, South Korea, Papua New Guinea and many of the Pacific Island nations. The main change to distribution from the previous Australia Network is that Australia Plus TV services are no longer available unencrypted in Asia, which means we have lost untold direct-to-home viewers who had their own satellite dishes and an unknown number of hotels similarly equipped. The new schedule is based on a repeating sixhour block of mixed genre programming and is heavy on rebroadcasts of ABC News 24 domestic programs (Breakfast and Mornings). There is just one 30-minute international news program, presented by Bev O’Connor, broadcast each evening on both Australia Plus and News 24. What we have lost most is the range of lifestyle, educational and news programs produced specifically for the region and, in many cases, in the languages of the regions. The Australia Plus brand has had a longer life on digital platforms, having launched at the end of 2013. We syndicate news content to more than 30 third-party sites in Indonesia and China. Radio Australia has been decimated. Shortwave into Asia has stopped completely. It now produces a two-hour morning program that goes live into the Pacific weekdays (Pacific Beat) and some short news updates throughout the day. The rest of the network streams NewsRadio, LocalRadio, some tripleJ and some Radio National content. RA is still rebroadcast on a network of FM transmitters in Myanmar. Following are the changes in more detail: What has just happened to our international broadcasting effort is a tragedy. Radio Australia The service has been hit hard, with the loss of: • Phil Kafcaloudes and Mornings (two hours of live programming to the Pacific, weekdays) • Asia Pacific weekdays • Asia Review weekends • Reduced daily news bulletins • Loss of network entirely in western Pacific island nations including the Marshall Islands, Nauru, Marianas, Kiribati and the Cook Islands • RA shortwave service to Myanmar (via Singapore) shut down at the end of December • Language services cut to one person per service, resulting in no continuous multilingual news service • Loss of dedicated language programs to Cambodia, Laos, Myanmar (Burma), Vietnam and Papua New Guinea. Australia Network/Australia Plus This is no longer a 24-hour channel. Instead it’s built around a six-hour block of programming repeated across the day. Further cuts include: • One-hour nightly new program The World reduced to 30 minutes • Business Today weekdays with Whitney Fitzsimmons • Pacific Sports 360 – dedicated sports review program for the Pacific • Fashion Asia • Around 650 rebroadcasters for the Australia Network service reduced to about 50 rebroadcasters in India, Asia and the Pacific, mostly delivered through a limited and encrypted satellite service • Loss of untold direct-to-home viewers across Asia, particularly in Thailand, who can no longer access our signal straight off the satellite due to encryption. Asia Pacific News Centre (APNC) With the loss of APNC correspondents in Delhi, Jakarta, Beijing, the Pacific and Parliament House, Canberra, the total count of journalists and production staff made redundant as a direct result of the termination of the ABC/DFAT contract is 73. Foreign Correspondent Reduced to 22 x 30-minute episodes starting in midApril, resulting in destroyed production momentum and audience confusion. Catalyst The ABC’s television science show will be severely cut. Catalyst will fill the 8pm Tuesday slot for 10 weeks from February, March and early April, and then, with Foreign Correspondent, finishes its run. Catalyst will come back for 11 more shows, resulting in destroyed production momentum and audience confusion. Lateline This program, with its analysis and investigative capacity and live studio/satellite interviews with international geopolitical and economic experts, has been gutted. Its field reporting capacity has been stripped out. While we are expecting it to return THE WALKLEY MAGAZINE 33 PRESS FREEDOM in 2015, it will run initially on News 24. In its 25-year history, Lateline has been instrumental in holding executive government to account, and its investigative journalists have delivered impactful exposure of immigration blunders, and indigenous and institutional child sexual abuse. ABC’s International Bureaux London – A rare bright spot. The third reporter there (currently on local hire) will be upgraded to a full A-based position. And there should be more camera capacity. Currently the long-time editor there also shoots PTCs [pieces to camera] and overlay. But management wants to transform that into a full camera/editor position. That may mean the current editor will be terminated and a new locally hired person brought in. Moscow – The bureau officially closed more than a year ago. A long-time fixer/translator should have been kept on. Awaiting confirmation of this. Middle East – ABC has realised belatedly that having all reporting resources in Jerusalem is not wise. A new Arab world office will be established in Beirut with a reporter, camera and locally hired fixer/Arabic translator. The second Middle East reporter will stay in Jerusalem and become a VJ (video journalist) with one local producer to help. Expecting office administrator and driver to be sacked. Nairobi – Has been covered by a VJ correspondent and will remain so. Hopefully the reporter has an office, a fixer and some administrative support. New Delhi – To become a home-based VJ with local fixer/translator. The ABC has had a functioning office in Delhi for decades but now apparently the lucky correspondent is expected to cover the entirety of South Asia – India, Pakistan, Bangladesh, Nepal (that’s 2.63 billion people) – from a back bedroom. Bangkok – Similar to Delhi, a good functioning office will be scrapped. Home-based VJ plus local. Excellent cameraman will be offered fewer days per year. Jakarta – Meant to be a bigger ‘hub’ with a second correspondent and second camera but with a regional ‘fire reporter’ (immediate despatch to breaking stories thought by staff to be better coordinated from Bangkok than Jakarta). Beijing – Also slated as a bigger ‘hub’ with two correspondents and two cameras but to cover Japan, Korea and the region as required. This isn’t really an enhancement but a replacement of the resources that existed when Australia Network was operating. Tokyo – A big loser. Closing down the office in the main government broadcaster NHK, where the ABC currently gets access to news bulletins and feeds, although rent is ‘cheap’. The BBC apparently has spent 15 years trying to get back into the building. New arrangements: home-based VJ plus local fixer/translator. Under Japanese law it will be very expensive to have locals, including an excellent local hire camera operator, made redundant. The process of closing down is expected to take most of 2015. The Tokyo decision is viewed by ABC staff and international correspondents as short-sighted. Port Moresby – Already VJ cover. Has a separate office from home in one compound, plus local fixer. Correspondent often has to do admin several days a week because ABC News will not hire help. Auckland – Closed, and with it a lot of good South Pacific coverage as well as NZ material. ABC has had a visible TVNZ office for many years, of great value to Australia’s engagement with the Kiwis – a single correspondent with VJ capacity but access to professional TVNZ crews. It was highly productive and comparatively inexpensive. Washington, DC – Staff do not believe the claim by news managers that they are creating ‘major multi-platform hubs’ in London and Washington by July 2015. The truth is the Washington, DC bureau is being downsized with one fewer reporter and it is likely to lose its long-time editor (who occasionally shoots footage and interviews). One of two camera operators (an Australian on local hire conditions) has reportedly been told that his current contract is too generous and to stay he will have to take a pay cut. This is an edited excerpt from Quentin Dempster’s address to the Australian Institute of International Affairs on February 3, 2015 Quentin Dempster is a public broadcasting advocate and journalist based in Sydney AnneSummersConversations presents ADAM GOODES, sporting legend and 2014 Australian of the Year, will talk about his life and the issues he’s passionate about: violence against women, stopping racism and constitutional recognition for Indigenous Australians. ADAM GOODES IN CONVERSATION WITH ANNE SUMMERS WITH AUDIENCE Q&A Adam Goodes, the dead-set legend in person and answering your questions ONE NIGHT ONLY TUESDAY 7 APRIL 6.30pm CITY RECITAL HALL ANGEL PLACE, SYDNEY Tickets from $32–$45 PHONE (02) 8256 2222 or VISIT www.annesummers.com.au 34 T H E W A L K L E Y M A G A Z I N E The evening promises to be heartfelt, informative and inspirational. Don’t miss it. WITH THANKS TO OUR MAJOR SPONSORS > FOREIGN CORRESPONDENCE Facing the danger Five years after the deaths of 32 journalists in the Philippines, Philippa McDonald looks at the state of media safety in that country Photo: Jane Worthington F Geraldine Martinez holds up photos of her husband, broadcaster Alberto Martinez, who was shot in 2005. Geraldine raised their children alone as Martinez, halfparalysed, lived in and out of hospital under witness protection until his death this January. He is pictured in hospital with his son, below. “The mindset of people changed when the Maguindanao massacre happened,” said Abbey Lorenzo. “People said to me, why would you want to be a media practitioner? You will be killed.” Photo: Philippa McDonald ive years ago, 32 journalists were among 58 people shot dead and buried in mass graves in southern Mindanao – the second largest island in the Philippines – as they covered a local candidate filing election papers. This event on November 23, 2009, which is also known as the Maguindanao or Ampatuan massacre after the province and clan involved, involves one of the largest-ever killings of journalists and makes the Philippines one of the most dangerous places in the world to work as one. As far as an investigation goes, police, soldiers and members of the powerful local clan are alleged to have participated in the killings. So far, 108 people have been charged but many are still ‘wanted’ and there are, in all, 197 suspects. A trial that started in 2010 has been mired in delays and accusations of bribes. Despite the promises that those responsible will be brought to justice, even Philippines Justice Secretary Leila de Lima admits, “I am not going to deny there’s no longer a culture of impunity in our country.” According to the International Federation of Journalists (IFJ), five years on the Philippines government has failed to create a secure environment for journalists, and there have been more journalists killed in the years since the massacre than died on that single day. Each year, on the anniversary of the massacre, hundreds of journalists and human rights activists stop to remember, and the news media return to the place where a convoy of primarily local journalists were taken 2 kilometres off the highway by gunmen, shot multiple times and ploughed into mass graves by a backhoe already at the site. Several were shot in the back as they tried to run away, and the bodies of news crews who refused to get out of their vans were found shot and crushed in their vehicles. Veteran Philippines journalist and photographer Nonoy Espina was the first journalist to arrive to cover the massacre. “All indications are they were executed in groups,” he says. “It was pretty cold-blooded murder. At least two of the victims contacted their families as they were waiting to be killed.” He and other journalists were confronted by three large pits filled with bodies and cars. “It was like a birthday cake of death,” he says, “vehicles, bodies, just like a layered cake. “By the end of the day,” he continues, “I thought, ‘When is this going to stop?’” One young woman journalist who didn’t want to be named said it was her first big story. “The authorities were starting to excavate them from the ground, from where we are here,” she explains, “Our colleagues, it was heartbreaking … it was my first time to see a massacre like that. “You had to set aside your emotions and feelings, and all around the families were crying and falling to the ground. “The challenges of not letting emotions get in the way of impartiality were enormous. The only thing that should be done by journalists here, aside from standing up for what they believe, is to always present a story in balanced way, getting both sides of the story and truthfulness of course.” But the massacre has left an indelible mark and she still covers the same area where, on that day, almost half of the region’s journalists were killed: “Every time I go out in the field, I coordinate with both sides of politics, the authorities and people I know on the ground,” she explains. “I do fear when I’m covering critical situations, but there’s always coordination. I’m not armed – I wish I was, but I’m not.” At the IFJ’s request, an armed escort was promised to accompany a convoy of journalists and families of the murdered journalists to the massacre site on the fifth anniversary of the killing. There were delays and the much-anticipated escort joined the convoy of white mini vans 2 kilometres short of our destination. The chief of police for the Ampatuan region, Senior Inspector Roland De Leon, told the IFJ delegation that a lot has changed since the massacre: “This area is safe. People here are peace-loving citizens. In general here it is peaceful, that is why we escorted you without guns.” THE WALKLEY MAGAZINE 35 CORRESPONDENCE A memorial at the massacre site While the Maguindanao massacre was the largest mass killing of journalists in the world, the Philippines has been a dangerous place for media workers for decades Living with the fear F ive years on, it still haunts me – the banality of the evil that happened on November 23, 2009. It was cruel, yes, but it was also so… matter of course. By all indications, those who ordered the bloodbath had no reason to be angry with the victims, except perhaps the kin and supporters of the man who dared challenge the Ampatuan clan. In fact, six of the dead weren’t even supposed to be there. They were hapless souls who just wandered into the wrong place at the wrong time. And many of the 32 media workers who died were well known – and a few were even considered “friends” – to the Ampatuan family. There could have been more journalists killed had it not been for what now feels like a random roll of the dice. Myself and a photojournalist friend, for example, were not with the ill-fated convoy on November 23, 2009. Just as we heard word that the Ampatuans would make mincemeat of this brash Mangudadatu who wanted to wrest away their hold on Maguindanao province, we were both coming down with the flu. We decided to rest up for a while and come back to cover what we thought would be another shooting war between two politicians’ private armies. (The Ampatuans’ private militia was larger and better armed than the regular army.) 36 T H E W A L K L E Y M A G A Z I N E “But there’s a big gun there…” I politely said, to which the chief of police responded, “It is part of our uniform as police – it is an M16, it is a standard weapon.” General Santos, where journalist Rose Sioco is a police reporter, is the nearest big city. She covers crime for local radio on a motorbike. “I was assigned to the Coroner’s court where they brought the bodies,” she says. “I had some friends there – Morales and Montano…” She cries. “It’s very sad for me, but I never said to myself I will stop this job, because this is my profession. “I think this is a big challenge for me to keep doing my job, to tell the people that we will never stop being journalists. I have challenged myself to keep going and remember them.” Abbey Lorenzo was 17 when news broke of the massacre. “The mindset of people changed when the Maguindanao massacre happened,” she says. “People said to me, why would you want to be a media practitioner? You will be killed. “It made me more determined to be a reporter – you are supposed to deliver the news, not be afraid.” Threats, though, are a part of a journalist’s working life in the Philippines. Roland Ortillano is a stringer for a local TV station. “I got a threat from the family of someone in jail,” he remembers. “They threatened me, not by texting, but by actually tapping me on the shoulder and saying, ‘You’re too young’.” While the Maguindanao massacre was the largest mass killing of journalists in the world, Nonoy Espina Photo: Jane Worthington Photo: Philippa McDonald > FOREIGN This thought would badger me for months after the carnage, a perverted survivor’s guilt, popping in at the most unexpected times – “I SHOULD (not could) have been there…” During a recent dialogue with colleagues from the region around General Santos City, which lost half its media population to the massacre, they confirmed they are still gripped with fear. “The mindset of people changed with the massacre,” said one journalist. “People say, ‘Why would you keep working, you will be killed’. “You are not supposed to be afraid to deliver facts and you should not be covering up stories that might affect lives.” Another said: “I’m worried about what will happen to the next generation. I hope our cause will not be stopped by the killing of media. We have that the Philippines has been a dangerous place for media workers for decades. Broadcaster Alberto Martinez was shot in the back on April 10, 2005 after he was ambushed by two men on motorcycles after his radio show. Half paralysed and in and out of hospital, Martinez survived for another nine and a half years, living under witness protection and constantly on the move to various ‘safe’ houses. His 41-year-old wife, Geraldine Martinez, was left to bring up her son and daughter alone, and to travel long distances for occasional visits. Two men, including a still-serving soldier, were charged with his attempted murder but have been on bail for the past nine years. But for Alberto Martinez, the wait for justice proved too long – he died on January 17 this year, just a week and a half before he was to give evidence in the trial of the men who allegedly shot him. Less than a month later on February 14, another broadcaster, Maurito Lim, was shot dead. The 71-year-old was renowned for speaking out against the illegal drug trade. And his murder brings the death toll of journalists in the Philippines to 172 since 1986. Philippa McDonald travelled to the Philippines as part of an IFJ delegation to mark the fifth anniversary of the massacre of 32 journalists at Maguindanao. The mission’s full report can be found http://issuu.com/ifjasiapacific/docs/ ampatuan_massacre_five_years_on obligation; we have the responsibility to tell the truth. We have to do that.” It is a fear that continues to cloak much of the truth, not only from the people of the region but of the country as well. This fear limits what stories the storytellers are willing to tell and how they tell them. That they continue to strive to tell their stories as fully as they can, despite the perils they face, is a testament to their bravery. But it would be a mistake to write off Ampatuan as an aberration. It was extreme in its magnitude and savagery, of course, but it was simply the worst example of the reality in so many regions of the Philippines. In these areas you cross the current tin-pot despot at your own peril because political expediency dictates the central government will turn a blind eye, lest it fall out of grace with its allies. And so it went, and so it goes… What’s needed is an end to this curse, to this system of governance that breeds so much corruption and so much death. Five years after the massacre, the really scary thing is that another Ampatuan is almost a certainty. It is only a matter of who and when. This is an extract from the IFJ Asia Pacific report Ampatuan Massacre Five Years On, available online Nonoy Espina is the director of the National Union of Journalists of the Philippines > REVIEWS © 2014 Praxis Films Whistle while you work Now an Oscar winner for best documentary, Laura Poitras’ Citizenfour is an extraordinary insight into Edward Snowden and his NSA revelations. Paul Byrnes reviews the film. C “ itizenfour” was the pseudonym Edward Snowden used when he contacted Laura Poitras in January 2013 to say he had secret documents exposing abuses of power by the US National Security Agency (NSA). She had no idea of his identity – only that he was paranoid about security. Poitras, an award-winning filmmaker, was paranoid too. She already had a “public key”, which you need for PGP (Pretty Good Privacy) encryption of data, and had made two films since the September 11 attacks that attracted the attention of US security agencies. The first, My Country, My Country (2006), documented life for Iraqis during the US occupation. The second, The Oath (2010), was about two Yemeni men who had worked for Osama bin Laden. Both films won major awards, but the United States government put Poitras on their security watchlist. She says she was picked up for questioning at the US border about 40 times between 2006 and 2012. Her laptop and camera were confiscated, and she was threatened with arrest when she started to take notes. The border searches stopped only after she contacted Glenn Greenwald, a blogger for salon.com and later The Guardian, who is also a former litigator with a strong interest in privacy and human rights issues. In fact, Snowden contacted Greenwald before Poitras, but Greenwald became annoyed with all the security measures demanded by the anonymous source. Poitras was already making a film about surveillance and privacy and had just moved to Berlin to try to keep her footage secure from the US government. All of this is a way of introducing a simply extraordinary film by Poitras, documenting the process by which Edward Snowden became, in the middle of 2013, one of the greatest whistleblowers in American history. Citizenfour is not just about Snowden’s main disclosure, that the NSA began spying on its own citizens in the week after September 11, despite repeated official denials. It is also about the process by which Snowden’s story was constructed and released by Greenwald and other reporters. She shows us the extraordinary secrecy around the process of interviewing Snowden. In doing so, she dramatises the crisis in politics and media concerning privacy. That is one of the film’s major achievements: it is an eloquent defence of why privacy matters at a time when surveillance capability has never been greater, nor more unchecked. Greenwald, Poitras and Ewen MacAskill, the defence and intelligence correspondent for The Guardian, finally meet “Citizenfour” in a hotel room in Hong Kong in June 2013, after elaborate security measures. At that stage, MacAskill does not know even his name. Over the next week or so, Snowden takes the reporters through the documents, explaining his motives and what the documents revealed. Poitras contributes narration in the film but we never see her. Snowden, looking increasingly haggard, is beyond careful. He unplugs the hotel phone while they’re talking and puts a cloth over his head and hands when logging on, in case someone else is secretly filming them. The reporters know that he plans to out himself when their stories start running in The Guardian and The Washington Post. No-one in his family – not even his partner Lindsay Mills, at home in Hawaii – knows where he is or what he’s doing. Poitras films a meeting between Snowden and two human rights lawyers, who will organise his escape from the hotel a few days later. There’s footage from within the Ecuadorian embassy in London as Julian Assange helps with the flight that takes Snowden to Moscow, where he claims asylum. These scenes give the film an unprecedented level of immediacy and dramatic tension. It is the modern equivalent of being in the newsroom with Woodward and Bernstein at the Washington Post during Watergate. But Poitras also paints a bigger picture with the stories of supporting characters such as William Binney, a crypto-mathematician who worked for the NSA for 32 years. He designed much of the infrastructure the NSA then turned on its own citizens, and the rest of the world, after September 11. He resigned that year in disgust. Citizenfour, like My Country, My Country, is nominated for an Oscar for best documentary. Poitras contributed to the reporting that resulted in The Guardian and The Washington Post being awarded the Pulitzer Prize last year for public service, after their NSA disclosures. Making this film took enormous courage. I watched with feelings of outrage and dread, but also admiration. Poitras has made a new kind of film – a documentary that reveals its own process, as it explores its difficult subject. In a sense, Poitras and Greenwald are doing what the NSA does, gathering secret information. The difference is they make what they find public. Paul Byrnes is a Fairfax Media film critic and weekly columnist in The Sunday Age and The Sun-Herald. This review was originally published in The Sydney Morning Herald and The Age Citizenfour won best documentary at the Academy Awards in February. Accepting the Oscar with Glenn Greenwald by her side, Poitras thanked Snowden for his courage and paid tribute to all whistleblowers. “The disclosures that Edward Snowden reveals don’t only expose a threat to our privacy but to our democracy itself,” Poitras said. “When the most important decisions being made affecting all of us are made in secret, we lose our ability to check the powers that control.” THE BEST WRITING. THE BEST READING. The whole story. WWW.THESATURDAYPAPER.COM.AU W W W.T H E M O N T H LY. C O M . A U THE WALKLEY MAGAZINE 37 > TECHNOLOGY Ebola news app creates information lifeline BBC World Service apps editor Trushar Barot explains how the BBC embraced WhatsApp to help battle the Ebola virus and found great stories along the way W ith the Ebola crisis growing quickly, how could the BBC distribute public health information to people in West Africa so they could receive it directly on their mobile phones? That was the challenge set last October by the then director of the BBC World Service, Peter Horrocks. At the time the BBC had already started special public health programming on Ebola for its World Service radio and global TV audiences. This not only gave up-to-date information on the spread of the virus, it also provided valuable and potentially life-saving information for those in the region on how to reduce the risk of catching the disease, understand the symptoms and get help. We wanted to do more though. We knew there was a significant opportunity to reach people on their mobile phones, if we could figure out a way to do it quickly. There was no point in trying to develop an app, with the development time and expense that would incur, let alone the time it would take to promote it and get people to download it. We needed to distribute content inside an app that already existed and was already being used widely by people in the region. This is where the idea of using WhatsApp emerged. We had already successfully experimented with it during the Indian elections in 2014 and gained some very useful insights. Although it had its challenges, we reached thousands of Indians directly on their mobiles and feedback clearly showed we engaged with them in a very effective way. From our Indian elections experience we knew that the work required would be a full-time job and not something that could just be an add-on for an existing team. We managed to free up a dedicated producer – initially Andree Massiah, and currently Carinya Sharples – as well as get some additional cover to help with data entry, such as saving contacts and managing the broadcast lists. In mid-September, just a couple of weeks after we originally had the idea, the BBC’s Ebola WhatsApp information service was born – the first ‘lifeline’ humanitarian service to be launched inside the app. It was as a dual-language offering, in English and French, so we could maximise the potential audience that could benefit. So how has the project gone? We’d initially anticipated running the account for about six weeks and reviewing the situation just before Christmas. When it came to it, the case to continue was still strong – particularly with the Christmas and New Year holiday period meaning many more people would be travelling in the region. At the time of writing the service is still running and we are nearing 21,000 subscribers. Most of these (probably 80-90%) are from West Africa, which we can tell from the mobile phone numbers. 38 T H E W A L K L E Y M A G A Z I N E What do you miss about life before Ebola? The BBC’s Ebola WhatsApp service has brought to light many poignant and heartbreaking stories behind the epidemic. More stories are collected at medium.com/@bbcebola I miss work… “I was self-employed as an electrical contractor in Freetown but since this outbreak started I have being jobless without no contract. The worst part of it on 2 November one of my family members got infected with the virus so we were in quarantine for 21 days. I thank God we made it.” – SAIO KAMARA BBC’s Ebola WhatsApp information service was born — the first ‘lifeline’ humanitarian service to be launched inside the app. The biggest subscriber group is in Sierra Leone, followed by Nigeria and Ghana. We also have a number of subscribers in Liberia, Guinea, Mali, and further across Africa in Tanzania, Kenya and Uganda. In terms of content, we’ve focused on three types: text messages, pictures/visuals and short audio clips, so we could cover the different preferences users may have for understanding the information. We decided not to use video clips as we knew that such files could be too big for many subscribers’ data limits. And we didn’t want to spam our users, so we made sure we only posted a maximum of three items a day. Editorially, we established quite narrow parameters: the content had to be public service information or significant news developments that directly affected people in the region. It had to be short and to the point and be conveyed in simple and easy-to-understand terms. We didn’t post any links back to our website – the point was to get the content that people needed delivered straight to them. WhatsApp is primarily an interactive platform, so we were very aware that we had to carefully monitor the messages we got back from subscribers and follow up with them where needed. We quickly realised that a lot of the questions users were sending in were practical concerns that we hadn’t really understood in our broader coverage of the story. One user asked: “Is it safe to use a public swimming pool?” We’d never thought of that and We’d initially anticipated running the account for about six weeks and reviewing the situation just before Christmas. When it came to it, the case to continue was still strong. At the time of writing the service is still running and we are nearing 21,000 subscribers. I miss school… “Before Ebola at this hour of the day, I and my fellow teachers should be at our evening lessons but now look what we are doing…” I miss planning for the future… “This is me and my daughter, Adama Ramadan Wormandia. My wife won DV [admittance onto the Diversity Visa program] and we went for the interview at the American Embassy in June. They called us in October to say that they will not give us the visa. At that time all the entire world would not accept people from Sierra Leone, Liberia and Guinea. For now we are so sad of that.” weren’t sure of the answer. So we got our global health correspondent, Smitha Mundasad, to do some research and then record a short audio clip explaining the situation. We then pushed that back out to all our subscribers. In the following weeks we received many messages that gave us real insights into what it was like living in the region and the difficulties and challenges that people faced. We got tip-offs on stories that we later covered on our main outlets. We found compelling personal stories that we used to enhance our coverage across television, radio and online. Our WhatsApp producer put together a compelling post on Medium (medium.com) to illustrate some of these stories. The project also quickly became a collaboration within the BBC and beyond. We got huge assistance from our African language services, particularly BBC Afrique which helped with translation and French content. The BBC’s international development charity, Media Action, I miss normal life… “Ebola has affected my life tremendously even though not directly, the psychological impact of seeing people abandoning corpses on the street, seeing houses empty as a result of Ebola, also knowing that if you get sick you cannot have proper (or in some instances no) medical attention is overwhelming. This is our reality as every day passes.” helped with its expertise in the situation on the ground, and it was later able to start its own WhatsApp service in Liberian English, complementing its existing community radio projects in the country. We also worked closely with aid agencies including UNICEF and the World Health Organization, which were a great additional source of content such as visuals that conveyed public health messages – and our collaboration extended to tech companies, too. In addition to the valuable support from WhatsApp itself, the popular South African chat app Mxit – which we’d worked with during the South African elections last summer – created a space within the app to host the audio we were creating for our WhatsApp service. This helped provide factual and relevant information about the disease to the many users of the Mxit app in the country. Our business development team in Africa were keen to make it easy for us to share our I miss my family… “This is my sister, who died yesterday, I really miss her so much. All of my family has died from Ebola – it’s only me that remains out of six.” WhatsApp audio with FM and telecom partners on the continent. SoundCloud stepped in to help us quickly set up two accounts to host the audio in English and French. We were then able to provide RSS feeds of those accounts for our partners to easily pull in the audio content they wanted and broadcast or push that out to their audiences. Feedback from our subscribers has been overwhelmingly positive and appreciative, and that’s been greatly encouraging. I think the collaborative model that has emerged around this project will provide a valuable template for the BBC in covering and contributing towards humanitarian crises in the future. This article was first published on the BBC’s College of Journalism blog: bbc.co.uk/blogs/ collegeofjournalism Trushar Barot is BBC World Service apps editor. He tweets as @Trushar THE WALKLEY MAGAZINE 39 > TECHNOLOGY Tools and toys help you find your inner mojo Mobile journalism is go! From smartphones to smart apps, Ivo Burum gives his tips for a mojo tool kit that means business. I n the decade since internet evangelist Howard Rheingold wrote Smart Mobs: The next social revolution (2002), his techno determinist view, which suggested that it was enough to be connected, shifted to a more realistic approach: “…how can we use digital media so that they make us empowered participants rather than passive receivers, grounded, well-rounded people rather than multitasking basket cases?” With more than 7 billion mobiles and almost 3 billion smartphones in use, the planet is potentially full of multitasking online churnaholics, delivering what Charles Feldman calls an “information tsunami”. Once thought to be the bridge in a home-work-play continuum, mobile devices are now our preferred mode of connectivity. Today 84 per cent of Facebook’s daily visitors log on via mobile. In Japan, 100 per cent of people who own a smartphone research their next purchase using their device. And every journalist I train to mojo already uses a smartphone to record and file story elements. Understanding digital literacies and how to use mobiles more effectively is fundamental to being able to capitalise on the flow of online information. Knowing about the technology – what’s out there and its use value – is also crucial. The following list of must-have tools will help the budding citizen or professional journalist to mojo from almost anywhere on the planet. Camera hardware At the heart of the basic mojo kit is a smart device. Generally mojos use smartphones, which have an extended list of accessories and better cameras. Smartphone cameras are electronic and have no movable shutters. The camera’s power comes from an app’s ability to harness and manipulate the smartphone’s electronics. Deciding whether your smart device will do the job, or whether you need to use a hybrid system – digital single-lens reflex (DSLR) or video – is an important consideration. If you want to shoot on a smartphone and edit on a computer, use the phone with the best camera. In this case possibly the Samsung G5, which has a 16-megapixel camera (higher Basic mojo kit. © Ivo Burum 40 T H E W A L K L E Y M A G A Z I N E GH4 because it shoots video at up to 200Mbps, has a flip-out screen and plugs for an external microphone and headset. At just under $1700 plus lens, it’s an affordable alternative to more expensive systems. Also check out the full-frame Sony a7S. However, be careful to drill through the DSLR video drool. A DSLR’s shallow depth of field is brilliant for losing backgrounds in sit-down interviews, or on drama. For the same reason, they are more difficult to use than a video camera when covering unfolding actuality. For example, at the scene of an accident you need deep focus and a zoom rocker to alter focal length quickly. When I need VJ features I use the Sony PXW-X70 video camera. It has a 1-inch chip sensor so is low-light friendly and 4K-ready. What does your job require? Camera and audio apps Ivo Burum recording a PTC (piece to camera) using a Manfrotto Pixi tripod and an mCamLite cradle. © Ivo Burum Understanding digital literacies and how to use mobiles more effectively is fundamental to being able to capitalise on the flow of online information. on the new G6). If you want to shoot and edit on a smart device, you will probably go iOS because you can buy editing apps that support two-track video editing. Here are some essential features to look for in your smart device: • Cellular and WiFi connectivity • A high resolution 8 megapixel or better camera • A fast processor for editing, processing images and remote location uploads • A relatively small device so that you can eyeball your subject when filming • Access to advanced camera, audio, editing, postproduction and transfer apps • Accessories such as cradles, lights and microphones. Mojo work is generally fast and handheld, so buy a cradle like the mCamLite (around $180), Phocus (around $110) or Shoulderpod (around $35). Cradles have fixing points for tripods, lights and microphones, and can add stability when panning and tilting. They also have wider or longer lens options. A light tripod like the Manfrotto MKC3-H01 (around $100) is useful for interviews. A mini tripod like a Manfrotto Pixi (around $35) or the Rode Tripod Mini (around $40) is useful for selfies and stabilising handheld shots. If you need a crane consider the Australian-made Boombandit (around $195). If the job requires varied lenses and a hybrid DSLR solution, there are a couple of options. I use a Lumix The app industry began with the launch of the first iPhone in 2007. Today there are more than 1.4 million apps on the Android and Apple [iOS] platforms. Revenue from apps is predicted to exceed US$77 billion annually by 2017. Hard to conceive given that almost 90 per cent of apps are currently free. Camera apps come in four categories: stills, video, live and proprietary (apps linked to platforms such as Instagram). I mainly use the native Camera app that ships with the iPhone. For specialised work, depending on the level of control required, I use the following: • Camera+ ($3.79) – arguably the best stills camera app on the market – features high-level image control before and after exposure, zoom, stabiliser, separate exposure and focus settings, white balance and control over brightness, colour, sharpening and much more. • Filmic Pro ($9.99) is the most-used video app among people shooting serious video. It enables separate white balancing, light metering and focus points. It has the closest thing to a non-destructive zoom on a mobile phone that I’ve seen. It allows in-camera choices to shoot in slow or fast motion, has variable frame rates and monitors audio in real time. There are many more features you’ll explore when you use the app. A number of smartphone cradles. © Ivo Burum Audio apps ship with smartphones and dozens are available on the Android and iOS app stores. Unless I require special bit rates, I record my narration using the inbuilt camera app. I detach the audio from the video electronically before inserting it on the edit app’s timeline. If you need a specialist audio app, consider the following: • Voice Memos ships with iOS and includes an edit feature to shorten tracks before uploading; but there are no controls over audio quality. • RØDE Rec is easy to use and has equalisation (EQ) and enhancement features that include compression and expansion; gain; hi and low pass filters; and various send features. • MultiTrack DAW ($12.99) is an advanced multitrack recording and audio edit app. It has a range of input and export options and records files in mp3, wav, aac, m4a, aif and m4a. Multi-track audio apps record on more than one track on the app. But unless you have a mixer (Roland Duo-Capture EX) or an audio splitter (RØDE SC6), you’ll need to record one track at a time. Output from multi-track apps is still one mixed file at a time. In video work it’s important to load separate audio tracks into the edit app. To record separate audio sources attach a microphone and a Zoom H5 (records four tracks), or the H6 (records six tracks), to your smartphone and cradle. One of the features you should look for in an audio app is in-built target destinations, such as Camera Roll and YouTube. Journalism student Ryan Hyde using a Mojo kit. © Ivo Burum KineMaster advises it’s about to launch its updated multi-track video edit Pro app for Android phones. Post-production tools Rode Video Mic Pro. © Rode The best tip I ever got for recording clean audio was get in close to the sound source. Access is everything. Having said this, using the right microphone will help mojo stories look and sound 200 per cent better, be more usable and hence more effective. Every kit should include a lapel microphone like a RØDE smartLav+ (around $60) and a shotgun microphone like a RØDE VideoMic Pro (around $215). Go to http://bit.ly/smart-mojo-microphones for an overview of nine microphone options. A Zoom digital recorder can act as a second audio recorder that can be placed close to the source to enable the camera to rove. Microphones Edit apps Walter Murch, the famous Hollywood sound editor and mixer, reminds us that “90 per cent of film is sound”. But audio is often left until last when we prep for filming. Unlike feature films and some long documentaries, which use post-synced sound and dialogue, a mojo needs to know how to record clean audio in noisy field locations. People often ask: which microphone is best? Well, that depends on the job, your budget and whether you are working alone. As I wrote previously in this magazine, professional editing requires two tracks of video. One for the story cut and one for a B roll. This way the story can be cut quickly, before adding narration and the B roll to cover, compress or expand story points. Therefore I use the iOS platform because it offers smartphone apps – iMovie 2.0 ($6.49) and Voddio ($12.99) – with two-track video. VideoPad, which has two video tracks, is available for Android and iOS tablets, and As mentioned before, the quick and effective way to post-produce audio is to do it in the video editor while tracks are still separate. VideoGrade ($7.49) is my choice for a smartphone video grading app and Snapseed (free) is a very powerful yet easy-to-use tool for grading stills. Mojos will do most of their postproduction on their smart device in the field, so look for an edit app that has mixing and ducking functions and a name supers and subtitles facility. If you need to move media across devices or platforms, try AirStash (around $66), or the SanDisk Connect Media (around $130) or Flash (around $75) wireless transfer drives. These create a local WiFi network and can stream to multiple devices simultaneously. Publishing from the field You will need access to 4G or WiFi. One option is to send stories to a YouTube channel. Many news agencies will have their own FTP or proprietary sites. Check out Dejero, LiveU or Bambuser for live streaming. Power to the people! Mobile journalism sounds very technical and having the right tools is important. But mojo is more about empowering individuals with the skills to create their own voice, and linking community with a global communications sphere. Hence, real mojo requires a journalistic and multimedia skill set to enable the true potential of your new technology. Go mojo! Dr Ivo Burum is an award-winning television writer, director, executive producer and journalist. He is currently delivering his innovative mobile journalism (mojo) workshops across Australia and internationally THE WALKLEY MAGAZINE 41 > TECHNOLOGY Small screen, big picture Cartoon by Andrew Weldon We sound out device editors from a range of newsrooms to find out how journalists are telling stories for mobile and tablet screens Jon Burton, news.com.au A typical workday A typical day is a mix of planning and production, with some user insights and analytics mixed in. The Herald Sun tablet app is positioned as a digital version of the newspaper, so we spend a lot of time making sure this edition reflects our paper’s news values in each story. What’s important when it comes to telling stories on mobile devices? I’ve worked on several tablet products and their central strengths are that they’re personal and tactile. By personal, I mean our readers aren’t engaging with the app sitting at a cubicle, watching for a boss at their shoulder. They engage with it when they have time, and session times indicate they’re using the app to immerse themselves in rich content. Likewise, touch screens have also given our audience an expectation of being able to tap and slide the news, so we look at ways of creating interactive graphics that enhance their experiences, as well as adding plenty of video, images and other elements to enhance the story. The other thing that really works, surprisingly, is being able to treat digital news in a print-like way. In many ways we can think of a tablet screen like a print page and design it accordingly. And thankfully, we have no need to write insufferably boring SEO headlines – we can bring that particular newspaper art to a digital product. What are the challenges? We have the same basic challenge as every other form of journalism: how do you best tell a story with the time and resources you have? Along with more technical considerations such as app weight and clarity of navigation. 42 T H E W A L K L E Y M A G A Z I N E What have you learned from your reader stats? We have access to a lot of stats. They tell us that tablets are leisure devices and our readers access the app primarily in leisure times, so there’s not a lot of surprises in user behaviour. The surprising successes are more around content – either winning awards for our headlines or getting great positive feedback when we’ve published one-off games, puzzles or special sections within the app. What’s important when it comes to telling stories on mobile devices? At its base, the story must be worth telling, but from there I focus on building a “rich text” environment with links out to relevant sources, with video, data graphics, interactives and photo galleries. Tablet offers tremendous opportunities to present stories as more than text and that’s the key to making the most of this app-based platform. What role does social media play in your work? The current version of the Herald Sun app uses social media largely as a marketing tool. Social is a difficult area for apps, particularly when you’re creating a bespoke experience that can’t easily be replicated in other media. What have you learned from your reader stats? Analytics give me an immediate snapshot of what my readers are looking at. After I publish I can watch in real time as the readers make their choices. Placement of stories on the front page or in the editor’s choice section immediately promotes them to the reader, but readers pursue their interests and will find the stories they are interested in, deep in the edition. The desire for the explanation, beyond the actual news event, is a very strong thread. Our readers want to understand the context around what is happening. Connie Levett, tablet editor, Fairfax A typical workday We produce a morning edition and an evening update. I start around midday and work through to mid-evening. Through the afternoon I am preparing our 6pm update edition which updates the best of the latest local, international, world and sports news. After I see off the 6pm edition I prepare the front page and draw up a running sheet for the prominent stories that will appear in the AM edition. This edition publishes between 1am-2am and refreshes at 6am with any breaking overnight international and national news. On big news days I have the flexibility to publish as often as required. For example, on Tuesday, March 4, I published a lunchtime front-page update on the transfer of Chan and Sukumaran to the execution island. Push notifications are sent with each update to alert readers to the new material. What role does social media play in your work? We have a dedicated Sydney Morning Herald social media team promoting our best work, making choices for the different social media platforms at article level rather than promoting any one platform. Within the tablet platform readers can share articles on Facebook, Twitter or by email. The big challenge The challenge for me on tablet is to maintain the high production values, rich text content and contextual curation of the story mix while increasing the speed of delivery. Readers increasingly want news as it happens. Brian Brownstein, mobile editor, Fairfax end having had quite a pleasant sensual experience but not having really taken much in. We have had to become good at making arresting presentations, putting ourselves in the users’ position. That and making sure form doesn’t flatter content. Looking good isn’t nearly good enough. A typical workday I’m in the office at 5am. I commission stories and update the msite for our morning peak (7.00 – 8.30am). The main news section of our msite is manually curated and doesn’t scrape the desktop site. It’s a mobile news section for a mobile audience. Later in the day, I focus more on mobile strategy and longerterm product initiatives, while also thinking ahead to our evening traffic peak, which is 8.30pm – 10pm. What’s important when it comes to telling stories on mobile devices? As on any platform, a “traditional” story must be well written. We don’t just tell stories through the written word, though. Be it a video story, charts/graphs, interactives, or a yarn based on pictures, they must be engaging, informative and useful, and render properly across a variety of devices and operating systems. All of these elements work well in their own way. I think the common misconception is that only short stories work on mobile. Be it 200 words or 1000 words, a 15-second video or a five-minute video, length doesn’t matter. As long as the words and/or footage are compelling, readers will read and watch to the end. What are the challenges? A lot can affect a user’s experience. To name but a few: screen size, rotation, operating system, processing power. These are all things that complicate how we present our work and the viewers’ enjoyment of it. Our stories are produced in one content management system (CMS) for all platforms so it’s important that something that looks good on desktop, tablet and social also looks good on mobile. If a story loads quickly and looks good for you on your iPhone 6 Plus on WiFi, what kind of experience is someone having on an iPhone 4 on 3G? This kind of thing is at the forefront of my mind. We’re very aware that interactives must be “finger friendly”. If you want your readers to engage with it, make it simple for them to use and the data easy to digest. The beauty of mobiles is what they can do. Sharing, networking, playing, buying, publishing – people do all of this, and more, on their phones. And mobiles are only going to improve. What have you learned from your reader stats? Intuition and a deep understanding of what our readers want is key to our success, yet we still rely on stats to interpret our traffic. I use real time data, plus various systems where I can dig down to reveal trends. There was an initial thought people might read different content at different times of day and that we might need to give readers the “right content at the right time”. But we quickly realised that wasn’t so. People want breaking news and want to know what is setting the agenda no matter what time of day. The response to our coverage of the Martin Place siege was overwhelming. It was obviously a huge international story and this was reflected in the number of new readers who came to us for up-to-date news of what was going on. The pace of growth has been incredible, particularly in the last six months. The msite is dominating at weekends in particular. What role does social media play in your work? Major. Mobile is the platform most closely aligned to social. I closely follow what’s happening on social to see what is trending, what people are talking about and what they are sharing. We post our content on Facebook, Twitter, Google+, Instagram, YouTube and Vine, which readers can share. Viewers can also share stories at article level, while there are share buttons on our multimedia stories. We write “shareable” stories and produce, among other things, videos, interactives and quizzes that target a social media audience, the majority of whom access their feeds via a mobile. Matt Buchanan, ABC’s The Brief app Tell me about your job — what does a typical day look like? Every day is busy, feeding the beast of production while keeping an eye on the news and maintaining our content “feed lines” with key ABC departments including news, 7.30, Australian Story, Four Corners and the archives. We also run a landing page with videos from the ABC archives, and must stay across the technological side, such as updating operating systems and providing feedback for readers on the app stores. The Brief produces eight stories of the week from the ABC, typically two or three news features (domestic and international), a profile, a film review, and broader articles on health, social issues or culture. Eight stories a week means we must average two a day. Each piece is storyboarded – usually sketched on paper – before going to the designer. There is much scrambling for assets, chasing producers and reporters to make sure we have our eight stories ready by Thursday late afternoon. We leave the news features till last, and on Friday we proof, test functionality, secure rights approvals, and create renders for Android (The Brief is published in iOS, Android and Windows), and then we publish at 5pm. What’s important when it comes to telling stories on mobile devices? This might sound silly but the key is to remember to actually tell the story and not overdo the dazzle and tricks of interactivity. Interactive multimedia elements must be used in the service of stories. Great design is essential. We’re lucky we have a lot of talent in the room, and the journalistic capital at the ABC is very strong. That said, I sometimes think that the near-frictionless ease one can experience swiping through a tablet magazine means one can get to the How does this affect the journalism that’s done for devices — what elements really work? The horizontal orientation demands an emphasis on visual storytelling, in contrast to the more text-heavy designs that come with portrait orientation and vertical scrolling, like The New Yorker and its 500010,000 word articles. When you’re not relying solely on words to tell your story, other elements come into play, and the words themselves need not always run on in a block or column. Non-textual storytelling elements that work include gyroscope, panoramas (whereby the user might rotate the tablet to experience a 270-degree view, or virtual view), touch-and-drag timelines and adaptable maps, as well as more playful morphing elements such as our Archibald Prize interactive whereby the user drags their finger across the screen to morph successive portraits into each other and back again to contrast the different subjects over the competition’s 90-year history. Or we might just tell a story graphically: our Budget analysis, for example, re-cast a 2500-word piece into the key numbers over eight or nine screens, which you can see in part below (the actual piece had moving parts of course). What are the challenges? The usual things that bedevil all journalists: time pressure, fact-checking, reacting creatively to changing stories, being ready to kill a story that looks good but isn’t saying anything. Also staying across software updates on different platforms. What have you learned from your reader stats? The engagement time has been really impressive. We average about 14 minutes per user. The industry average is nine minutes. What role does social media play in your work? Social media provides a great forum for people to discuss what we’re doing right, and also what they would prefer to see us doing, too. The app store comments have been quite overwhelming in their thoughtful feedback. The landing page www.abc.net. au/thebrief is also a good hub: we have over 250,000 visitors there. THE WALKLEY MAGAZINE 43 > OUR MEDIA How Crikey made it to 15 years As the scrappy online news start-up celebrates a big birthday, Crikey founder Stephen Mayne recalls how the site was born, cut its teeth on scandal, and grew I n terms of web-only publications in Australia, there are very few that have made it through to their 15th birthday, a milestone Crikey.com recently celebrated. Fifteen years is an eternity in internet years and it won’t be long before young journalists will emerge who were born after the launch of Crikey at the peak of the dotcom boom. So how and why did this whole venture come about? Ultimately, it was a blurring of the lines between journalism, whistleblowing and political activism. As a former spin doctor in the office of Victoria’s then premier, Jeff Kennett, who had returned to the Herald Sun as business editor, I formed the view that the crusading Liberal’s time had come. I’d tried whistleblowing through both Today Tonight and Four Corners and eventually felt that the only option left to get “the full story” out going into the 1999 state election was to run against Kennett in his seat of Burwood and publish a tell-all website called www.jeffed.com. With a rush of blood, the $105,000-a-year job editing The Australian Financial Review’s “Rear Window” gossip column was ditched and, in effect, Crikey’s predecessor website was born. It was almost stillborn after I was ruled ineligible to contest the election but, on being unable to get my job back, I decided to plough on with jeffed.com. About 30,000 words were published on the site in the final two weeks of the campaign and it attracted 115,000 page views, proving more popular than the opposition ALP’s website. When the Kennett government was surprisingly swept from office, it provided a marketing launch pad for jeffed.com to be rebranded into something broader. Hence the launch of www.crikey.com.au at a $5000 function held at the Imperial Hotel opposite the Victorian state parliament on Valentine’s Day in 2000. It wouldn’t have happened without the three other original shareholders, who were former journalistturned-entrepreneur Andrew Inwood, advertising expert David Terrazus – who designed the site including the 7-foot Crikey foam suit in the shape of a screaming exclamation mark – and my school colleague Con Christov, who was the IT brains behind the operation. Inwood came up with the name, which was one of our best decisions. “Crikey” is memorable, easy to spell, great for headline writers and reflected everything we wanted the content to be: aggressive, out there and bravely independent. The original model was a free website updated with six to 10 new stories each Sunday. Subscribers would pay just $30 and get a Crikey T-shirt, access to the archive, plus very occasional emails alerting them to new stories on the site or any “sealed section” material that was too hot to publish on an open website. After the shareholders spent about $100,000 getting the site off and running, the first of three early defamation writs landed five months later when my 44 T H E W A L K L E Y M A G A Z I N E fiancée and I were in Amsterdam on an indulgent twomonth round-the-world pre-wedding honeymoon. On returning to Australia, we enjoyed the Sydney Olympics, got married and then attempted to get Crikey back into the news by careering down the shareholder activism path, with nine board tilts in two months, something which had never been tried before in Australia. In November 2000 we had our first $1000 week, but before Christmas we discovered Paula was pregnant – there goes the barrister’s income – and copped a second Supreme Court defamation writ, this time from shock jock Steve Price. The first birthday party turned into a Steve Price legal fundraiser and we spent 2001 in a blur of nappies, court documents and a greater focus on daily email editions, the main distribution model, which Crikey retains to this day. Like any start-up venture, Crikey needed a circuitbreaker to secure its future. It came thanks to a succession of big events in 2002, which tripled monthly revenues to about $30,000, where they stayed for the following three years. The first was losing the original Crikey bunker – an apartment in Melbourne’s old Jolimont rail Stephen Mayne in one of the early Crikey bunkers with Kate Jackson and Ben Shearman, the first Crikey interns. Photo courtesy Stephen Mayne. Charles Richardson and I worked together in the Kennett government and he has contributed continuously for the full 15 years, while Glenn Dyer came on board from Channel Nine in 2003 and singlehandedly changed the depth and breadth of television industry reporting. As the Crikey personality continues to evolve, the two most important additions to the team of writers since the 2005 sale to Eric Beecher have been Bernard Keane and Guy Rundle. In the end, it was absolutely the right move to sell to the professionals from Private Media The name was one of our best decisions. “Crikey” is memorable, easy to spell, great for headline writers and reflected everything we wanted the content to be: aggressive, out there and bravely independent yards – and settling with Price for $50,000. The sympathy subscriptions and donations this generated was huge, and Pricey was appointed “honorary marketing director”. We then got into much more appropriate rented digs in Park Street, South Melbourne, where it was possible to accommodate two RMIT journalism graduates, Kate Jackson and Ben Shearman, as the first Crikey interns. The four other transformational stories of 2002 were the Cheryl Kernot-Gareth Evans affair, Christian Kerr’s amazing job destroying the Democrats, the huge Victorian ALP factional fight, and then Garry Linnell’s hatchet job on the cover of Good Weekend. All this publicity and notoriety just generated more contributors, more tips and more subscribers. And Australia’s best email list also grew like topsy when the concept of squatters was introduced in 2002. From this point on, managing Crikey was more about harvesting a deluge of emails and an everstrengthening black book of contributors. Liberal moderate and long-time Christopher Pyne buddy Christian Kerr, aka Hillary Bray, was the key contributor in the early years and drove Crikey’s attacks on John Howard, particularly as Howard lurched to the right in 2001. Partners. Crikey to this day stays true to its basic mantra from those early Kennett battles: fearlessly publishing uncomfortable news and commentary about powerful people and institutions. The early over-blown slogan – “bringing down governments since September 1999” – has been superseded by “that thing on the internet”, but it is worth revisiting the original philosophy: “Crikey will point out theft, corruption, deception and collusion whenever and where it can. It is our selfappointed task to take a long thin spike to the bloated egos of political, media and corporate Australia and to take clear black-and-white snapshots of the men and women who have their fingers in the till or who simply get paid too much for doing shoddy work. We will at all times try to have fun, respect the laws of our country in as far as they make sense, and to fill the gaps the Australian media seem unable or unwilling to fulfil.” Fifteen years on, a small website started in the spare bedroom of a Melbourne apartment has morphed into a serious, credible and established fixture on the everchanging Australian media landscape. Stephen Mayne is the founder of Crikey. See crikey. com.au/crikey15/ for more celebratory content around the site’s anniversary > PAYING TRIBUTE A loss to the living as Harry’s voice falls silent At a lunch at the MCG where colleagues and friends toasted the life of veteran journalist, Olympic historian, editor and sportswriter Harry Gordon, fellow journalist and writer Les Carlyon shared his thoughts on the man. This is an edited transcript of his words Harry Gordon November 9, 1925 – January 21, 2015 I shouldn’t say this… but I can’t help thinking that Harry would see today as a missed opportunity. Harry loved a lunch, as many of us here today know. And at this time – around two o’clock – he’d be calling for a third bottle of wine. And he’d be telling people – usually John Fitzgerald – not to interrupt him while he told a short anecdote that would only take another 20 or 30 minutes. And, if it happened to be a large gathering – and Harry’s lunches usually were – he’d eventually make a formal speech and go around the room, singling out people for praise and reminding them of something they wrote in 1953. You tried to avoid eye contact, hoping Harry wouldn’t see you – but he always did. And Harry not only loved a lunch. He loved this place – this stadium that once had a red-brick cinder track. So what an opportunity missed today. The MCG: he could have picked out someone he knew in the Ponsford Stand and called him “old bloke”. What an opportunity missed. All these people, all of us, his friends and more than that, his admirers … people who owe him simply because of what he was and what he taught us by example. I’m so old I first met Harry 54 years ago. He was assistant editor of the Sun News-Pictorial and I was a first-year cadet, wide-eyed and clueless. But I felt I had known him long before then. As a kid growing up in the bush I used to read his stuff in the Sun. This was the era of Dave Sands and Vic Patrick in the boxing rings, and of Betty Cuthbert, John Landy and Dawn Fraser at the Melbourne Olympics. And even as a teenager I sensed there was something special about Harry’s work. I couldn’t identify what it was then. It was just a voice inside me saying: “This bloke’s different.” His storytelling just flowed, clear and purling like a mountain creek. Here was someone who seemed to live in a different place to most other journalists. There was a relaxed quality to his prose – no clichés, no showing off, no agenda. He led you along by the hand. He was the master of the anecdote that widened out into the bigger story. Here was someone who obviously crafted every word, every sentence. Someone who lived in this exotic halfway house between journalism and literature. And you also felt that here was a generous spirit. Harry could scold in print without being mean. When I eventually met Harry in the flesh at the Sun, he was exactly the way he seemed in his copy – friendly, with a radiant smile that came from somewhere deep inside, a great finisher of other people’s copy and an island of civility in the alcoholic haze that hung over the subs’ room in those days. That was my first view of Harry, and he never changed. In his late eighties he was still boyish, still curious, still enthusiastic, still generous. His storytelling just flowed, clear and purling like a mountain creek He’d send you an email about a new book he’d just read. “This bloke can really write,” he’d say with all the excitement of an explorer who’s just discovered a new continent. He was 89 going on 17. Harry became editor of the Sun at the same time as Graham Perkin was editor of The Age. On the night of the Faraday kidnappings, the Sun was hours – many hours – ahead of us at the Age. The Sun had photos of the kidnapped school children in its first edition and we didn’t. Graham rang Harry around midnight – I overheard the conversation – and suggested Harry should give us the photos. “In the public interest” was the quaint way Graham put it. Harry, always the gentleman, said, yes, of course, he’d help – he’d never do anything against the public interest. He put the phone down and after a very long delay – some say hours – he handed the photos to a copyboy and told him to walk very slowly to the Age. Harry, the former middleweight champ of Melbourne High, might have had gentle ways, but he was always the fiercest of competitors. If he had to knock you out, he always sent flowers to the hospital afterwards. Harry held lots of other high editorial positions after he moved on from the Sun. But I’d suggest these were the lesser things. Harry’s legacy is Harry Gordon, former editor of The Sun, who was the last person to spend time in the Parliament jail cell in 1969. THE AGE. Picture by Pat Scala the stuff he wrote in newspapers and books – his words. His was always a human voice. I can’t recall him ever writing anything about infrastructure reform. It was a voice so natural that it almost seemed that Harry wasn’t trying – which of course he was. But the effect was to give the reader the impression that the whole thing was just a happy accident – it just wrote itself. And so often it gave us, the readers, words and images that still run around in our heads. We’re here to mourn Harry. But I remind you of something the great American sportswriter Red Smith wrote long ago, after the death of a colleague he admired: “Don’t mourn for the dead,” Smith wrote, and went on to say, “This is a loss to the living, to everyone with a feeling for written English handled with respect and taste and grace.” So while we mourn for Harry today, we also need to mourn for us, the living. Because Harry elevated us all, and made journalism look better than it really is, simply by his presence in the world. Les Carlyon is a writer and journalist. He has been editor of The Age and editor-in-chief of the Herald and Weekly Times, and wrote the acclaimed Gallipoli as well as The Great War THE WALKLEY MAGAZINE 45 > PHOTOJOURNALISM Black-and-white scenes, for a life rich with colour Dignity suffuses Eddie Jim’s photographic essay on disabled man Hayden McLean. Here, Eddie tells the story of how he met Hayden and came to tell his story. I n February 2014, a regular Wednesday at work, I was given four assignments. One of them was meant to be a quick portrait of a guy and his mum, for a story to be published in The Sunday Age. When I saw Hayden for the first time, his parents and carers gave me some initial context, and I was immediately drawn to the potential of a photo essay. On that first day, I was introduced to Hayden through one of his carers. Also there were Hayden’s parents, two of his carers, and the reporter John Elder. I soon noticed that Hayden was sensitive to his surroundings and didn’t like too many people around, or too much noise. With the number of people present, I knew that staying quiet and being observant was key. I watched and waited, and took some initial shots of Hayden and his parents, mostly in the bedroom. Time went by and I still had another assignment to get to, but I didn’t feel I had captured the essence of Hayden’s story. So I left for the day’s last assignment, then returned for more observation. Upon my return, Hayden was bound with a balloon, in a pair of incontinence pants, soaking in the bathtub. Hayden seemed very relaxed in my presence, but I didn’t take any pictures – Hayden’s parents had yet to agree to me taking images in this context. I later learned that Hayden would use the balloon and incontinence pants, binding tightly to his body with sticky tape, to provide a sense of security. What did I take in from day one? Hayden spent a lot of time in his bed, eating lollies, and doing drawings – often of his grandparents or elderly characters. He liked colouring, and mixing watercolours; he knew what colours he was looking for and knew exactly which colours to mix in order to get the result. Hayden is a softly spoken individual, who enjoys a slow steady pace in his activities. He has an affinity towards the elderly because, I suspect, he enjoys their softer tones and slower pace. Since this was going to be a story in The Sunday Age, my deadline wasn’t until late Saturday afternoon. My photo editor granted permission for a few more days to work on the piece. I’m so thankful for their trust in me to pursue a creative outcome which was still gaining clarity at the time. 46 T H E W A L K L E Y M A G A Z I N E I knew my approach had to be quiet, calm and slow-moving, with much waiting and observing. Unlike other assignments, where I might be more direct in setting up the shots, it was obvious that it wasn’t going to work in this context. There was very little verbal communication or eye contact between Hayden and I. What Hayden is very clear and articulate about is when he would like people to leave his space. “Shut the door, please,” he would say gently. On day two, Thursday, I was encouraged by the carer to offer my thumb as a greeting to Hayden. He grabbed it, which I thought was a positive sign – and to my delight, he remembered my name. This wasn’t just another assignment in a day’s work. It was a privilege to get a glimpse of life, guided by Hayden McLean. On Thursday and Friday, we pretty much stayed indoors. I was waiting with patience and anticipation that Hayden would venture outside. By the end of Friday, the photo essay was quite complete, but I still wanted to witness Hayden’s interactions outside his home. I understood that going out is a highlight of his activities, and something that Hayden really enjoys. I had put in a request to my photo editor to publish all the photos in black and white, representing the story with purity and simplicity. Even though Hayden clearly likes colour and enjoys mixing watercolours for his drawings, I felt that black and white would provide a sense of focus, uncluttered by multicolour visuals, which could be overstimulating. I also felt that black and white would depict a level of detachment between Hayden’s realm and the world outside it. To be safe, I prepared two versions of the photo essay, in black and white and colour. I returned to Hayden’s on Saturday. Around lunchtime, I received a text message from the office that the story would run, with one picture, in colour, on the front page. I still sent in the black and white version, too. Around four in the afternoon, my patience paid off. Hayden was in his shorts, shirtless, and with no warning he was off for a walk! He asked me to “Shut the door, please” when I began to follow. Hayden hopped over the fence and I kept following cautiously on foot, but not too closely to make Hayden uneasy. As I passed the neighbours’ house, a couple gardening in their front yard said gently, “Please look after him.” To me, Hayden is like a “living Melway”. He enjoys shopping, he loves to buy and eat lollies, and he has little sense of money – but he knows all the roads to take him where he wants to go, especially for shopping. If he is uncomfortable with anyone being too close, he knows many alternative pathways to ditch someone quickly and still get to his destination. I kept pace with Hayden for an hour on that fine Saturday. One of the lasting images, for me, was of Hayden skipping with joy, and playing on a swing in a playground. I saw a sense of freedom and a sense of purpose in Hayden. He was on a mission to get more lollies, with happiness all over his face. By late afternoon, I received another text message from the office. It was going to be the last broadsheet edition of The Age, when the weekday editions were already in compact format, Hayden was going to be the cover story, and the front-page image would be in black and white. For 17 years that I’ve been with The Age, there have always been some assignments worth dedicating my heart and patience to. This wasn’t just another assignment in a day’s work. It was a privilege to get a glimpse of life guided by Hayden McLean. And for that, I thank Hayden and his parents, Dariane and Malcolm, for giving me their permission and trust to witness Hayden. This is an adaptation of a speech Eddie Jim gave at the State Library of Victoria Eddie Jim is a photographer for The Age and his series of images of Hayden won the 2014 Nikon-Walkley Award for Feature/Photographic Essay YOUR SPECIAL OFFER Photo by Clark Little I AM YOUR SPECIAL OFFER. I am part of the Nikon family. Contact [email protected] to learn about exclusive offers to create your personalised Nikon solution. I am an Alliance Member exclusive. Store.MyNikonLife.com.au MEDIA SUPER Supporting your industry, building your community. Get us working for you 1800 640 886 mediasuper.com.au Print. Media. Entertainment. Arts. Superannuation. Insurance. Retirement. Financial Planning. This advertisement provides general information only, and does not take into consideration your personal objectives, situations or needs. 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