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VISUAL INTEGRITY
A-

LEDE

• The world of digital journalism is much

more visual than the old 20th century world
of text. Many stories are told through
pictures and videos on social media
platforms and the quality of modern-day
phones is such that all journalists can shoot
and edit visuals.
• It is important to remember some key
fundamentals about visual journalism to
protect your independence and reputation
for trust.

Continue
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US PrtsldN>I Bar.-c- Obama (C) wa,o w,1h Israeli Pr.me

M,,.,i1111!1.-nj;,rrunNe!JnyJhu\2ndL).Polesllmon
r>ocsod<=n1 M ol>moud"bbH(7n<IH)_Jo,d:,,,'1 1<•ng
A.bdullahll( RJ •nd£gypt $ Pres ldN>lHl)lm1 Mumuak
through Cross H~II on their way r, the East flopm lo,
M1ddleEos11>eoce10•ksJl theWh11eHouse1n
WH~ingtoo Se~tember 2010 R[UTERS/J 1m Young

WHO'S ON FIRST?

• No actions In visua l Journalism should be

taken th at amount to fabrication of Images.
• Sometimes fabr icati on can be obvious,
and easily ca ught. The legltlmate
photograph above shows former U.S.
President Barack Obama at the head of a
group o f Middle Eastern leaders attend ing
peace talks at the White House In 2020.
• But an Egyptian state-run newsp aper
provo ked ou trage and r idicule by altering a
similar photograph to remove the late
President Hosni Mubarak from his position
oo the fa r leh and Insert him at the front o f
the group, ahead of the other leaders.
, That alteraUon was quickly expos ed -
with numerou s other ph otograph s published
on front pages around the wor ld show ing
the lineup as it really was.
• Other fa brications are not so c lear-cut.
Even experienced photo edilors c an m iss
high-quality fakes and they can come from
multiple sources - including governments,
Institutions, compa nies, NGOs an d political
and militant organlzations, or unscrupulous
photographers and video Journalists .

PHOTO EDITING

• Modem Image-ed iting tools are now

highly sophisticated, even on smartphones.
It has never been so easy to fake
?t,otographs.
• such is the advanced level o f technology
that a ·chain of trust" from source to
publlc11tlon Is the best way to ensure
Integrity of an Image, so that everyone
Involved at every stage of production Is
reputable.
• The vast majority of the tools in
sophlsllcated photo sohware are ones that
a scrupulous Journalist would never use,
because they are specifi cally Intended to
transfo rm an Image
• So, to be faithfu l to w hat Is depicted in the
image, Journalists should limit themselves to
a very 1 ight touch" when edi1ing. Less is
better.
• The duty of phot ojournalists and edi tors
is 10 reflect reality, not to enhance it or
appear to cha nge it,

TOP TIPS

• Photographers and editors should only

make adjustments to color bal ance
problem s and over- or under-exposure, as
has been done from the earliest days of
photography.
• Cropping of pictures Is an acceptable way
to remove unimportant details from the
edge of a frame, but not if It cuts out
somethin g 1hat materiall y alters the scene.
, There should be no additions or deletions
to the original image, cloning or moving
elements wi thin it .
• You should not carry out excessive
lightening, darkening, sharpening or blurring
of the Image.
• Excessive color manlpulatlon is also not
permlsslble.
• Any editing procedu res such as these can
alter the reality of the news photographs and
tell a story that yoo wouldn't have seen with
your own eyes. That breaks the core bond of
trust between the audience and the
photo grapher.

Continue

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VIDEO EDITING
SOURCING

• With video, you must be clear about the

source of any video clips that you have used,
whether your own, amateur video, or from a
third party.
• This is particularly important if the third
party has its own agenda, such as a
company, lobby group, military, mllltla or
government. You should make It clear that
the video Is a handout and, If reporting from
the video, be transparent about the source
of it, for instance: "Video provided by the
environmental group Greenpeace shows ..:
or "video downloaded from a web site
known to be used by the militant group XYZ
showed ..."
• If you obtain third-party or user-generated
content (UGC), it may be safer to make that
clear and qualify it with a phra se such as
"the video purports to show...". You will have
learned how to verify UGC video in previous
modules.
• Remember that the footage of the third
party that you use is its intellectual property
and may be subject to copyright. Make sure
you have obtained permission to use it,
preferably in writing. A credit to the source
not only helps the viewer understand where
it came from, It also is a professional
courtesy.

EDITING

• Video stories must not be shot, edited or

scripted in a way that misleads the viewer.
You should strive to record events exactly as
they happen. Use wide shots as well as
close-ups to give context.
• Audio must never be added in a way that
may affect the interpretation of a story.
• Drone footage presents special
challenges because it is usually silent,
making it easier to manipulate because
there are no audio markers to alert the
li stener. Do not speed up, slow down,
reverse or add audio to drone footage
unless you have clearly labelled It as such.
Check drone footage supplied by others to
make sure it has not been tampered with .

STAGING

• Visual journalists must not stage or re-

enact news events, tell their subjects what
to do, or add, remove or move objects on a
news assignment. News photography and
video journalism must depict reality.
• If a subject is sitting for a portrait, formal
interview or non-news feature image, there
is often some direction needed, e.g., "Please
sit here", "I need you in the car", "Could you
look toward me now" But captions and
stories must never mi slead the reader into
believing these images are spontaneous.

REUTERS CAPTION: A Hindu devotee poses for a portrait

during1helalKachfest1val m Munshiganj,Bangladesh,
April 13. 2022. REUTERS / Mohammad Pon Ir Hossain

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THE POWER OF A CAMERA

• Often, the presence of a camera crew can

alter a situation. For example, people might
rush to the camera and speak directly to you
rather than allowing you to just observe
them.
• If something is happening because
journalists were present and because you
were filming, you should say so, e.g .,
"residents protested at the scene after
journalists arrived in the area."

SPECIAL EFFECTS

• Composite images that show the

progression of an event (e.g., a lunar
eclipse) must indicate in the caption that the
technique has been used.
• Captions should also make clear when a
specialty lens or a special technique has
been used, for instance a timelapse in video
or a slow shutter speed in photos.

Pope Francis greets people as he arrives for the weekly

general audience at the Vatican, June 1, 2022. Picture
taken with a low shutter speed. REUTERS/Remo Casilli

Continue

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REUTERS CAPTION: Protester Patrick Hutchinson carries

an injured counter-protester to safety, near the Waterloo
station during a Black Lives Matter protest following the
death of George Floyd in Minneapolis police custody, in
London, Britain, June 13, 2020. Picture taken June 13,
2020. REUTERS/Dylan Martinez

"IT'S DIFFICULT TO HAVE A CLEAR VIEW"

• Keep an open mind to all sides of a story,

rather than make a pre-formed judgment
about what is happening in front of you .
• A good example is in 2020, when Reuters
photographer Dylan Martinez attended a
march by Black Lives Matter protesters in
London, and saw it develop into a clash with
far-right protesters.
• While many journalists focused on the
familiar dynamic of hostility between the
two sides, Martinez saw what appeared to
be a scuffle in the crowd .
• At first, he thought it might be another
skirmish, but he held off making
assumptions and paid careful attention to
the details of the scene in front of him .
• Suddenly, one Black Lives Matter
demonstrator took it upon himself to rescue
one of the counter-protesters from the
crush. Martinez remained alert and open
enough to the possibilities of nuance and
individual humanity within an overall
dynamic of polarization and hostility.
• In so doing, he captured what became an
award-winning photograph of Patrick
Hutchinson carrying an injured counter-
protester to safety.
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'flj WHAT THEY'RE SAYING

"It's very difficult to explain because

it's through thousands of people,
there's hundreds of people fighting,
and still stuff was being thrown
around, so it's difficult to have a clear
view, but suddenly I saw a white guy
on his shoulders and everyone
shouting, This is not what we do, this
is not what we do."

Reuters photographer Dylan Martinez

TEST YOURSELF
Please complete the true or false test for
Visual Integrity to move to the next section.

Start Test
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QUESTION 1
You take a photograph of a boat of refugees
arriving in front of a sunset. But the sunset
does not look dramatic enough. It's fine to
enhance the color in processing to make an
impact.

False True

0 Correct!
Your job is to tell the story as it
happened. Some minor color
correction to convey the sunset as it
actually looked is fine, but not to
enhance it.
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QUESTION 2
You are sent to cover the story of a drought.
You want to give a broad view of the impact
of the weather on a whole valley, so you
decide to use a drone. This is OK because it
will give you a different angle on the story.

False True

0 Correct!
The drone footage will help put the
story in context which is critical to
news coverage. You must just be
careful not to edit in any sound on a
drone that only takes pictures as that
would be misleading.

Continue

~ vorrec1!
The drone footage will help put the
story in context which is critical to
news coverage. You must just be
careful not to edit in any sound on a
drone that only takes pictures as that
would be misleading.
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QUESTION 3
The soccer team from a town 20km away
just won a major match. You arrive at the
scene of a major celebration a bit late but
can see that people had been throwing their
T-shirts and scarves around. It is OK to ask
the people there to do it again for you to film
it because this is a happy, light story.

False True

0 Correct!
You should never stage news
photography or video.
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5 of 8

0
Complete
Operating as Independent Media in a
Turbulent World - Visual Integrity

You can continue to the next section of your

certification by following the link below:

Continue

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CORRECTING
MISTAKES

LEDE

(I)

.... .. ,. ..................... ...

;:::. ·~- "·:=~ -~:··:: ..:-·:~ ;·
• Accuracy is at the heart of what
journalists do. No set of rules matters as
much as a passion for the truth.
• However, journalists are human and we all
sometimes make mistakes, particularly
when operating under pressure. Sometimes,
we will notice the mistake ourselves.
Sometimes, somebody will complain. In
both cases, we must be honest, own up to
the error and correct our story.
• Many errors can be prevented by
checking simple things: the day of the week,
numbers, the spelling of people's names and
titles. You should also double-check any
facts you lift from other news outlets as you
are responsible for the accuracy of
everything in your story.
• Always take time to check your work
before publishing. It is better to be late than
wrong. You should also consider whether
you have missed anything in your reporting
and how your story would stand up to a
challenge.
• When things do go wrong, you should
know how to correct your story and any
other linked output such as social media
posts. Acting quickly and being transparent
helps your reputation for being trustworthy.
It is also a key part of attracting and keeping
an audience, who will notice and appreciate
it if you are consistently open about your
mistakes.

Continue

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A-

STORY

COMPLAINTS

• When dealing with complaints, your

attitude counts .
• Tone: You should seek to defuse rather
than escalate. Getting angry and defensive
may only make the complainant less
inclined to listen to what you have to say.
People are used to aggressive pushback in a
polarized world of social media. Sometimes
just being listened to in a professional way
is enough to make them feel valued and
respected.
• Nothing Personal: Try to think of what
you're hearing as feedback or constructive
criticism rather than an attack on your
credibility, or an unwanted extra workload
revisiting something you thought was done.

Continue

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PROCEDURE

• Telephone: If the complaint is made by

telephone, you should note down all the
essential details: the date, the name, title,
company and contact details of the caller.
You should also assume the conversation is
being recorded at the other end. And record
it yourself if that is legal.
0Keep the information carefully even if the
problem seems to have been resolved
during the call. The caller could have second
thoughts and decide to pursue the matter
further.
• Email: If the complaint is made by email,
keep it safe. Be careful with any comments
you make in email even if you are just
forwarding it to colleagues. Behave as if
everything you say and write may end up in
court.
00You should discuss any complaints with
your editor or lawyer and go back to the
complainant politely.
• Social media: If somebody criticizes your
story in the comments on your website or on
social media, you should refer to your
company's guidelines on what to do. Online
engagement with an audience is a critical
element of digital media. However, there is
no point in getting into endless arguments
or confronting trolls directly. Consider the
complaint raised and if there is a factual
error, correct the story. If it is just criticism,
leave it. If the complaint is personal or
threatening, escalate it to your manager.

Continue

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PROCEDURE

• Telephone: If the complaint is made by

telephone, you should note down all the
essential details: the date, the name, title,
company and contact details of the caller.
You should also assume the conversation is
being recorded at the other end. And record
it yourself if that is legal.
0Keep the information carefully even if the
problem seems to have been resolved
during the call. The caller could have second
thoughts and decide to pursue the matter
further.
• Email: If the complaint is made by email,
keep it safe. Be careful with any comments
you make in email even if you are just
forwarding it to colleagues. Behave as if
everything you say and write may end up in
court.
00You should discuss any complaints with
your editor or lawyer and go back to the
complainant politely.
• Social media: If somebody criticizes your
story in the comments on your website or on
social media, you should refer to your
company's guidelines on what to do. Online
engagement with an audience is a critical
element of digital media. However, there is
no point in getting into endless arguments
or confronting trolls directly. Consider the
complaint raised and if there is a factual
error, correct the story. If it is just criticism,
leave it. If the complaint is personal or
threatening, escalate it to your manager.

Continue

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ESCALATING SERIOUS COMPLAINTS

• Dissatisfied Complainants: If someone

disputes facts that need to be checked, that
will take some time to deal with . Likewise, if
somebody makes a subjective judgment
that your stories are slanted - for example
your coverage of India, Pakistan and
Kashmir or China, Hong Kong and Taiwan -
you will not solve the issue straight away. 00
In such cases, politely inform them that you
will need to discuss the issue with others
and that someone will be in touch with
them. Don't argue, engage or make
commitments which the complainant could
use against you. Just be polite and then
escalate the issue with your editors and
lawyers if necessary.
• Pressure: The complaint may come from
a government department that threatens to
cut off reporters' access if you do not
correct a story. Or an advertiser saying they
will pull future ads if a story is not
withdrawn.
00Stay calm, take notes or record the
conversation, ask them exactly what action
they are asking for and then call in anyone
else who needs to be aware of the problem,
such as editors, security guards or lawyers.

Continue
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~ WHAT THEY'RE SAVING

"The report of my death was an

exaggeration."

American novelist and journalist Mark

Twain, speaking to the New York Journal of
2 June, 1897. It was prompted by an
erroneous article published a day earlier in a
rival newspaper.

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• lnadigitalage,it is tempting just to

update a webpage without drawing attention
to your mistakes. However, it is important to
be transparent with your audience to keep
their trust. The action you take depends on
theseriousnessofthemistake

• Minormistakes-llkethedateofarelated
event, a spelling mistake or a dropped word
canberecognizedandcorrectedwithout
unnecessarily alarming readers

(This story corrects date in 13th paragraph)

• These do not detract from a story's

credibility and do not affect the facts of the
case. Simply explain what you have
corrected at the top or bottom of the story in
bracket s
• On social media, either update a post
making it clearyouarecorrecting itor, if
there is no edit option, you can send a new
post explaining what you have corrected and
then delete the old one

OORRECTION: A cap on the price of the diabetes

medQtion lnsu~n for people with pr;,.,.te medical
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. . .

SUBSTANTIVE ERRORS

• lfyoumake a factual orsubstantiveerror,

you need to be more obvious with your
correction
• A substantiveerrorlsonethataltersthe
meaning or significance of the story or
undermines itscredibility.Forinstance,
using "million· instead of "billion·, attributing
a quote to the wrong person or dropping a
keyword like ·noi- (he was found guilty vs he
was found not guilty)
• Depending on your publishing system, you
may need to issue a new story and headline
like the Reuters one below. Remember to
issue the correction across any output or
platform where the story might have been
published. For instance, did it get into a
video orapodcast?

CORRECTED-Singapore revokes privileges for

sole Olympic champion over cannabis use

• lfthemistakewasmadeby a usually
reliable government agency or source, not
thejournallst. it is acceptabletomakeclear
to reade rs where the responsibility for the
mistake lies. For instance, here, when South
Korea's parliament corrected a figure it had
released earlier:

CORRECTED (OFFICIAL)-UPDATE 1·BILI

Gates, South Korea expand global health
partnership

• !he most famous wrong call in electoral

history· is how the Chicago Tribune
newspaper refers to Its own 1948 front-page
prediction from early opinion polls and
political pundits that Republican candidate
Thomas E. Dewey would beat incumbent
President Harry S. Truman fn the U.S.
presidential election
• According to the Tribune's website, a
printer's strike forced the paper to go to
press hours before it normally would,
contributing to ·every publisher's nightmare
on every election night."
• The Tribune blamed the opinion pollsters
for its mistake
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STORY KILLS

• Withdrawing an entire story is a serious

step - what we call the "kill".
• This is reserved for stories that are totally
wrong or whose central premise is so
fundamentally flawed that the story can no
longer survive, and a conventional correction
is not enough.
• Any decision to kill a story should be
made with senior editors and possibly
lawyers. They should decide how to deal
with the public announcement that a story
has been withdrawn.

TOP TIP

• It is sometimes better for a colleague or

an editor who was not involved in the
original story to write the correction. They
can see it with fresh eyes and a lack of
emotion. The last thing you want is to write
a correction and correct it again because
you've missed something out or worded it
defensively.

TEST YOURSELF
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QUESTION 1
You write a story saying that the prime
minister gave a speech on Monday, but it
was actually Tuesday. You can just edit the
story and put a note at the bottom saying
you corrected the day of the week.

False True

0 Correct!
The error does not change the
substance of the story, but you should
still make clear you have made a
change so that your audience knows
you've acknowledged the error and
doesn't think you just covered up your
mistake.

Continue

~ ~orrecu
The error does not change the
substance of the story, but you should
still make clear you have made a
change so that your audience knows
you've acknowledged the error and
doesn't think you just covered up your
mistake.
 15:01 {9 © •ii' • 0 ~ Mo ,111 ,111 oc::::J,

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INTRooucnoN rn 0 1G1TAL JOURNALISM En A

OPERATING AS INDEPENDENT MEDIA IN A 92% 0

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QUESTION 2
Someone calls you up to make a complaint
about your story. After a short conversation,
they calm down and say they may have been
wrong. You are now in the clear and you can
throw away your notes of the conversation

False True

0 Correct!
They could well reconsider, and they
only said "may". You should keep your
notes or recording of the
conversation . You should also look
into whether any or all of their
complaints may be legitimate.

Continue

~ L;Orrec1!

They could well reconsider, and they

only said "may". You should keep your
notes or recording of the
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:::::~~r} REUTERS INTRODUCTIONTO. DIGITALJOURNALISM En,,.

OPERATING AS INDEPENDENT MEDIA IN A 92% 0

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QUESTION 3
OilCo, the biggest energy company in your
country, released its annual results and said
profits were up 24% to $3 billion. It later
issues a second statement saying the rise
was actually 16%, not 24%. You need to
correct your story but you can say it was
Oil Co's mistake, not yours.

False True

0 Correct'
An "OFFICIAL CORRECTION" can be
made to the story, making clear that
the source of the error was the
company, not the reporting . However,
keep the correction very objective.
You don't need to use words like
"blame" or "fault". In this case, you
could write "Corrects the profit rise
number to 16% from 24% after OilCo
issued a second statement with the
right number".

Continue
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OPERATING AS INDEPENDENT MEDIA IN A 92% 0

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6 of 8

0
Complete
Operating as Independent Media in a
Turbulent World - Correcting Mistakes

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