Show and tell: a
Best Practice Guide to
portraying beneficiaries
and service users
By Joe Saxton
“
charitycomms.org.uk
The challenge is to create a
persuasive case for feeling
empathy, not sympathy;
admiration, not pity; and
balance the need to generate
donations with the requirement
to preserve dignity.
Welcome
Of all the areas that charities communicate about, portraying
beneficiaries creates more problems and schisms than any other.
How to talk about beneficiaries divides
fundraisers and communicators. It
undermines many brand strategies:
fundraisers want to motivate donors to
give and any portrayal of clients justifies
that, while the comms and service teams
often want to portray clients as barely in
need of help. We stereotype. But sadly,
the middle ground many organisations
reach leave all dissatisfied.
This Best Practice Guide focuses on three
main areas in portraying beneficiaries:
photos, language and case studies.
By collating and combining ideas,
experience and examples from charities
across the sector tackling the challenges
of portraying beneficiaries with fairness,
dignity and sensitivity, we hope this guide
will help you do your work better, quicker
and more easily.
quality of charity communications and
reduce the burden and workload of
comms professionals in the sector.
In other words, our guides should do
the majority of the hard work for you.
We can’t do it all, but we can research
and share what other organisations are
doing and tell you about the resources
that already exist and other sources of
knowledge and ideas. We can make
your job easier by setting out the key
decisions that need making, and a
logical and clear process to follow.
Through our Best Practice Guides, we
hope that by sharing knowledge and
ideas CharityComms can improve the
However, our approach with this guide
is not to provide an oven-ready set
of beneficiary guidelines so that your
organisation can simply do a “find
and replace” and the guidelines are
complete. Every organisation is different.
This guide is designed to help you
understand the process and decisions
so that you can more easily create your
own guidelines.
Vicky Browning, director,
CharityComms
Joe Saxton, driver of ideas,
nfpSynergy
A note about terminology
When we talk about “clients”, “service users” and “beneficiaries” we mean those people
the organisation exists to help. None of these terms is ideal. However, we use them here in
lieu of any better ones. Clients and beneficiaries are the people who do and should use an
organisation’s services and who those services, campaigns and mission are designed to help.
When we talk about “case studies”, the term can mean either a document or the person
featured in the document.
charitycomms.org.uk
Best Practice Guide to Portraying Beneficiaries and Service Users
2
Contents
16 Key decisions on case
4
Executive Summary
5
S tep 1 – Agree your
problems and sensitivities
9
– Use of photos
– Words to avoid
– Describing client groups
– The challenge of language
– The power and pitfalls of case
studies
– What are your sensitivities?
– The heart of the issue about
how charities portray people
– Action points
– What kind of case studies do
you want?
– Who looks after case studies?
17
B
uilding and maintaining
great relationships with
case studies
Top tips
Interviewing case studies
18
10 S tep 2 – Agree principles for
how you will portray people
– Photos and images
– Words and language
– Case studies
– Action points
Case study:
Placing safety first: CAADA’s
approach to supporting
vulnerable media case studies
Case study:
ERIC (Education and Resources
for Improving Childhood
Continence)
20
Top tips:
Working successfully with case
studies in video
21
Ethics around the use of
23
C
ase study:
case studies
Case studies at Mencap plus top
tips for photo shoots
12 Step 3 – Make your decisions
– What photos are appropriate?
–W
ho can take photos?
– How long can a photo
be used?
– Photo subject’s agreement
– How will photos be stored?
– T he use of models
– Paying subjects
– Words and phrases to describe
clients
15
studies
24 S tep 4 – People and
paperwork: the mechanics
26 C
ase study:
Oxfam: how to get informed
consent
27
Top tips
Creating a digital library at
Macmillan Cancer Research
28
Further Information
29Resources
Case study:
Use of language at Oxfam
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Best Practice Guide to Portraying Beneficiaries and Service Users
3
Executive
summary
The way charities portray the people they aim to benefit is an issue
that reaches deep into the heart of what each charity is about.
Conflicting pressures from comms, fundraising and services teams mean that
charities need to articulate explicitly the way they are talking about and showing
their beneficiaries. The challenge is to create a persuasive case for feeling empathy,
not sympathy; admiration rather than pity. We must balance the need to generate
donations with the requirement to preserve dignity, and face up to charities’
responsibility for how society sees our beneficiaries.
Portrayal broadly falls into three categories: words, images and case studies. The first
step for a charity is to identify its own issues and sensitivities around how it portrays
beneficiaries. These could be words it will or will not use, types of images it wants to
encourage and discourage, or less easily identifiable factors such as how it describes
its client group (for example as “sufferers” or “people living with”). In particular, the
way you portray case studies should reflect your charity’s broader ethos.
Agreeing a set of principles across the three categories is key. This will lead to a
more operational set of instructions, including a series of mechanics to encourage
consistency across the operation. Our guide recommends five mechanics:
1. A person with overall responsibility for your portrayal of clients and beneficiaries
2. A user group to advise and be critical friends
3. A staff group to steer and review your guidelines
4. The necessary paperwork
5. A database to store images and case studies and record their use.
Difficulties will always arise when a charity is under pressure to grab a headline or
create a sound bite. With an agreed set of principles and practices in place, you
have a better chance of depicting people in a way that most accurately captures
them or their situation – the issue that lies at the heart of decisions about how we
portray beneficiaries.
charitycomms.org.uk
Best Practice Guide to Portraying Beneficiaries and Service Users
4
Step 1
Agree your problems
and sensitivities
Each charity is different. Each charity
has different aims and therefore different
groups of people needing or using it:
different beneficiaries, different services,
a different culture and a different set
of worries about how it communicates
to the outside world. Because each
organisation is individual, each needs to
start the process of creating guidelines
by clearly setting out its own perceptions
of problems, issues and sensitivities for
how it portrays beneficiaries.
Our action point at the end of this
section is that each organisation needs
to brainstorm and discuss its own issues.
But here are some examples of the issues
people have identified within their own
organisations.
Use of photos that people
aren’t comfortable with
There are lots of ways that photos can
present problems. Here are some of the
examples that people told us about:
• The photos portray beneficiaries
as passive, both literally and
metaphorically. Too often when
somebody produces a camera
everybody “stands to attention” so the
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photo looks staged or everybody in it
looks inert or inactive. But any photo
where lots of people are standing
around doing very little conveys no
direct message and may even give
the wrong impression.
• The photo hides faces, expressions or
personalities. This is a problem when a
photographer films people with darker
skins, or where shadows and shade
de-personalise subjects.
• P hotos where everybody is named but
the beneficiary, or where beneficiaries
even on their own aren’t named (but
should be).
• P hotos that are too old. We have all
seen photos that a charity loves so
much it uses them again and again.
But if the child in a photo is now an
adult, is it really acceptable to go on
using that photo? Has the individual
now an adult, not a child, been
asked?
• A n organisation using the same
people in photos again and again.
So while the photo may be up to date,
it appears that the organisation has
only one beneficiary (or perhaps only
Best Practice Guide to Portraying Beneficiaries and Service Users
5
one black, disabled, male or female
beneficiary).
• P hotos that look staged or where the
subjects are exceptional. Many people
hate those corporate brochures
where all the photos are of beautiful
people, perfect families, radiant older
people and so on. Photos should try
and avoid either looking staged or
showing people representing either the
very worst or very best of the human
population. Photos should show the
“norm” or make it clear that they show
an exceptional situation.
How to describe a client
group?
The other area every organisation should
think through carefully is the words it uses
to describe its beneficiary groups. The
blindness charity sector has tied itself
in knots over how to describe its client
group. It used to be “blind people”, but
that wasn’t accurate as not everybody
was blind. So then “blind and partially
sighted people” was favoured, but that’s
a bit of a mouthful so then the sector
talked about VIPs – “visually impaired
people”. Now the sector has moved on
to people with “serious sight problems”.
The challenge of language
Look at language to see
what impression it creates
Words that are over-used,
clichéd or patronising
Alongside the photos that create
problems for organisations are the words.
Words are often less difficult when looked
at as a whole than photos, because
it’s easier to create rules about words:
rules such as “don’t use these phrases”
or “try to use these phrases”. However
language is more difficult from a
portrayal point of view when it is looked
at to see what impression it creates.
What does the use of words leave the
reader imagining about a beneficiary?
Words are most problematic when
they are used to describe case studies,
which is the topic of the next section.
Action
Do people have a disability, do they
suffer from it, are they victims? In the
disability sector clients are often talked
about as “people with multiple sclerosis”,
shortened to “people with MS” then
shortened to PwMS. It’s not clear that
replacing a wordy term for a client
group with a four-letter acronym is an
improvement. Ask people using an
organisation how they like to be named
in your communications.
At the heart of this dilemma is whether
the client group “suffers” from whatever
the illness or disability is and whether they
are victims of that condition, or whether
they “live with it”.
However every organisation should be
clear about what words it encourages
and discourages, particularly in relation
to its term for a client group. Solving this
problem by using acronyms may satisfy
internal audiences but will probably
leave external audiences mystified
and distant.
Every organisation needs to document the language it wishes to use more of, and
the language it wishes to use less of.
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Best Practice Guide to Portraying Beneficiaries and Service Users
6
The power and the pitfalls of
case studies
Case studies are one of the most
powerful tools that any charity has. The
ability to encapsulate what a charity is all
about, and the difference it makes to a
single person or persons, should never be
under-rated. Not least because people’s
heads are moved by numbers and
statistics, but their hearts, wallets and use
of time are moved by real people.
A powerful database of case studies
is a wonderful asset for any charity.
Better still, case studies can be created
by ordinary people. It doesn’t require
copywriters (though a good writer
will often improve the end result).
But with case studies come a number
of problems.
Never underestimate
the power of a good
case study
Here are some examples for your charity
to consider:
•W
hen is a case study past its sell-by
date? Is 10 years too old for a case
study? When does a case study
become out of date?
• Is a case study a single person/
family? Are case studies that are
really composites of a number of case
studies acceptable? How much can
be changed without a case study
losing its validity? The name is usually
fine to change to protect anonymity,
but what about other details, such as
life history?
•W
ho needs to be happy with case
case study needs to be happy with it.
But what about a wider “user group”
of clients – should all case studies be
approved by a user group?
•W
hat happens when different
parts of the organisation use a
different approach to case studies?
Is it acceptable if fundraising,
communications and services are all
using a different approach? What if
they all use a different database for
storing case studies or have different
standards and different procedures?
What are your sensitivities?
Charities often have issues they don’t like
to talk about. These are not only about
the direct portrayal of individuals but
about wider policy issues. For example,
if you are a development charity you
may not want people to think that
people in developing countries always
have too many children, in which case
your photos and case studies shouldn’t
show people with lots of children! In the
same vein, many organisations are keen
to think carefully about the balance of
gender, ethnicity, age and disability of
people portrayed in their work.
The greater difficulty about sensitivities is
that while a case study can be accurate
and even reflective of a client group, it
still may not convey the charity’s core
messages. While a white, bearded, older
man may be a client of a homelessness
charity, using one in a case study may
not reflect the wider client group or – in a
more complex scenario – may not reflect
the client group a charity would like to
have, or would like to persuade potential
clients it has.
Charities aren’t always very open or
clear about these issues. However it is
much easier if they are identified up front
– so your portrayal of case studies reflects
your broader ethos.
studies? Clearly the subject of the
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Best Practice Guide to Portraying Beneficiaries and Service Users
7
The heart of the issue about
how charities portray people
The core issue about portrayal is
whether charities use their imagery, their
language, or their case studies to portray
clients in a way that doesn’t fully capture
them or their situation. So if a person is
portrayed as vulnerable or a victim or
pathetic or incapable when the reality
is more complicated, or even the
opposite of that situation, then
something isn’t right.
To put this into a real situation: if a
fundraising appeal portrays a disabled
person as pathetic and needing help
when the reality is more complicated,
then that’s probably not right. But the
opposite is no better. If a person is
portrayed as proud, independent and
resourceful when the reality is again
more complicated or the opposite,
then that is no improvement. If a charity
portrays its clients as needing no help or
living independently when the charity
exists to provide them with help, then
that’s probably not right either.
Of course in most cases the reality is
more complicated, but ethical dilemmas
remain around how somebody can
fundraise for a client if they have no
needs. How can a donor feel good
about themselves if all the materials
produced by the charity show
beneficiaries in no need of help?
It gets worse too
Given a side of A4, most organisations
(but certainly not all) could create a
persuasive case for feeling empathy,
not sympathy, and feeling admiration
rather than pity: and in doing so
generate donations and preserve
dignity. But when an organisation needs
to grab a headline, or sum things up in
12 words or create a sound bite, then
the difficulty of squaring the circle only
increases exponentially. It still has to be
done though.
Action points for Step 1
1
2
3
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Ask people what issues concern them
Brainstorm issues at a team meeting or away day
Record the issues of concern in a discussion document
Best Practice Guide to Portraying Beneficiaries and Service Users
8
Case study
ERIC (Education and Resources for Improving Childhood Continence)
Natasha Collins-Daniel, education and media manager, ERIC
ERIC is the UK’s only
charity providing
information and support
to children and families
suffering from childhood
continence problems.
Problems such as bedwetting,
daytime wetting, constipation
and soiling affect one in 12
children and young people
in the UK. ERIC provides
a confidential helpline,
website and online shop
selling products designed
to overcome or manage
childhood continence
problems.
As part of ERIC’s media work,
case studies are essential
to highlight the real life
experiences of children
suffering with continence
problems, and that of their
parents. ERIC’s core media
– parenting press, women’s
magazines and national press –
often require case studies with
photographs before a story is
considered.
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Within ERIC, the entire team
is responsible for providing
potential case study leads to
the media manager. This might
be a marathon runner who
met our community fundraiser
or a parent commenting on
ERIC’s online message board.
A feedback questionnaire
goes to all customers of ERIC’s
online shop which includes a
tick box asking if the customer
would like to provide a case
study to help raise awareness
of ERIC’s work. Contact details
of the potential case study are
passed to the media manager.
Upon first contact, the media
manager will explain why ERIC
needs case studies, how past
case studies have been used
and how the process might
work if a journalist wishes to
speak directly to the case
study. At this stage, we ask if
the case study is willing to be
photographed, and named or
if they would prefer to remain
anonymous. We explain in a
tactful way that photos are
needed for most magazines
and that they would be
helping raise awareness
and reducing the stigma by
speaking out about these
issues. We also ask what type of
media they are willing to work
with – i.e. papers/magazines,
radio and TV.
Due to the sensitive nature
of childhood continence
problems and the risk of
bullying, we struggle to find
parents willing to provide
photos and many wish to
remain anonymous. We never
pressure people into providing
images, or taking part in
an interview they are not
comfortable with.
ERIC’s role is to raise awareness
of childhood continence
problems and the help
available, not put children and
families at further risk. On past
occasions, we have decided
not to feature particular case
studies due to a potential
risk of misunderstanding or
persecution towards families.
Case studies are used for
a maximum of one year if
the child has overcome the
problem. After this time, it
can be difficult for the parent
to remain as passionate
about the consequences
of childhood continence
problems as they have passed
this stage. If the problems are
ongoing, we continue to use
the case study as appropriate.
Best Practice Guide to Portraying Beneficiaries and Service Users
9
Step 2
Agree principles for
how you will portray
people
The next step in the process is to agree
general principles for your organisation
to follow in its portrayal of beneficiaries.
These principles alone should give
people some clear guidance about
how to portray beneficiaries. While
many organisations will have principles
in common, each organisation needs
to decide for itself those principles.
The idea of creating principles is
that they create the high-level
approach which employees and
volunteers can follow in the absence
of detailed direction.
Another aspect of this approach is
that the principles should be relatively
unchanging while the detailed direction
(as detailed in Steps 3 and 4) may
change more frequently.
Finally, it’s worth having guidelines in a
condensed format: say two sides of A4
so they are short enough to be read by
busy frontline staff and the CEO.
What are your principles?
Here are some ideas for principles that cover the three key areas.
Photos and images
•W
e should own the copyright to any photo we use.
• A nybody we show in a picture should have given their agreement.
•W
e never use pictures that are more than five years old.
• A ll people in our pictures will be active wherever possible – showing energy
and action.
• A ll people in our pictures will be individuals with personalities, interests, lives
and loves.
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10
Words and language
•W
e will use accessible language in our writing: never use corporate speak,
jargon, passive third person-speak or dull prose.
•W
e will use adjectives and adverbs to describe our clients, to bring them and
their rich, complex lives to life.
•W
e will avoid the use altogether of a number of words and phrases in our
writing. These are: (________), (________) and (________).
•W
e will avoid the over-use of a number of words and phrases in our writing.
These are: (________), (________) and (________).
Case studies
• The person we are talking about would always be happy with the way they
are described.
• P ortraying with dignity doesn’t mean portraying an absence of need.
• P ortraying with dignity doesn’t mean portraying without emotion.
• F ocus on the individual and tell their story as simply as possible.
•C
ase studies are the best way to tell people about our work.
•W
e ask people to tell their own stories and then we aim to have the courage
to let the stories speak for themselves.
• E very person faces challenges in life. Someone using our services individually
has “reasons” why they are there and “solutions” out of their situation and
this should be reflected in the way we communicate their story.
•O
ur case studies are designed to show how people are living with (________)
and even where they have problems they can overcome them with the
support of us and other organisations and their resources.
•W
e will have a group that represents the views and perspectives of people
using our services.
Action
Creating the principles of your approach is probably the most difficult part of the
entire process. So while the principles are normally going to be pretty short – perhaps
one to two sides of A4 – they may take a while to agree. It’s worth pointing out that
once the principles are agreed, the rest of an organisation’s approach should come
together relatively easily.
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Best Practice Guide to Portraying Beneficiaries and Service Users
11
Step 3
Make your
decisions
Translating the principles from Step 2 into
a more operational set of instructions
is the next stage. In some cases these
decisions are the direct result of what is
in the principles and in some cases they
are decisions that need to be made,
irrespective of what is in the principles.
and discusses why some of them are
good to use and some of them aren’t
(see our Resources section at the end of
this guide). The kinds of issues that need
to be thought through are:
There are quite a lot of “decisions” in this
section that aren’t obviously pertinent
to the way beneficiaries are portrayed.
We include them because our
experience from the interviews we
conducted is that the mechanics of
how photos, writing and case studies
are handled is sometimes as important
as the principles.
• The use of light and shade – can you
Photos and images: some
key decisions
• The group composition – are the
people active or passive?
see people’s faces?
• The use of context – does a photo
make the reader infer certain things
about what is happening in the image
(even if there is no direct evidence)?
• The relative position of the helper and
the beneficiary: what assumptions
might people make about how
beneficiaries behave?
Who can take photos?
What photos are the most
appropriate? What photos are
In most organisations anybody can
not appropriate? What makes a take a photo – but if this is the case, are
they trained? Do they have a suitable
good or poor photo?
Any charity using photos needs to have
clarity about what kind of images are
acceptable and applicable. Oxfam
has an excellent document which gives
examples of a whole range of photos
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camera? Have they thought about how
images can be and are used?
Who will take photos?
While anybody can take a photo, who
will actually take a photo of a client? It’s
Best Practice Guide to Portraying Beneficiaries and Service Users
12
worth polarising this debate. Staff have
perfect access to clients, so giving them
a camera should produce a steady
stream of photos which are low-cost,
and genuine: taken without posing or
pre-meditation. However often frontline
staff don’t actually end up taking photos
(too busy or too bashful appear to be
the two main reasons).
In contrast a professional photographer
will be very good at making sure the
photographs get taken, but the shots
will cost more and will only be taken
on the few occasions when most
organisations can afford to commission
a photographer. So the choice is little,
often and erratic but free, vs infrequent,
expensive but numerous.
Make sure photos do
justice to, and represent,
reality
How long can a photo be
used for?
One of the most subtle issues about the
portrayal of beneficiaries is deciding
when a photo should no longer be used.
This is equally true for case studies. The
reason that timescales are important is
that portrayal is all about trying to make
sure the impression created by a photo
does justice to, and is representative of,
reality. For example if a picture shows
somebody in a certain situation who is
no longer in that situation, but the use of
the photo implies they are, this is not an
accurate portrayal.
With photos it’s probably unrealistic
to assume the organisation can keep
in touch with every individual in them
(particularly for overseas charities).
charitycomms.org.uk
We believe that every charity should
have a rule that a photo won’t be
used after a set of period time (say
three or five years). They may choose
to break this rule for specific reasons.
And organisations may have a longer
time window if they work overseas and
a shorter time window if they work with
young people whose lives are changing
rapidly, or with illnesses where the person
may have died or recovered or their
circumstances changed.
Does the person in the photo
need to give their agreement
(for each use or for any use)?
We are aware of some organisations
which specify that each and every use
of a photo requires permission from
the subjects in them. We are aware of
others who have said that they won’t
show faces of children in photos – even
if permission has been given. Our belief is
that any photo which shows people who
are beneficiaries or might be seen to be
beneficiaries should only be used with
permission (see our Resources section
for a sample permission form). That
permission is much better if open-ended
simply because of the logistics of
re-affirming permission on each and
every occasion.
Whatever guidelines are set about
permission, the criteria should take into
account what the subject of the photo
might feel if they see the photo being
used. For example, the use of a photo
two years after it’s taken might not cause
any concern in a subject’s life. However
if the photo is going to be used in an
advertising campaign or released to the
media then permission should probably
be sought. Again the re-permission
that is sought is always affected by
geography: overseas subjects may not
need permission sought with the same
diligence, simply because they are very
unlikely to see the photo in use.
Best Practice Guide to Portraying Beneficiaries and Service Users
13
How will photos be stored?
Any organisation which uses
photographs of beneficiaries should store
them on a database so their use can
be monitored and co-ordinated. While
the bigger organisations will often have
a photo-librarian, smaller organisations
generally won’t. In this case the
database may need to be managed by
users. Whatever the size of organisation,
the use of photos should be recorded.
This prevents over-use of a particular
photo and it also prevents conflicting
use (eg a use by fundraising portraying
one scenario and by a service
portraying another).
The use of models in photos
If anybody used in a photo is not who
they seem to be then the caption
should make that clear. There are two
Use powerful yet accurate
language – being bland is
not a solution
reasons for this. Firstly it’s deceptive
to say that somebody is an abused
child or a homeless person when they
aren’t. Secondly it protects the people
in the picture from being confused with
beneficiaries.
usual routine, or generally devote time
to getting the right images, we believe
it would be fair to recompense the
individual for their time. This is sometimes
called an “inconvenience allowance”.
What words and phrases
describe your clients powerfully
and accurately?
It probably isn’t appropriate to have a
list of approved words that should be
used to describe clients. However we
do believe that organisations should
make clear to people who are writing
about clients the sentiments and
impressions they wish to invoke in the
reader. The challenge is to use powerful
yet accurate language – guidelines
shouldn’t find a solution by simply
being bland.
What words and phrases
describe your clients badly,
inaccurately or misleadingly?
It probably is appropriate to have a list of
words and phrases that aren’t to be used
or are in danger of becoming over-used
or clichéd. This is particularly appropriate
if there is an unwritten list of words that
people are not meant to use. If such a list
of forbidden or frowned upon words and
phrases exists informally, it is far better to
make it formal and transparent.
Does the portrayal manipulate
emotions or sensationalise the
Should photo subjects be paid? situation?
As a rule we believe the answer is no.
Not only is paying people in photos a
dangerous precedent, it may encourage
people to pose for photos as a source of
income. Our exception to this rule would
be if the photographer took up a large
amount of somebody’s time in order
to get the photos. If a photographer
wanted to spend half a day taking
pictures of a disabled person which
required the subject to disrupt their
charitycomms.org.uk
If the cumulative effect of the portrayal
of people is to move people, and make
them feel empathy and understanding
for a person, then that is without doubt a
powerful reaction. But if the effect is to
manipulate emotions through the use of
language then that is not acceptable.
Each organisation will need to decide
what that line between being moved
and manipulated is, and when it has
been crossed.
Best Practice Guide to Portraying Beneficiaries and Service Users
14
Case study
Use of language
Oxfam’s guidelines for communicating about people living
with HIV and AIDS
Strong communications
material is vital to drive
advocacy, educate the
public and raise money for
Oxfam’s programme work
to tackle HIV. Oxfam needs
to establish a reputation for
being an organisation that
is effective, reliable and
respected in tackling HIV. Our
reputation in the HIV debate is
dependent on us getting our
communications right.
Tone/language
To demonstrate our
programmes’ success we
need to move away from only
telling bad news stories about
HIV, or focusing on the story
of orphans and child-headed
households.
As well as telling stories of
prevention, we must emphasise
that people are “living
positively” with HIV through
improved nutrition and lifestyle,
and when diagnosed with an
AIDS related disease, achieve
an improved quality of life if
they have access to treatment
and care.
We need to tell stories that
demonstrate courage and
resilience, emphasising that
positive people are at the
forefront of the response to
contain the epidemic. Of
course we must show need
but also focus on real-life
achievements of individuals
and families living with HIV,
documenting what they are
doing to turn their lives around
with support from Oxfam and
partners.
Terminology guidelines
Oxfam at all times tries to use language that is sensitive and non-stigmatising. Some
examples are:
Do not use this
Use this
HIV/AIDS
Use HIV unless specifically referring to AIDS. Examples include
people living with HIV, the HIV epidemic, HIV prevention, HIV
testing, HIV-related disease; AIDS diagnosis, children made
vulnerable by AIDS, children orphaned by AIDS.
AIDS scourge or plague
HIV epidemic or AIDS epidemic
AIDS virus
There is no “AIDS virus”. The virus associated with AIDS is called
the Human Immunodeficiency Virus, or HIV. Please note: the
phrase HIV virus is redundant. Use HIV.
AIDS-infected
Avoid the term infected. Use person living with HIV or HIVpositive person.
AIDS sufferer or victim
The word “victim” is disempowering. Use person living with
HIV. Use the term AIDS only when referring to a person with a
clinical AIDS diagnosis.
Acronyms and abbreviations
Please spell out all terms in full. For example PMTCT should be
prevention of mother-to-child transmission, etc.
charitycomms.org.uk
Best Practice Guide to Portraying Beneficiaries and Service Users
15
What kind of case studies do
you want?
Of all the different areas we have
looked at for this guide, case studies
are the most complicated. This is partly
because they bundle together words
and photos, but also because they are
about real people. In many cases those
real people will see what is written about
them and live in the world in which the
communications that feature them
are used.
Being featured in a case study can also
put an individual at risk: of public profile
that they didn’t really want or expect,
Putting the welfare of a
case study centre stage
is critical
or of anticipating that they will get
benefits that don’t materialise, as just
two examples.
Case studies:
some key decisions
The first question any charity
needs to answer is: what do we
want case studies for?
It’s easy to imagine that a case study
is just a case study. But charities use
case studies for fundraising and for
communications, in media releases and
in annual reports, for demonstrating their
impact and for marketing their services.
Each of these types of case studies
will need subtly different information
collected to make them powerful. Each
different type of case study will have
an impact on the person or people
behind them.
Clarity when starting to build up case
studies will help in two ways. It will
charitycomms.org.uk
help the people who are featured to
understand what they might expect from
being featured, how the information
they are giving might be used, and what
the nature of any ongoing relationship
might be. Understanding how a case
study will be used can also make sure
that the right information is collected.
Who looks after your case
studies (nurturing relationships,
welfare, storage)?
Case studies need looking after in
a variety of ways. It is rare that the
individual behind a case study can
just have information collected from
them and then be forgotten about. In
all the interviews we carried out for this
set of guidelines there were numerous
stories of how the maintenance of the
relationship, and putting the welfare of
the case study subject centre stage, is
critical. Here are some examples:
• A case study was put out by a medical
charity to highlight the benefits of
regular screening. Six months later
a journalist decided to use the case
study again in a different context. By
that stage the subject of the case
study had a new job where she hadn’t
told them about her illness. She was on
holiday at the time of the new press
enquiry. The charity’s media team
spent a frantic few hours trying to stop
the story and track down the case
study subject.
• A case study subject was keen to talk
to the media about her experiences
as a reformed drug user. As part of
her story she had given her child up
for adoption. The charity was worried
that her story might make it possible to
identify the child just as it was settling
with its newly adopted parents.
• A nother case study subject did a
very detailed, very personal story for
a magazine. She was excited but
Best Practice Guide to Portraying Beneficiaries and Service Users
16
nervous about the story appearing
in the media. But the newspaper
never used it (because that’s how
newspapers work) and so the
interviewee had the roller coaster of
believing her story was about to get
out, and then the deflation of it never
happening.
• A patient with cancer whose case
study had been used extensively
died. Could the case study go on
being used? The charity needed to
contact the relatives, soon after their
bereavement, to find out whether
several thousand posters needed to
be pulped. Luckily both the case study
subject and the charity had foreseen
this possibility and discussed it with the
family. So permission was much easier
to obtain on every level.
Top tips
These are just some examples of how
important it is for charities to have
a strong and ongoing relationship
with the individuals they feature in
case studies.
Building and maintaining
great relationships with
case studies
1. Storage on a database.
Case studies need to be stored on
a database. The database needs to
keep not just the details of the story,
photographs, and all the background
on the person featured, but also when
the case study was used and with
what results. It’s impossible to maintain
great case study relationships (in all but
the smallest charities) without a good
database.
Interviewing case studies
Freelance journalist Martine Gallie (martinegallie.co.uk)
Setting up your interview:
• Face to face is better than phone,
which is better than email
• Arrange a time that’s convenient for
them
• Send some background information
• Make sure you have plenty of time
available
• Contact them on the day to remind
them
• Think about how you will take notes
Starting the interview:
• Take all their personal details (including
contact details)
• Record which activities they are willing
to be involved in
• Assure them that their interview will be
kept confidential
charitycomms.org.uk
• Assure them that you will contact them
first if someone wants to use their story
• Ask for a photo
• Give them your contact details
Interviewing tips: it’s all about
listening
• Have a normal conversation
• Use open questions
• Listen actively
• Look for the emotional journey
• Steer the conversation
• Make sure you understand everything
• Prompt them to carry on
• Ask how your charity has helped
• Ask “Is there anything you would like to
add?”
• Check availability over next few days
Best Practice Guide to Portraying Beneficiaries and Service Users
17
Case study
Placing safety first: CAADA’s approach to supporting vulnerable
media case studies
Samantha Brown, head of communications, CAADA
Coordinated Action Against
Domestic Abuse (CAADA)
is a national second tier
charity supporting a multiagency response to high risk
domestic abuse. We provide
policy, training and support
to smaller charities and other
professionals involved in
support work. We do not have
direct “victim” beneficiaries,
and as a result have a
complicated offering which
presents challenges in terms of
messaging.
Getting media coverage
of domestic abuse and the
issues surrounding it isn’t easy.
Compelling stories in the form
of case studies are hugely
effective in demonstrating
the impact of our work, but
both the domestic abuse
organisations we work with
and potential subjects for case
studies are often wary of the
media. With the safety of the
victim the central ethos in our
work, we developed guidelines
we have them. We also make
sure we’re well prepared, with
written, signed off case studies
ready at all times.
As a result, journalists respect
our guidelines and don’t push
back. We’ve developed a
bank of good quality case
studies who have grown in
confidence and feel they’re
“giving something back”.
And our partner organisations
and service managers trust us
and are seeing the value of
media work.
around creating and using
media case studies.
When liaising with journalists
we are always clear about
our guidelines and the reasons
What’s more, our coverage has
hugely increased from 0 to 110
pieces of coverage in the last
quarter, 10 of which featured
detailed case study interviews/
filming, including Newsnight,
The Times, Community Care
and BBC Breakfast.
CAADA’s media case study guidelines
• Risk assessment of every case • No details about the
study to ensure they’re no
longer in danger.
• Survivor’s name changed
to protect identities and
increase safety.
• Perpetrator’s name changed
to increase safety and
prevent defamation.
• Frontline domestic abuse
professional’s name changed
to protect identities and
increase safety.
charitycomms.org.uk
residential location revealed.
• Small details changed to
further protect identities.
• Survivor case studies choose
the media work they
undertake – from written case
studies only to radio and TV.
• Photography or filming only
with case study consent, and
no identifying features.
• Telephone interviews – three
way conference phone set
up, and survivors offered
“read backs”.
• Spend direct time with
each survivor, building up
an ongoing relationship
over a period of time,
providing media training and
accompanying to interviews.
• Personal information for case
study stored on CAADA’s
secure hard drive under
a password protected
document.
Best Practice Guide to Portraying Beneficiaries and Service Users
18
A photo-librarian (or even better a
case studies and photo coordinator)
is a really useful post for many larger
organisations: somebody who knows the
case study/image assets an organisation
has. For those organisations that can’t
afford a paid post, it could be perfect
for a volunteer to look after on a part
time basis.
Frontline staff are the best
people to find case studies
2. Briefing the case studies.
People featured in case studies (and
their families) need to understand
what they are letting themselves in for.
They also need to indicate that they
understand how their information might
be used. So a charity should have both a
briefing form, including a consent form,
as well as a leave-behind document with
contact details for the charity staff they
might want to contact.
3. Uniform information extraction
processes.
For charities to use case studies well,
they need to have the right information
about the case study subject. So a form
or a protocol which makes sure all the
right information about the case study
subject is gathered is really important.
This should include their contact details,
their family contact details, and so on
(see Resources).
4. Good photography.
Very few case studies are powerful
without good, even great photography
to go with them. Words need pictures.
People need photos to show the whole
charitycomms.org.uk
story. In an era of digital photography
photos are easier to get and use than
ever before. Media officers and even
frontline service staff can take photos
(although they won’t always want
to). There is no doubt that professional
photographers will always get better
pictures partly because that’s what they
are trained to do, but also because it
is their core job, whereas for a servicedelivery person it will always be of
secondary importance.
5. R
ecruiting frontline staff.
The best people to find case studies are
almost certainly frontline staff. They will
know who has the “good” stories to tell,
is happy to talk about their background
and who will agree to be used for the
benefit of the cause and the wider
organisation. They will also understand
the politics and motivations of case
studies (and the attitudes of other staff
towards gathering case study material).
Gaining the trust of frontline staff is vital.
Anybody who wants to create a good
resource of pictures and case studies for
the organisation will need to invest time
and energy in building relationships with
frontline staff.
6. A designated contact person.
It’s impossible to know what a case
study subject will want to talk about
and when they will want to talk about
it. But when they do it’s really important
that they know whom they should talk
to, and that that person should know
something about them. Many case
study interviewees find the experience of
being in the public eye both exhilarating
and unsettling. They like being able to
see their situation being used to help
other people, but often their moment
in the spotlight is not quite how they
imagined it. When any of these emotions
occur, it is vital they know whom at the
charity they can talk to.
Best Practice Guide to Portraying Beneficiaries and Service Users
19
Top tips
Working successfully with case studies in video
Gaby Jeffs, producer and director at Magneto Films
(magnetofilms.co.uk)
1. Establish a clear brief with key
messages that you want to
communicate. Find people through
your volunteer network, case
study database or production
company who can communicate
those messages through their own
experiences and in their own words.
2. N
urture relationships. Build time into
the schedule so people feel calm
and able to be themselves in front
of the camera. If possible film them
in a familiar place. It’s not about the
technology and crew, but about them
and their story.
3. F or a behaviour change brief, choose
people who mirror the diversity of
your target audience. Avoid experts,
as messages can be more easily
accepted if they come from people
who we perceive to be like us especially when targeting hard to
reach groups.
5. It takes a lot of bravery to volunteer
to be interviewed. People should be
treated with respect, kindness and
dignity at all times. This includes giving
them as much information as possible
about the process and the sequence
of events.
6. Keep it real. It’s the authentic human
story that will draw people in and
keep them watching. Don’t try and
put words into people’s mouths and
give them scripts to learn; that’s what
actors are for. Rather, draft questions
which will deliver the key statements
you need. Give people a sense of the
questions to be covered, but avoid
handing over a list as some people will
learn and rehearse answers.
7. Accept and expect the unexpected.
That’s the beauty of real people, they
are unpredictable. They will add a
perfect comment or angle out of the
blue which makes the piece.
4. P
eer role models offer realistic and
practical solutions. Find people
who can share barriers they
faced and coping strategies for
overcoming them.
8. Include humour if possible.
7. Training case study subjects if they do
media work.
Not all the people featured in case
studies will do media work. Many case
studies will stay as articles in annual
reports or on a website. Even those that
are in the media may be presented
as a finished product. However
where a case study subject may talk
directly to journalists, media training
is really important. This is both to help
interviewees understand the importance
of thinking about what they say and
giving them practice if they are going
to do any live interviews on TV or radio,
but also so they understand how their
“words” might be used.
charitycomms.org.uk
9. Be honest – being realistic about a
situation, rather than glossing over
problems, will help people engage.
10. T read gently. Be prepared to listen
and edit.
8. K
eeping what works, losing what
doesn’t.
Any code of practice is not a static
thing. It needs to be reviewed and
updated. Once a code of practice has
been in operation for a while, perhaps a
Best Practice Guide to Portraying Beneficiaries and Service Users
20
year or two, it is worth reviewing it. At this
stage it’s important to understand what
works about the code and what doesn’t.
This needn’t be a cumbersome process,
but one simply to ask those who were
involved in creating and working with the
code about what works in practice, and
what doesn’t.
What are the ethics of your use
of case studies?
Ethics is quite a strong word in this
context and we would welcome
suggestions for an alternative. However
there are a number of decisions an
organisation needs to make about their
use of case studies that we believe are
worth spelling out.
Will you use photographic models and if
so when?
Using a photographic model is
completely alien to some charities and
the norm for others. Anonymity of the
individual is one of the main reasons why
Case studies are real
people – not just pictures
and words
a model would be used for a case study:
children are the obvious example. The
decision a charity needs to make is when
and why it would use models. One of the
main downsides of using a model is that
it takes away from the power of the case
study. In all cases, the use of a model will
need to be declared on all the materials
where it is used.
Will you use composite case studies?
Equally important as the use of models is
that a charity needs to be clear about
whether the case studies it uses are
100% true to life. Some charities use a
composite case study – pulling together
the best bits of a number of other case
charitycomms.org.uk
studies. While there are strong arguments
in favour and against this practice, we
believe that the use of any composite
case study needs to be made clear just
as the use of models is.
Is a case study a person or a document?
Case studies can be two things: a
person with a story to tell and a set
of documents that encapsulate
that person’s story. Both need to be
cultivated. Both need to be seen as
assets of the organisation. Both need to
be treated with care, but above all it’s
important to remember that case studies
are not just pictures and words that can
move people to tears and to donate
– they are also real people with lives
entirely separate from the organisation.
How often will you use a case study?
Another important issue is the frequency
with which a case study will be used.
Why? Firstly whether the case study as a
person gets fed up with constantly being
in the media. Secondly how the charity
comes across if it seems to have very
few case studies. Put crudely, if a charity
is saying there is lots of need and lots
of potential beneficiaries but it uses the
same case study again and again those
two messages appear to contradict
each other. It is important to agree
internally on the frequency with which a
case study is used.
How long will you use a case study for?
Perhaps the biggest “innocent”
weakness we’ve seen in many people’s
use of case studies is how long they are
prepared to use them. Using case studies
past their sell-by date is very easy to let
happen. It takes hard work to get new
case studies. However it should be the
case that charities set a default “use-by
date” on case studies. These deadlines
can then be extended when there are
good reasons to do so. As a rule, case
studies should only be used for a limited
period of time. We would recommend
Best Practice Guide to Portraying Beneficiaries and Service Users
21
three years as a default, but it absolutely
depends on how the case study is used
and how the circumstances of the
individual might change. The earlier
example where a journalist was going
to use a case study six months on shows
that for some case studies, a shelf-life
of months rather than years would be
appropriate.
Will you pay case studies to do
media work?
One final issue that charities grapple
with is whether to pay case studies.
Many charities have a blanket rule
against paying people who appear in
the media as case studies. The irony
of this approach is that while a media
officer is paid and a journalist is paid,
the interviewee, who may well be the
poorest person in that triumvirate, isn’t
paid. Individuals featured in case studies
should definitely be paid expenses and if
they are taking more than an hour or two
of their time to help a charity, we believe
Appoint an advocate
with the right to veto the
use of case studies
to re-use existing footage than to create
original footage. When this happens
the only issue is whether this impacts
on the subjects of the footage. Will a
person be upset if they thought they
were being used for a campaign and six
months later their case study is also used
for fundraising? The only way to know
is to ask. Every organisation will have to
decide how far they are prepared to go
in their use of a case study about people
before they say “enough is enough –
we need to make sure this person is
still happy”.
Who checks the case study? Who can
veto the use of a case study?
For many charities (overseas charities,
children’s charities, some medical
charities) the case study subjects cannot
check their own case studies. They
are too far away, too young or even
possibly dead. In this situation where an
individual cannot speak for themselves
– who speaks on their behalf? A charity
needs to be clear who their “advocate”
is. Who will try and inject into discussions
about the use of communications and
fundraising materials the perspective of
the case study subject? It is worth having
an advocate who has the right to veto
the use of case studies or ask for their use
to be changed.
they can be paid. While this shouldn’t
be at a rate that would encourage
them take part in a case study just for
the money, it should be possible to
acknowledge the inconvenience they
have often been put to. We would
recommend this is done on a case-bycase basis rather than a blanket rule.
How far should you go in re-using or
re-working films, case studies and
media stories?
Many case studies, and many films and
photos, end up being re-used for all sorts
of purposes other than was originally
imagined. It’s much cheaper and easier
charitycomms.org.uk
Best Practice Guide to Portraying Beneficiaries and Service Users
22
Case study
Case studies at Mencap
Naomi Rose, case study officer, Mencap
At Mencap we have a
case study database
developed to centralise
how we collect and
share case studies but
also to ensure all material
complies with the data
protection act.
We use case studies in many
ways. Real life stories help us
lobby in parliament, highlight
examples and statistics in
reports, raise money and bring
issues in the media to life.
Good stories can come from
any part of the organisation.
We have developed
population plans for all the
relevant teams at Mencap.
The plans set out how case
studies are likely to come into
the team, who would write the
case study and who would
upload it onto the database.
The plan also recognises
if there are people in the
team who need the ability to
“search” for cases, for example
for media or fundraising.
Our approach is that gathering
case studies is part of the
working process. However,
in some posts we’ve now
included contributing case
studies in job descriptions.
We run training for new staff
and refreshers for teams who
are involved. The training
aims to inspire staff with the
importance of real life stories
and how these stories can
support their work and the
work of Mencap. We aim to
give staff the skills to interview
people to ensure they keep
people safe and comply with
the Mental Capacity Act
and data protection law.
We also talk about how to
structure and build a story and
Mencap’s style for writing it up.
We have a case study section
on the intranet with support
and resources for staff which
includes things like standard
consent forms and a case
study guide.
Simple, powerful stories with
strong supporting evidence
make the best case studies for
Mencap to use but all stories
help us to build a picture of the
lives of the people we support.
Mencap’s top tips for photo shoots
• Check for any “clutter” in
the background of shots eg.
plastic bags, magazines etc.
Before you move anything,
ask the person they belong to
if that’s OK, remember where
everything was and make
sure it’s put back at the end.
• Locations for shoots can
sometimes be quite dark
so try and utilise lots of
natural light.
• Unless otherwise specified
on the brief, the majority of
charitycomms.org.uk
photos should be uplifting
and positive images.
• If you stand to one side, or
behind the photographer, it
will help the model to focus
on something and stop them
looking straight into the lens.
• Give the model something
to hold/do - it can be very
difficult to “act natural” whilst
having your photo taken. If
the model has something to
hold or an activity to do, it
can help them relax.
• Keep track of time: you will
probably have a lot to fit into
a short amount of time. Have
a rough idea of how long to
spend in each scenario (eg
kitchen, living room etc) and
try to stick to this.
• Make sure the photographer
has a full briefing of the
background for the shoot,
what the shots will be used
for, the model and their
family and any other special
requirements.
Best Practice Guide to Portraying Beneficiaries and Service Users
23
Step 4
People and
paperwork: work out
the mechanics
Mechanic 1
A person with overall
responsibility for your portrayal
of clients and beneficiaries
The first mechanism we recommend is
being clear who has responsibility for
the portrayal of clients and beneficiaries
(through language, image and case
study). In some cases this will be the
same person who is responsible for the
organisation’s brand. In other cases it
may be somebody in the design team.
In larger organisations, particularly
those where case studies are especially
important, there may be a dedicated
person or even a team. In any
eventuality, there is little chance of an
organisation’s approach to the portrayal
of its clients improving if it’s not clear
who is responsible for making it happen.
The buck needs to stop with somebody,
even if it is only one part of their role.
Mechanic 2
A user group to advise and be
critical friends
An organisation can’t just rely on its
own staff or trustees’ wisdom on how
charitycomms.org.uk
it portrays its clients and beneficiaries.
Wherever possible it should have a group
of people who can advise on a charity’s
approach from the perspective of
beneficiaries. This doesn’t need to be a
group of people who meet on a regular
basis with an agenda and minutes and
so on (though it can be). Advice could
be given by email, by phone, on a
one-to-one basis or whatever works. But
it should be a formal process and the
status of the advice of this group should
be clear. We say this because we are
aware of user groups who have become
frustrated because their perspective has
not always been taken into account.
Does the user group have a veto?
Do staff have any obligation to take
notice of the group? While the exact
mechanism through which beneficiaries
are consulted is very variable, the need
to do so is paramount.
Mechanic 3
A staff group to steer and
review your guidelines
Alongside the need to consult users
is the need to make sure that staff
(and volunteers where appropriate)
Best Practice Guide to Portraying Beneficiaries and Service Users
24
feel ownership of the process as
well. There are two reasons for this.
Firstly, to review how any guidelines
are being implemented across the
different departments and in different
media. Secondly, to give the different
departments an opportunity to feed
back (and criticise) guidelines which
may have an impact on their work. The
issue of the mechanism through which
staff do this is as fluid as it is for users,
though given that most charities love
holding meetings, that’s probably a
good mechanism to start with.
Mechanic 4
The necessary paperwork
There are lots of potential forms
needed for the portrayal of clients
and beneficiaries. These forms are to
protect the beneficiaries and the charity.
Here are some of the forms that might
be needed:
Case study consent form:
a document which explains to a case
study subject the use to which their story
will be put if it is used in a case study.
It ensures that a case study subject
has something in writing about what
to expect, who to contact and so on.
It also makes sure that the charity has
got permission to use the personal
information about an individual.
Photographer agreement form:
a document which sets out the
relationship between a charity and the
photographer who is taking pictures
on their behalf. Again it should protect
both parties.
Case study details form:
a document that makes sure all the key
information is recorded systematically
about somebody who is a case study.
Mechanic 5
A database to store all your
images, case studies and
monitor their use
It is no good having the most brilliant
set of photos and case studies if they
are not accessible for use, or if their
use is uneven or upsets the individuals
they are about. For all these reasons
a database is needed for all but the
smallest organisations. The database will
need to be accessible via the internet or
via an intranet. It will need to monitor all
the information about the case studies
– that is which information is to go into
the public domain (their photos, their
situation, etc) and that which isn’t to go
into the public domain (contact details,
information they haven’t agreed to
put in the public domain, uses for their
case study which they haven’t agreed
to, etc.).
A database should also monitor when
images and case studies are used to
make sure no case study is over-exposed
(or under-exposed).
charitycomms.org.uk
Best Practice Guide to Portraying Beneficiaries and Service Users
25
Case study
Oxfam: how to get informed consent
In order to ensure we
are obtaining and using
material which protects
the dignity and rights of
the subjects, we always
require informed consent.
but only if they are given
adequate time to do so.
Ensuring sufficient time for
dialogue with programme
staff and communities is an
essential part of the story
gathering process.
Where the subject is a child, we
must seek informed consent
from the adult responsible for
them, but we will also seek
consent from the children
themselves where they’re old
enough to understand.
• H ave plenty of time. Before
How to achieve
informed consent
•C
onsent to use photos/
testimony and footage
should be informed, meaning
the person understands why
Oxfam wants to interview,
photograph and video them,
what it will be used for, and
where the material will be
used. Informed consent
can only be achieved in
the person’s own language.
Unless the interviewer is
fluent in the local dialect, a
translator is essential.
•W
herever possible
seek informed consent
accompanied by a member
of the local programme
or partner staff who the
interviewee trusts and feels
comfortable with.
• P lan ahead. Partners and
programme staff will be
able to identify people who
are happy to speak about
their personal experiences,
charitycomms.org.uk
you begin to interview or
shoot, spend time with the
person explaining who
you are and why you are
here. Show examples of the
kind of ways their images/
testimony/film might appear
– there needs to be a clear
explanation of the possible
impact on the individual
that publishing their story
might have.
• To ensure either the adult
being interviewed, or the
adult responsible for the child
being interviewed, really
understands how and where
their face might appear, ask
them the consent questions
(see below).
•O
nce you have been
given it, note that you have
informed consent.
• N ote any objections to use,
eg “don’t let my family see
me like this.”
• If a person who gave their
informed consent whilst
alive dies, their death will be
recorded on the consent
record, but the consent to
use their image remains
unchanged.
Checklist
• H as consent been obtained?
Is it informed (see above)?
•C
ould publication be harmful
to the person portrayed?
Consider the sensitivities
surrounding disclosing the
identity of the person (eg,
police attention, family
relations, stigmatisation).
• H ave you given the person
an option not to appear in
your photo/film? Do they
know how not to appear
(eg creative photography,
use of alias, etc)?
• If there is a real risk to a
person, do not take or use
the photo (this is particularly
important if that person is a
child or vulnerable adult).
Questions to ensure
informed consent
• H ave you told your friends
and family that you are (eg
living with HIV)?
•W
hat do you think would
happen if the police or your
neighbours / family / friends /
colleagues / boss saw your
photo or interview in a
magazine or on TV?
• Is there anyone you would
not like to see you like this?
Best Practice Guide to Portraying Beneficiaries and Service Users
26
Top tips
Creating a digital library
Ben Cohen, digital library coordinator, Macmillan Cancer Support
1. Respect people’s personal
information, and the law
Chances are you’re not an expert in the
Data Protection Act ‘98. But chances are
someone in your legal team is. Involve
them from the start of your hunt for a
system. They can help draft a permission
form for every case study you store on
your digital library, and advise you on
the proper processes for storing data.
You have to do a lot more than tick
boxes legally though. The more personal
and understanding you can be with a
case study, the more likely they’re going
to want to help. A good digital library
can help you do this.
2. Set up clear processes
Everything on your digital library should
be easy to find. Set up a process on
keywording resources at the start.
Whether it’s creating a bank of keywords
specific for your organisation that you
can pick from when uploading, or
creating a more manual process, it helps
to think about this before you launch.
Think about a method for signing staff
up to your digital library, and keeping
a log of how a case study has been
approved. This should be as automated
as possible. For things that have to be at
least partially manual, like approving the
use of a photo or case study, make it as
simple (and automated) as possible.
3. Choose carefully
Choosing the right, affordable software
is crucial. You need it to adapt to your
needs, whether it’s for storing case
studies, photos, videos or documents.
And you’ll need someone who knows
how to make the most of it.
charitycomms.org.uk
Most importantly your software should
allow you to adequately manage
all the sensitive data you will store.
At Macmillan, we give general staff
restricted access to case studies, so they
don’t see any personal details like email,
phone number, address and full name.
A good system will enable you to track
usage of each resource and set up a
request process for sensitive material
like case studies, to help you manage
relationships and control usage. This
ensures staff use them in the right way,
for the right reasons, with full consent.
4. Be flexible
Your organisation grows and changes:
so should your digital library. Ours began
solely as a case studies library, and
now contains everything from videos
to photos, our new brand content,
generic PowerPoint presentations and
documents of every shape and size.
5. Instil a culture of sharing
Your library is only as good as what’s on
it. You not only need to promote it but
embed it into the workplace culture. At
Macmillan we found the best way of
doing this is to get people involved in
promoting their own content. This gives
them an incentive to share.
6. Quality over quantity
Resist the temptation to take whatever
content you can get. Only post good
quality content that reflects your
organisation. If users have to trawl
through 300 terrible photos from an
event just to find one good one to use,
your digital library has missed the point.
It’s meant to save staff’s time, not
waste it.
Best Practice Guide to Portraying Beneficiaries and Service Users
27
Further
information
About CharityComms
Acknowledgements
CharityComms (charitycomms.org.
uk) is the professional membership
body for charity communicators.
We aim to improve the standard of
communications and champion its
role in the sector.
Thanks to all the people who have
helped with this draft. Thanks especially
to the people we interviewed: Cath
Drake from NSPCC, Lucy Smout ex-DISC,
Mary Ryan from Cancer Research UK,
Vicki Cook from RNIB, Kate Pattinson
from Oxfam, Christina McGill, ex-Breast
Cancer Care, Alexandra O’Dwyer
from Scope and Joe Human, stories
consultant. Thanks also to the people
who put in their ideas and
their guidelines: Betty McBride from
BHF, Polly Markandya from MSF, Brenda
Shalvey from Mencap, Christian
Humphries from UNICEF-UK, Eleanor
Perkins, Habitat for Humanity and many
more. Thanks finally to everyone who
commented on the draft version of
the guide and to Mark Bowley
(bowleydesign.com) for design and
layout of the guide.
Membership of CharityComms gives you
access to great content, examples of
best practice, networking events and
a host of opportunities for professional
development. Find out more at
charitycomms.org.uk/membership
To explore more best practice on a
range of key communications issues,
check out our events calendar at
charitycomms.org.uk/events
About the author
Joe Saxton is driver of ideas at market
research firm nfpSynergy, and is the
founder and chair of CharityComms.
Joe works on a range of specific projects
particularly those looking at impact,
communications or trusteeship. He
also works on the overall direction and
development of nfpSynergy.
charitycomms.org.uk
Best Practice Guide to Portraying Beneficiaries and Service Users
28
Resources
Below are links to documents referenced in this guide.
EXAMPLE Media Volunteer Request Form
Details of your activity
Today’s date:
Your name:
Contact details (contact number and email):
Department:
Description of media activity/publication/event:
Date and timings of activity:
Audience:
How would you like the volunteer to be involved (eg. provide a quote, take part in
an interview)?
How will input from a Media Volunteer (someone with a close experience of
[CHARITY CAUSE] benefit your activity?
Further details if attending an event
Venue:
Staff contact on the day (including contact details):
Details about their involvement (eg. speaking or media activity attached to the
event):
Specific timings (including length of their talk):
Arranging travel and expenses (NB: costs will need to be covered by [NAME OF
DEPARTMENT]:
Any other requirements (eg. dress code):
Media volunteer request
form (Cancer Research UK)
Purpose
Our aim is to show the impact of housing on peoples’ lives, whether that is decent housing or inadequate
housing, and how safe, decent housing can be achieved through a transformative participation. It is our duty
to respect the dignity of the people we photograph or video, whatever their situation.
Guidelines
. People
• In photos and videos, children and adults should be appropriately clothed
• Never exploit a person’s vulnerability, and always assess how the photos/videos you take will impact
on the safety, well-being and rights of the person being portrayed.
. Habitat for Humanity
• Your photographs should reflect the spirit of the mission and values of Habitat for Humanity. This
includes partnership, transformation, empowerment and working with people regardless of gender,
background, religion or nationality.
• When planning your shots, try to show the interaction between people and their homes, not just the
buildings.
. Global Village
• Volunteers should respect the onsite health and safety guidelines given to them. Please refer to your
trip protocol guidelines which refer to behaving appropriately on site.
Permission
Habitat for Humanity homepartners and Global Village volunteers have already given their permission for
their photographs and videos to be used by Habitat for Humanity.
Habitat for Humanity GB requires written or verbal permission from an adult or guardian when:
• The subject is under 16 and can be recognised from the photograph or video and/or accompanying
information
• There is information in the photograph or video that is potentially sensitive (includes racial or ethnic
origin, religious beliefs, physical or mental health, political opinions, trade union membership,
sexual life or anything relating to the commission (alleged or otherwise) of any offence and related
proceedings)
Preferred requirements for the Media Volunteer
(please state no preference where applicable)
Gender:
Age:
Location:
Specific details about their experience:
If either of these situations apply then the person should be asked to sign the Habitat for Humanity photo
release form. A parent or guardian must sign and be informed regarding the use of a child’s image or story.
The child should be informed in an age appropriate manner and give permission for use of his or her image
and/or story. Where possible the form should be translated into the local language, and, if the
parent/guardian is illiterate, be read aloud.
Photography:
Any other preferred requirements (eg. their availability, family details or past
media activity):
When the above criteria do not apply, informed consent from the subjects may be sufficient. In these
situations, the photographer, reporter or cameraperson should clearly identify themselves and explain the
general purpose of their photographing or reporting.
PDF
EXAMPLE RECORDING/FILMING CONTRIBUTOR RELEASE
​… ……… … …………………………………………
Name
Address ​… ……………………………………………………
Programme
​
​… … ……………………..……………………..…(working title)
Description of Programme:
………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………
………..
Date…………… … ……………………………………………
Dear Sir/Madam,
In consideration of our arranging to film and record your interview, contribution and/or
performance (together “ the Contribution”) on DATE, you agree to the recording and filming of
the Contribution.
You acknowledge that you have had explained to you, and you fully understand, the full nature
of the Programme and your participation i n i t and you agree to so participate.
All resources contained in HAL (Habitat for Humanity Asset Library) are the property of Habitat for Humanity
unless specifically expressed otherwise and are available for use only to Habitat for Humanity staff and
volunteers and their designates for Habitat for Humanity business purposes. Unless specified otherwise,
Habitat for Humanity owns full and complete rights to these materials and grants their use for publication.
Use of these materials is intended for discussion of and presentation of the role and scope of Habitat for
Humanity. They are intended only for use in discussion of or reference to the ideas, expressions or events of
Filming Contributors
Release Form
UNICEF UK guide to asset gathering
Field trips are an opportunity to gather the stories and photos we need to emotionally engage our supporters.
These stories are the voices of children in our all of our communications.
The contents of this guide include: Photography and UNICEF Policy including protection; Basic tips on making
photographs; Interviewing and life stories; Templates for interviewing;
What assets do we need?
 Photos with captions and first-person quotes
 Photos with short interview and background – 300 words – consent form
 Potential feature story with range of people – the child, the parent, the worker, UNICEF worker with
series of photos. Consent forms for all.
What the issues are for children. What UNICEF is doing to help. How does this impact on a child’s life.
Photography and UNICEF policy
Brand – graphic values
 Simple - focus on children
 Optimistic – solutions and hope
 Bold – communicate clearly and with emotion
 Contemporary – use of angles, framing, colour, strong lines
​
​
​[Name of Contributor]
Code of Conduct on Images and Messages
2006
Preface
This Code of Conduct on Images and Messages has been written by NGOs working in the areas of emergency relief,
long term development and development education.
The purpose of this Code of Conduct is to provide a framework on which organisations can draw when designing and
implementing their public communications strategy. The Code offers a set of guiding principles that can assist
practitioners in their efforts to communicate their organisation’s programmes and values in a coherent and balanced
way.
Signatories to this Code are acutely aware of the many challenges and difficulties entailed in conveying the scandal and
injustice of poverty while striving to meet the ideals of the Code. It is a reality of our world today that many of the images
of extreme poverty and humanitarian distress are negative and cannot be ignored. To ignore them would run counter to
the spirit of this Code which is to portray the reality of the lives of people with sensitivity and respect for their dignity.
Images and messages should seek to represent a complete picture of both internal and external assistance and the
partnership that often results between local and international NGOs.
The values of human dignity, respect and truthfulness as outlined in the Code, must underlie all communications. The
signatories to this Code are committed to these principles, and will translate them into internal policies and procedures.
They are also committed to working constructively with others whose work involves communicating on issues of global
poverty, to explore ways of reflecting these principles in other fields of communications.
UNICEF: Field trip asset
guide
Child protection
Children in the following at-risk categories should not be
identifiable if photographed:
1. Victims, or perpetrators, of sexual exploitation;
2. A child who is HIV positive and is below the age of maturity to
give informed consent1;
3. Charged or convicted of a crime;
4. Current or former combatants, IF being so identified puts them
at risk of future reprisals.
You agree that you will not at any time disclose to any third person (including without
limitation the press and media) any information in relation to the Contribution, the
Programme, this Agreement and/or our general affairs without our prior written c onsent.
For and on behalf of ​
[Name of Production c ompany]
© UNICEF/NYHQ2009-2299/Holt
Respect and uphold child rights
Respect the real situation of children’s lives. Uphold their rights to:
Accurate representation
respect
privacy
protection
We shall be entitled to c ut, edit and translate the Contribution as we deem fit and we shall not
be obliged to i nclude all or any of the Contribution i n the Programme.
​ Read and agreed
DOC
If you are asked to stop filming or photographing by a member of Habitat for Humanity staff, team leader
or member of the community please do so.
​Using photographs, videos and stories
You hereby give all consents necessary for the reproduction, exhibition, transmission,
broadcast, publicising, previewing, reviewing and exploitation of the Contribution without
time limit throughout the world by all means and media (whether now known or hereafter
invented) without l iability or acknowledgement to you. You agree that your c ontribution will
be true and honest.
Yours faithfully
Video and photo guidelines
(Habitat for Humanity)
Photo and video footage guidelines
Introduction
Refer to the Code of Conduct for the International Red Cross/Red Crescent
Movement and NGOs in Disaster Relief #10: ‘In our information, publicity and advertising activities, we
shall recognise disaster victims as dignified human beings, not hopeless objects;’ and also the Reuters Terms
and Conditions for use of photographs by AlertNet members: ‘If in doubt about fair usage, try to put
yourselves in the shoes of the person or people depicted in the image and ask: “Am I exploiting or helping?”
A former child solider
© UNICEF/NYHQ2010-1152/Asselin
Consent forms – a child’s right to respect and privacy
Ask permission before taking someone’s photo. Pictures taken in a public
setting are documentary images and don’t need consent forms. Take notes
for the caption.
DOC
However, as our intention is to use stories in promoting our work, be
explicit about this and to seek informed consent especially if recording a
more in-depth story and/or taking a series of photos or film footage of
particular individuals. The consent form is a record that we have obtained
appropriate permission to use these stories, photos and films. The form
MUST be translated into the person’s everyday language, preferably written.
1
Revealing identity: a young person involved in HIV awareness work would be aware of the implications of identifying their HIV
status and could confirm this in a consent form provided they have appropriate support in making this decision.
CONCORD: Code of
conduct on images
Case study guidelines
for staff
PDF
Mencap Case Study
Guide
By signing and promoting this Code, NGOs will continue to keep the development agenda very much in the public eye
and to look beyond the sound bite or single image to reflect the values espoused in this Code.
Code of Conduct on Images and Messages
a. Guiding Principles
Choices of images and messages will be made based on the paramount principles of:
• Respect for the dignity of the people concerned;
• Belief in the equality of all people;
• Acceptance of the need to promote fairness, solidarity and justice.
Accordingly in all our communications and where practical and reasonable within the need to reflect reality, we strive to:
• Choose images and related messages based on values of respect equality, solidarity and justice;
•
Truthfully represent any image or depicted situation both in its immediate and in its wider context so as to
improve public understanding of the realities and complexities of development;
•
Avoid images and messages that potentially stereotype, sensationalise or discriminate against people,
situations or places;
British Heart Foundation
Case Study Protocol
This document sets out the charity protocol for the use of patient and supporter
stories and images in all BHF materials – from prevention and care literature, to
income generation materials, posters, campaigns, media work and the website.
The British Heart Foundation policy on case study use is informed by two central
tenets:
• Heart Disease is the UK’s single biggest killer. There are well over two
million people living with heart problems, and just about every family in the
country has been touched by cardio-vascular disease in some way or
another.
•
The British Heart Foundation is the nation’s heart charity. We have a welldeserved reputation for open and straightforward communications on
everything from the use of animals in research to the need for stem cells in
regenerative medicine.
A stakeholder/customer population of this size, and our reputation (and
requirement) for transparency in all our communications lead us to this default
position on the use of case studies:
Case study stories and images used in British Heart Foundation materials are
of real patients and supporters, accompanied by genuine quotes and images.
PDF
Case study protocol
(British Heart Foundation)
FAMILY STORY REQUIREMENTS HFHGB
Please use simple Word format to send the family story, include direct quotes, send pictures and video of the family
separately (see photo/video checklist below) with captions and include the following information (in any order). You can enter
the information directly into this sheet or you can use this sheet as a checklist.
Basic Details
Interviewer name
Interviewer contact details
Photographer/videographer name
How to select images
There are no real rules to selecting photos. Any rule can always be broken when the photo is saying something special. The
more time spent working with photos, and seeing final products, the more insight you will gain as to why photos are chosen and
how they enhance a message.
A professional photographer may only keep a handful of exceptional photos from a trip but we have to select to reflect all
possible Oxfam needs. They must support any number of finished Oxfam products or stand alone to illustrate a point. The
following slides should be seen as guidelines, not rules.
What to look for/ think about
•
•
•
•
•
•
•
•
•
•
Clear clean photos that are in focus
Portrait shape and landscape of similar images
Photos of people going about their daily lives that reflect reality and are not obviously set up posed shots
Keep photos of incidental Oxfam objects – health kits – mosquito nets - buckets
Look for evidence of technology - radios – solar power - phones - storage sytems
Keep photos reflecting the culture, in the city, not just Oxfam programme at work
Space for text – vital for a front cover - not needed in every photo
Could it crop to panoramic, square etc? All shapes and sizes are called for.
Is this the only photo of Doris? If it isn’t a great image keep in case there is an interview, it can be discarded later
Do not over select take time to go through a second time, compare similar pictures and discard those less good
At times the comparisons made are a little unfair as professional photos are contrasted with staff shots. The intention is to make
you think about what you choose and why, not to criticise anyone’s work.
​The very best photos can tell a story without words
Telephone:
DD/MM/2011
PBF project code and name
Family name
HFH staff member print
name:_________________________________
Signed:
____________________________________________________
INITIAL STORY/First visit
+ photos and video
1. Family background
Personal names, family name & ages of each family members
Occupation of adult family members
Basic information about the family’s children (Do they go to school/stay
home with a relative? How much does it cost to go to school? How well are
they doing at school?)
Describe a typical family day (from when they get up until going to bed)
Family story requirements
(Habitat for Humanity)
What is the family’s source of income? Are there times in the year when
the family has very little or no income? When and why?
2. The problem situation/housing challenges (if the family already lives in a Habitat home or has received HFH
intervention, this is where the family used to live). Please include least one direct quote from each family member including
children.
Community and surroundings: describe the community/surroundings. What
is good/bad about the community where the family lives?
Description of the living conditions: What materials is the house made from?
How many rooms are there?
There are exceptions to the default position:
3. As a rule, the British Heart Foundation does not use composite case-studies
which draw on the experiences of more than one person to highlight an
issue or heart need. In the unlikely event that a team believes that a
composite case study is required for a communication, these safeguards
apply:
Email:
Date of interview
Family story title
● This family has explicitly agreed and signed a
release that their story and images can be used for
publicity and fundraising purposes
BHF staff working with patients and supporters should get explicit agreement
(and written permission where possible) to use their information and
photographs as case studies in our media work, prevention and care literature,
fundraising activity and the website.
1. Where a case study, or in the case of a child, a parent, wishes to share their
story but does not want to be identified, the charity will anonymise the
information to protect the privacy of the individual and/or use a model for
illustration.
In such cases, the fact that an anonymised case study has been used will be
indicated on the document/video/website and the identity of the case study
will be lodged with the divisional Director for the originating department.
2. If a performance is required for information or marketing campaigns, models
or actors may be used with the prior agreement of the Director of Policy and
Communications. In such cases, the fact that actors/models have been used
will be stated on the campaign or subject pages of the BHF website and,
where possible, on the campaign material itself. All quotes and heart health
experiences used in such cases will be sourced from named heart patients
or supporters, and details lodged with the relevant divisional Director.
PDF
These guidelines are aimed at staff who, as part of their jobs,
are involved in collecting and writing up case studies for use
by Mencap. These guidelines have been written to support the
development, population and use of the case study database.
Housing condition: What is missing/in bad condition
(sanitation/roof/flooring/windows/ door etc.)?
Finance: How much is the family paying for their current/previous house?
Renting/owners? Do the family use the home for income generation? Does
anyone run a business from the home?
Water and sanitation: Describe the toilet and potable water situation. Is
there a latrine? Where does the family’s water come from? Is it safe? What are
the problems?
Health: Is the family’s health affected by the bad living conditions/location?
DOC
Nutrition: What does the family usually eat? How do they cook? Where does
the food and fuel come from?
Safety: How safe is the house? Are the family secure at night? Do they worry
about their possessions or personal safety? What are the problems?
DURING INTERVENTION
+ photos and video
Basic details as above: interviewer name, date, story title, PBF project code, family name
3. HFH Intervention. Please include at least one direct quote from each family member.
Oxfam: How to select
images
Ethical Approaches to
Gathering Information from
Children and Adolescents in
International Settings:
Guidelines and Resources
Horizons
Population Council
IMPACT
Family Health International
DOC
DOC
Ethical Approaches to
Gathering Information from
Children and Adolescents
in International Settings
PDF
Dochas, The Irish
Association for International
NGOs: Code of Conduct on
images and messages
WWW
POLIS
Who cares?
Challenges and opportunities in
communicating distant suffering: a view from
the development and humanitarian sector
June 2012
Shani Orgad and Corinne Vella
With contributions from
Bruna Seu, Frances Flanagan, Leigh Daynes,
Brendan Paddy, Ian Bray and Joe Morrison
www.polismedia.org
Email: [email protected]
www.charliebeckett.org
Twitter: @charliebeckett
Who cares? Challenges
and opportunities in
communicating distant
suffering: a view from
the development and
humanitarian sector
PDF
charitycomms.org.uk
Best Practice Guide to Portraying Beneficiaries and Service Users
29