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It always amazes me to see the brave actions that some individuals and small groups are willing to take to express their opinions on the Scientology organization. But it also disturbs me sometimes to see the risks that people take in the process. With the acts of violence and intimidation that have taken place, I think it's extremely important that everyone involved educate themselves, not just on the practices of the Scientology organization, but on ways to express their opinions without taking needless risks. Choosing to take a risk to express your opinion is often a very noble thing; but it should be a deliberate decision, made with full knowledge of the alternatives.

So while we're sharing our knowledge of the Scientology organization, we should also share our knowledge of the safety techniques we've learned.

So, with that in mind, here's some basic safety tech I've learned for "contested actions" -- actions where there's a good chance that the other side may use violence or intimidation in an attempt to stop the action. Based on recent picket reports, Clearwater pickets would certainly qualify as contested actions. (Heck, based on recent reports, walking down a street in Clearwater may be a contested action...)

Use of Cameras at Contested Actions (Eagle, Hawk and Wolf) Single-use Cameras Needless to say, the more cameras of any kind that you have at a contested action, the better. Ideally, _everyone_ involved should have a camera of some sort, even if it's only a disposable one-shot-use camera.

In any kind of organized action, someone should be in charge of obtaining enough single-use cameras for anyone who needs one. (Costco, Wal-mart and Target are all good sources for inexpensive cameras.)

Even if an action doesn't have any central organization, individuals should always bring a camera for themselves, and it's a wonderful touch to bring an extra camera or two for those who might need them.

People should be encouraged to use their cameras to record their own memories of the event; however, at least five shots at the end of the roll should always be saved for safety purposes.

Even if an individual has a better camera, it's still an excellent safety precaution to keep a small single-use camera--like the Kodak Advantix Access--in a back pocket for emergency purposes, in case the better camera malfuctions (or is vandalized or broken).

Video Cameras As an absolute, bare minimum, any contested action should always have at least one video camera rolling at all times. The margin of safety is much greater if two or even three video cameras are used; and of course, at a large action, the more cameras, the better.

The purpose of the video cameras is to make sure that _everything_ that goes on at the action--by both sides--is recorded. Getting 'interesting' video--video that shows a close-up view of the action--is very useful as well, but making sure that _everything_ is recorded is far more important. For that reason, if there are several video cameras at the scene, it's essential that they coordinate their actions to at least some degree; otherwise, it's far too easy for every camera at the scene to be focused on some distraction tactic, while a violent act or other more important event goes unrecorded elsewhere. Prior practice and training by the camera operators is helpful, but not necessary; a few minutes of discussion before the action starts can be all that's needed. What's important is that the camera operators each be aware of their role in covering the action, and that they be disciplined enough to carry out their roles.

The following are some simple roles that camera operators can take, that can allow even a small group of camera operators to safely and effectively record a contested action. These tactics can certainly be refined and improved; but they are a great place to start.

The Eagle The purpose of the 'eagle' camera is to make sure that the entire action is recorded at all times. There should _always_ be at least one camera in the eagle role at all times during any contested action. If there's only one video camera at the action, that camera operator should always take the eagle role.

To be an effective eagle, a camera operator needs to be disciplined and calm; it's not necessary that he or she be particularly skillful with the camera. A camera that takes sharp, clear images is important (a digital camera is ideal); but the camera's zoom function is not important. A good microphone that can capture sound from long distance is a real plus.

As an eagle, your one and only responsibility is to record a continuous, wide-angle shot of the entire action. You should _never_, _ever_ zoom in on only part of the action, no matter how interesting it may be. Your function is _not_ to get interesting video; it's to get _complete_ video--a full, continuous recording of the scene.

It's not necessarily important that your recording show individuals clearly enough to be identified; all that's necessary is that the tape be clear enough to allow individuals to be followed through the scene. In other words, just from watching your tape, I may not be able to tell which of the people on the tape is John Doe. But once I've established--through watching other people's camera shots, or through eyewitness testimony--that a particular person on your tape _is_ Joe Blow, the tape should be clear enough that I can keep track of Joe Blow as he moves through the crowd.

In order to get a good wide-angle shot, you should stand well back from the action. It can be very useful for you to scout out the location in advance, picking out possible filming locations. If at all possible, you should find a filming location where your camera can't easily be blocked from the front. A roof or upper-story window can be absolutely ideal. Bear in mind that, in the US and some other countries, you may be required to keep moving in order to legally film from public property (such as a sidewalk); so try to practice holding a steady camera shot while walking back and forth. A tripod will generally be more of a hindrance than a help; but a camera support that straps to your chest or shoulders can be very useful. (The Sima VideoProp works particularly well, since it also allows the camera to be quickly released from the support if necessary; it's available from Best Buy stores for less than $30.)

In general, you should have your camera set to 'manual focus' mode, rather than using the automatic focus system. This is vital if you're shooting through a window, since the automatic focus system will probably focus on the window glass, ruining the shot. Even if you're shooting in the open, manual focus is a very good option; if someone walks in front of your camera at close range, you don't want the camera focus to shift to that person (Which an auto-focus system will probably do), since that will ruin the long-range shot of the action in the background.

You must make others participating at the action available of the limits of your camera's range, so they won't spread too far apart. If at all possible, try to pick two landmarks (trees, light poles, etc.)

that will be at the outside edges of an effective camera shot, and warn the other participants to stay between those landmarks. If the action is large enough that it's impossible for a single camera shot to record the entire action, then you will need to divide the scene of the action into multiple, overlapping camera zones, and have a separate eagle covering each zone.

As an eagle, _your role is to record the action, not to directly participate in it._ You should not be carrying a picket sign, or wearing clothing with slogans, or doing anything else provocative. Do not try to narrate the action by speaking into your camera; you want as many of the sounds of the scene as possible to be recorded along with the sights. If someone harasses you, you should speak to them as little as possible, and do not say anything provocative if you do speak; call someone else for help if necessary. If someone attempts to deliberately obstruct your view, you should call for help and do your best to move to an unobstructed area. (But keep shooting continuously, even though your shot is blocked; having a good shot of the person obstructing you can be useful in and of itself, and there will often still be visible details of the scene going on in the background.)

The Hawk The purpose of the 'hawk' camera is to zoom in and take some tight shots of the action, while still being in a position to provide wide-angle shots and help out the eagle. If there are two camera operators at an action, one should take the hawk role while the other acts as the eagle.

The role of the hawk is the most technically challenging camera role; a good hawk needs to be familiar with and skilled with the camera, as well as the eagle's discipline and calm. The hawk's camera should take good images, and ideally should have a good zoom function;

again, a good long-distance microphone is also a plus.

As a hawk, you can move around somewhat more freely than the eagle. In general, you should try to be recording a good, continuous, wide-angle view of the scene, much like the eagle. If you see interesting events happening, you can attempt to get closer shots of those events; but you should do so by using the camera's zoom, _not_ by getting too close to the action yourself. You should never physically move in so close that it would take you more than a few seconds to move back and get a full wide-angle 'eagle view' of the action. If there seems to be several interesting events going on at once, your goal should be to get a shot covering all of them, not a more visually interesting shot covering only one of them.

Like the eagle, the hawk should try to stay detached from the action. Again, you should not be carrying picket signs or wearing provocative clothing.

The hawk and eagle can greatly increase their ability to effectively record the scene if they can coordinate their actions with each other. In particular, the eagle and hawk should always have a signal worked out that the eagle can use when it's necessary to change film or batteries, or when the eagle's view is obstructed. When the eagle calls out that signal, the hawk should _immediately_ switch back to a wide-angle 'eagle shot', and call a signal back to the eagle when this is done. The eagle can then quickly change film or batteries, or move to an unobstructed spot (without having to worry about trying to keep a steady shot of the action in the process).

The Wolf The wolf is a close-up photographer, whose job it is to go right into the action and get visually interesting shots. This is certainly the most exciting camera role to take, and it's frequently the role that most people want to take; but it's actually the least important role for safety's sake. It should only be used when there is already at least one eagle and one hawk on the scene.

Virtually any video camera will do for the wolf. The wolf should be keenly aware that his or her camera will be right in the middle of the action, and exposed to possible damage. For that reason, an inexpensive analog camera is a much better choice for the wolf than an expensive digital camera would be. In addition, the wolf should be absolutely sure to have an ultraviolet filter installed over the camera's lens; these filters cost just a few dollars, and protect the camera's expensive lens from scratches and gum. (This is very wise for the eagle's and hawk's cameras as well, but it's not quite as critical there.)

As a wolf, your camera role is quite straightforward: find the most interesting events, and get the best close-up video and audio that you can. If no interesting events are happening at the moment, then circulate through the crowd. Get good, close shots of everyone involved in the action, on both sides. Interview your fellows involved in the action; even interview those on the other side, if you think you can get away with it. This is the only role where you're allowed to actively participate in the action while you're filming it; if you can work out a way to carry a picket sign while also using your camera effectively, go for it. Don't deliberately provoke confrontation with the other side, unless you really think it's necessary; but do make yourself and your camera very visible. If someone on the other side feels inclined to harass or block a camera operator, give them the opportunity to harass or block you or another wolf. It will make very effective and interesting video; meanwhile, the eagles and hawks will be getting good, unobstructed long-range video.

In particular, if you see the eagle or hawk getting harassed or blocked, get over there immediately; challenge the harasser assertively, and draw his or her attention to you and your camera. By providing a more interesting harassment target than the eagle or hawk, you will probably be able to allow the eagle or hawk to quietly move away and resume filming unmolested. If not, then switch to a wide-angle shot of the action yourself, taking over the eagle's or hawk's role until they can disengage themselves.

By following these or similar camera tactics, you can get complete, effective camera coverage of any contested action, and increase the safety of everyone involved on both sides.

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> These are all good suggestions for photography. But I don't want
> people to think they have to have all this stuff to protest
> Scientology. I feel safe protesting solo, without any camera. I have
> never been attacked at a protest, but if a bully wanted to do it,
> that's an acceptable risk. Don't let a little pushing or even
> punching prevent you from protesting. Don't let the lack of three
> cameras stop you from expressing your opinion on a sign. Having
> cameras is better, but protesting without cameras is better than not
> protesting at all.
Thank you; I should have emphasized that more strongly. The vast majority of people--and, from my limited experience, the vast majority of Scientologists--are nonviolent people. They may disagree with your positions, and they may let you know about it, but they won't punch you or push you into traffic. Most pickets against most Scientology orgs aren't 'contested actions', because it's unlikely that a violent response will occur.

So I absolutely agree with you; in most cases, the cameras are helpful, but unnecessary. But if you _do_ have a camera, you should give some advance thought to how you plan to use it if an aggressive response happens--because an aggressive response _might_ happen, even though you haven't anticipated it.

If you're the only cameraperson on a scene, and if you're not anticipating an aggressive response, then go ahead and mingle, interview folks, etc. But the moment something does happen, your best response is generally to back off and get that wide-angle 'eagle view' of the scene, rather than charging in for the close-up shot.

Otherwise, you can too easily be suckered in by a distraction, while the real action goes on out of view.

By the way, if you think that the other side may _try_ to distract you--especially at a relatively small action--there's a very effective tactic you can use as a lone camera operator. In your normal camera coverage, stand back a bit, as if you were taking that wide-angle eagle shot; but zoom your camera in a bit. When a possible distraction event happens, walk towards the source of the distraction, as if you were about to take a close-up shot; but while you're doing it, zoom your camera _out_, not in, so that you're actually still getting a full shot of the scene. The other side will see your movement, hear the camera zoom, and assume that their distraction has been successful; with any luck, they'll go ahead and take whatever action they were trying to distract you away from seeing, but they'll still be in full view of the camera.

If you're successful in doing this, your next act is critical.

You should _not_ shout "Gotcha!", or do anything else that suggests that you actually did get the shot; if you do, and if the other side thinks that not being recorded is important enough, they may try to take your film or damage your camera. You should act as if you _did not_ get the shot, and back away to the normal eagle position, as if you were just trying to prevent that sort of distraction from working again. This is much more likely to keep the situation from escalating.

Conversely, if you miss the shot of some violent act happening, it can sometimes be useful (though potentially dangerous; be careful!) to pretend as if you _did_ get the shot, as long as that's remotely plausible (in other words, if your camera was pointed vaguely close to the correct direction at the time). If the other side reacts aggressively to your statement that you recorded the act, that can sometimes be proof enough that the act did take place. After all, if the violent act hadn't taken place, it couldn't possibly have been recorded, so what reason would the other side have to react in that way to the idea that they _were_ recorded?

--
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