This comprehensive written report supports our investigation into our joint investigation with Al-Haq’s FAI Unit into the killing of journalist Shireen Abu Akleh, detailing the methodologies we employed and including a step-by-step breakdown of the visual, audio and spatial analysis we undertook to come to each of our investigation’s conclusions.
On 11 May 2022, Al Jazeera reporter Shireen Abu Akleh and a group of five other journalists arrived at Balat Al Shuhada’ street in Jenin to report on a raid on the nearby refugee camp by the Israel Defence Forces (IDF). The journalists wore prominent ‘PRESS’ vests that identified them as such, from both the front and back, and followed standard protocols for self-identification as they slowly approached a convoy of five armoured Israeli military vehicles parked along an unnamed street intersecting Balat Al Shuhada’. The Israeli army vehicles were approximately 200 metres south of the journalists.
At 6:31 AM, an Israeli army special forces marksman1 fired the first burst of six bullets directly at the group of journalists from a sniper hole in the military vehicle at the front of the Israeli army convoy. One of the shots hit journalist Ali Al-Samoudi in the shoulder. Eight seconds later, as the journalists attempted to take cover, the Israeli army marksman fired a second burst consisting of a further seven distinct gunshots, once again targeting the journalists. One of those bullets hit Shireen Abu Akleh in the head, fatally wounding her. Two minutes later, an unarmed civilian, Sharif al-Azab, attempted to deliver first aid to Shireen, and he, too, was fired at with three distinct gunshots.
Forensic Architecture and Al-Haq’s investigation offers detailed forensic evidence regarding the circumstances of Shireen Abu Akleh’s killing on 11 May 2022.
Our investigation conclusively demonstrates that:
Our investigation is the first to employ a precise digital reconstruction of the incident. Using advanced spatial and audio analysis, we tracked the location and movements of the various key actors throughout the unfolding incident, including the journalists, civilians, and military vehicles. This reconstruction also allowed us to analyse what the marksman could have seen and the precise trajectories of the shots they fired at the journalists.
We analysed a video recorded by an Al Jazeera cameraperson at the scene, which was provided to us exclusively; we directly obtained other videos taken by witnesses to the incident and gathered other available open-source videos of the events. Additionally, we conducted on-site interviews with survivors and witnesses, we examined the pathological report prepared after Shireen’s death, and we examined material traces left on site. Altogether we examined, synchronised and geolocated over thirty videos, photographs, testimonies, and material finds.
See section 4 for a detailed list of material used in the analysis.
The incident is composed on three distinct rounds of shootings: 16 shots in total, separated by two breaks. The first round is of 6 shots, the second round is of 7 shots, and the third round is of 3 shots.
We define the ‘incident’ as starting with the first shot of the first round at 6:31:06 and ending 2 minutes 38 seconds later when the last shot of the third round of shooting is fired at 6:33:44. All times referred to in this report are in local Jenin time (UTC +3) and in 24-hour format.
See section 6 for a detailed timeline
Ten of the available sources of footage on the day of the incident show the position of the Israeli army vehicle convoy at various times. This helps establish the precise position of the convoy at the time of the incident. (4.2-4.2.2, 4.3-4.3.5, 4.3.8-4.3.9)
Only two videos capture the incident of the shooting itself, 4.1.1 (henceforth ‘Al Jazeera’) and 4.2.1 (henceforth ’16 min video’). ’16 min video’ was recorded as a livestream on the social media platform TikTok by user Sleem Awad (sleemawad1995). ‘Al Jazeera’ is a video that was recorded by an Al Jazeera cameraperson during the incident. Al Jazeera provided us with the exclusive full length of the recorded footage, which was previously unpublished.
The rest of the material found online and given to us by witnesses shows the moments before and after the incident. (4.2.1,4.2.2)
The material created by the authors, 4.4.2-4.4.5, concerns on-site documentation of the impact points of bullets on a tree at the site of the incident.
4.4 and 4.4.1 are photographs by the authors taken at the site of the incident that accurately simulate the vision of the marksman through their rifle scope at the moments they shot Ali and Shireen, respectively.
We commissioned a local surveying company to conduct an extensive, professional drone survey of the site and sourced ground photography of the entire length of the road, which allowed us to create a highly accurate and geo-referenced 3D model of the scene (photogrammetry, see 5.6.1).
We were provided with Shireen’s autopsy report for the purposes of this investigation. Using the findings in the report, an image of the bullet retrieved from Shireen’s skull ‘bullet image’ (4.1.2) published by Al Jazeera, as well as expert accounts identifying the bullet, we confirmed the bullet as being a 5.56mm bullet with a green tip.2
Through open sources, we identified green-tipped bullets as being M855/SS109 bullets manufactured by IMI (Israel Military Industries). These bullets have shallower ballistic trajectories and higher precision than typical 5.56mm bullets. According to IDF soldiers’ forums, such green tipped 5.56mm ammunition is the standard ammunition for Israeli army marksmen.3
M855/SS109 are longer, and the cartridge has more fire-powder, than a regular bullet. M855 bullets are meant to be fired from a specially-adapted rifle (such as the M4A1 – an M4 rifle adapted for marksmen) equipped with a thicker barrel. The thicker barrel is threaded more densely (7 threads per inch vs 6 threads per inch in a regular M4) to allow the bullet to spin faster as it leaves the barrel. A barrel with more threads makes a bullet spin faster around its axis, thus generating a shallower ballistic trajectory. All of this ensures that the shot is more precise. The thickened barrel is meant to absorb the heat emanating from the increased friction due to the denser threading. These bullets are also reinforced with an internal steel structure.4 As a result of these factors, M855 bullets have higher penetrability through body armour and helmets than regular bullets.
Open-source research in equipment lists of the Duvdevan paratrooper special unit, the unit reportedly present in Jenin on that day, revealed that marksmen in such units use M4 rifles.5 We further research online soldiers’ fora, these confirmed that IDF marksmen use the M4 Carbine and further revealed their M4 carbine’s are commonly equipped with an optical scope in the Trijicon ACOG series with a 4x magnification, likely the 4×32 model (the most common model).6
The Trijicon ACOG 4x32mm battle scope, which likely has the same specifications as the scope equipped by the Israeli army marksman, magnifies a scene 4x through a 32mm lens, with a specified field of view of 12.27 meters across the lens at 100 meters away. The scope is designed to be used with one or both eyes open. The specified field of view is perceivable when the lens is 1.5 inches away from the eye (the eye relief specified by the product). The scope is still usable when further away from the eye: this preserves the 4x magnification preserved but the field of view is reduced. A 35mm camera with a 200mm lens replicates 4x magnification given that a 35mm format camera at 50mm focal length correlates to 1x magnification.7
‘Synchronising’ multiple videos describes a process which temporally aligns them within a single video file thus demonstrating when events depicted in one video chronologically overlap with those depicted in other videos. We synchronised ‘Al Jazeera’ and ’16 min video’ using Adobe Premiere Pro, a video editing software, in order to accurately analyse the incident.
Since we know that ‘16 min video’ was a livestream, we can accurately establish that it began at 6:24 AM. This allowed us to anchor the synchronisation to the real time in Jenin, accurate to the minute. this allowed us to anchor the synchronization to the real time accurate to the minute. ’16 min video’ runs continuously between 6:24:00 until 6:32:05 and again between 6:33:09-6:34:58. ‘Al Jazeera’ begins after the first round of shooting and is continuous between 6:31:10 and 6:34:51. ‘Al Jazeera’ and ’16 min video’ overlap between 6:31:10 – 6:32:05 and between 6:33:09 – 6:34:51.
We examined the videos in ‘slow motion’ to closely studied each frame to break down the actions of all people present in detail. Using Adobe Premiere Pro, we analysed the way in which the incident unfolded frame-by-frame in both ‘Al Jazeera’ and ’16 min video.’
To analyse the incident closely, we used Adobe Premiere Pro to zoom in on the subjects such that they occupied most of the screen, which allowed us to isolate and better see the elements captured in the footage.
An audio analysis was conducted by sound expert and researcher Dr. Lawrence Abu Hamdan for Forensic Architecture and Al-Haq. See section 5 in Dr. Abu Hamdan’s accompanying report for an explanation of the method used in his analysis.
We commissioned a local surveying company to conduct an extensive drone survey of the site and sourced ground photography of the entire length of the road, which allowed us to create a highly accurate 3D photogrammetry model of the site scale. Photogrammetry is a process by which large numbers of still photographs, of an object or environment, can be combined to create a precise and navigable 3D model. Photogrammetry software, such as Metashape, computes distances within a 2D image by a process of triangulation, taking into consideration metadata like the focal length of the lens of the camera that captured the image.10 Metashape then arranges every pixel from multiple overlapping images in 3D space, creating a ‘point cloud’ made of often hundreds of millions of individual pixels, or ‘points’. This point cloud can be anchored to its location in the real world, through a process known as ‘ground truthing’.11
We modified and added elements to this model through photographs and satellite imagery.
To precisely model the scene and incident from the footage, we had to first match the position, perspective, and focal lengths of all footage that captures the needed positions of analysis. We refer to the process of reconstructing the position of origin of a piece of footage and creating a simulated camera that matches it to the 3D model as ‘photomatching’ and to a single recreated image and camera as a ‘photomatch.’ Photomatching is a technique developed by Forensic Architecture through a number of investigations.12 We place the frames of a video inside our digital ‘site’ model of the scene, as a semi-transparent ‘foreground object’ in Blender. Using a ‘camera object’, a virtual parameter inside the software which simulates the view settings of a real camera, we match the same position, angle, and focal length of each footage in the 3D model. Using these simulated cameras in the 3D model, along with the corresponding footage superimposed onto the scene, we are then able to analyse the incident from multiple perspectives, including the positions of and distances between the journalists, the civilians, and the Israeli army vehicle convoy up the road.
At the level of scene, we used video stills from four different perspectives to situate the Israeli army military vehicle convoy. We studied the footage of these vehicles and used open-source research to identify the vehicles and their features. We identified the front and back vehicles as the ‘MDT David Urban Light Armoured Vehicles’. We modelled this vehicle using drawings from the manufacturer’s specifications as well as photographs of its features.13 We identified the Wolf Armoured Vehicle and purchased a precise 3D model available online after checking and verifying its precision, so that we could place it within our reconstructed 3D environment as part of the scene scale reconstruction.14
At the level of the incident, we ‘photomatched’ several stills of the incident from the ‘Al Jazeera’ and ‘16 min video’ footage in Blender which capture the position of Shireen and the other journalists present at significant moments throughout the incident.15 Through these stills, we modelled the position of Shireen, and the others present at the scene.
To model the position of individuals that are not captured on footage, we relied on other sources. To model the position of Ali in the moment he was shot, we relied on a 3D comparative analysis interpolating between his positions captured in the footage before and after his shooting, the photographed location of his wound, and his account of the incident delivered to us.
To model the position of Shireen in the moment she was shot and the trajectory of the bullet that killed her, we studied her autopsy report, to which we had exclusive access (4.6.1). We used this together with the synchronized footage and the 3D reconstruction of the incident, including the last position we see her standing and the first time we see her on the ground.
For those videos and photographs without metadata, as well as those which contain inaccurate metadata, we determined the time they were captured through a virtual shadow analysis. For each ‘photomatch’ in the 3D modelling software, Blender, we could overlay the matched image with a semi-transparency to allow us to maintain sight of the 3D model. Blender possesses a built-in ability to accurately simulate sunlight of a precise geographic location and time of year. By specifying the location as Jenin and the date as the same as that of the incident, we used our 3D model of the site to simulate the sun’s movement until the shadow of the 3D model matches the position observed in the footage. The match of shadows thus indicates that the footage was captured at approximately the same time, within a five-minute margin of error. Doing this for footages without metadata allows us to verify their occurrence on a timeline of the day of the incident.
Our digital reconstruction of the scene includes the precise position of the Israeli army armoured vehicle parked closest to the approaching journalists and its sniper hole. Using this reconstruction, we can simulate the Israeli marksman’s view through the scope of their rifle throughout the incident, including the moments Shireen and Ali were shot. We were able to simulate accurately based on the specifications of the scope which was likely used by the marksman, following research detailed in 5.3.2.
In order to model our digital reconstruction, we placed a virtual camera object matching a 35mm camera which accurately simulates the optical magnification of the scope in the identified position of the marksman. To precisely simulate the marksman’s view, we modelled a circle within the software with a diameter of 12.27 meters. This was then placed 100 meters from the camera, and oriented perpendicular to its view. This circle, in this specific position, would occupy the full extent of the scope from the view of the camera: the area not occupied by this disc would be outside the field of view of the marksman. This process allowed us to accurately limit the extents of the view to what the marksman would have seen in their scope in both magnification and extent. We captured this perspective with multiple positions of the journalists and civilians involved including the moments when the shooting began, when Ali was shot, and when Shireen was shot.
In order to conduct an analysis at the site of the incident, we took photographs at the site of the incident from the precise position of the Israeli army marksman at the time of the incident in order to reconstruct the view through the marksman’s scope at the instance of each shooting. We recreated the scene by positioning a camera of correlating specifications to the scope with individuals wearing the same ‘PRESS’ vests Shireen and Ali were wearing at the time of the incident at the various exact positions where Ali and Shireen were shot. These photographs were masked to match the marksman’s field of view described in 5.7.1. From this analysis we were able to determine the visibility of the journalists to the marksman.
We carried out an on-site testimony with Shatha Hanaysha. Shatha was one of the journalists present when the Israeli army targeted them. She was standing near Shireen when Shireen was shot and killed.
Shatha went to the site of incident with our team and recounted what she remembered of the incident, with an emphasis on what Shatha saw and the positions of each of the journalists at significant moments during the incident.
At the site of the incident, we also measured and marked on the ground the precise position of the journalists at several significant moments (the method of identifying their position is explained in 5.6.2). We then positioned actors to stand in place of the journalists at different moments and asked Shatha questions about the movement and location of the subjects in time and space. By providing the witness with fixed and known positions, they can fill in the key gaps of what we can see and hear of the incident: particularly in moments when we do not see the journalists in the footage. We do this also with the understanding that when witnesses are positioned in precisely the same locations they were during the incident, they can recall more easily the details of the incident.16
“Until we started moving, there weren’t any gunshots heard, even from afar. There weren’t any gunshots near us, something that would scare us away; the situation was very calm.”
Forensic Architecture (FA) is a research agency, based at Goldsmiths, University of London, investigating human rights violations including environmental destruction and violence committed by states, police forces, militaries, and corporations. FA has undertaken more than eighty investigations worldwide including in Pakistan, Indonesia, Myanmar, Guatemala, Mexico, Chile, Brazil the US, UK, Germany, Turkey, Ukraine and Greece. FA is directed by Professor Eyal Weizman and works to develop new evidentiary method and apply them in complex multimedia spatial analyses. The agency also works regularly with local and international NGOs such as Amnesty International, Human Rights Watch, Doctors without Borders, the ICRC, and the UN.
Our investigations employ pioneering techniques in spatial and architectural analysis, open-source investigation, digital modelling, and immersive technologies, as well as documentary research, situated interviews, and academic collaboration. Findings from our investigations have been presented in national and international courtrooms, parliamentary inquiries, and exhibitions at some of the world’s leading cultural institutions and in international media, as well as in citizen’s tribunals and community assemblies.
FA’s case files have been submitted as evidence in national legal processes across the world, including in Israeli courts. The agency’s findings have also been submitted or presented in international jurisdictions including the European Court of Human Rights and the UN General Assembly, and in national courtrooms, parliamentary inquiries, and truth commissions around the world.
Forensic Architecture has been recognised for its work in the field of journalism with a Peabody Award for Digital and Interactive Storytelling (2021), the European Cultural Foundation (ECF) Princess Margriet Award for Culture (2018), the Designboom Design Prize for Social Impact (2019), and a Peabody-Facebook Futures of Media Award for Interactive Storytelling (2017). FA director Eyal Weizman is a life fellow of the British Academy and recipient of an MBE for ‘services to architecture’. He is a member of the Technology Advisory Board of the International Criminal Court in The Hague and is on the board of the Centre for Investigative Journalism.
Al-Haq is an independent Palestinian non-governmental human rights organization based in Ramallah, West Bank. Established in 1979 to protect and promote human rights and the rule of law in the Occupied Palestinian Territory (OPT), the organization has special consultative status with the United Nations Economic and Social Council.
Al-Haq documents violations of the individual and collective rights of Palestinians in the OPT, irrespective of the identity of the perpetrator, and seeks to end such breaches by way of advocacy before national and international mechanisms and by holding the violators accountable. The organization conducts research; prepares reports, studies and interventions on breaches of international human rights and humanitarian law in the OPT; and undertakes advocacy before local, regional and international bodies. Al-Haq also cooperates with Palestinian civil society organizations and governmental institutions in order to ensure that international human rights standards are reflected in Palestinian law and policies. The organization has a specialized international law library for the use of its staff and the local community. Al-Haq is the winner of twelve prestigious international awards, including amongst others:
Al-Haq is the West Bank affiliate of the International Commission of Jurists – Geneva and is a member of the International Network for Economic, Social and Cultural Rights (ESCR-Net), the Euro-Mediterranean Human Rights Network (EMHRN), the World Organisation Against Torture (OMCT), the International Federation for Human Rights (FIDH), Habitat International Coalition (HIC), the Palestinian Human Rights Organisations Council (PRHOC), and the Palestinian NGO Network (PNGO).
Forensic Architecture have produced evidence for the then-UN Special Rapporteur on Counter-Terrorism Ben Emmerson QC, in whose company we presented our findings on drone warfare at the UN General Assembly in New York in October 2013 and the Human Rights Council in Geneva in 2014.
We presented evidence in the Israeli High Court in the case of The Committee of the Village of Battir vs. the Ministry of Defence (HCJ 7612/12) through Michael Sfard, who won this case on 4 January 2015.
Our report on the Use of White Phosphorus in Urban Environments was presented at the UN Human Rights Council Geneva in November 2012, and in March 2011 in the Israeli High Court through Michael Sfard.
Our Forensic Oceanography team presented the case of the Left to Die Boat before the French Tribunal de Grand Instance in April 2012, the Brussels Tribunal de première instance in November 2013, and in the courts of Spain and Italy in June 2013. Forensic Oceanography also had findings presented before the European Court of Human Rights in 2018.
The Gaza Platform and our Rafah: Black Friday report about the 2014 Gaza War, developed with Amnesty International, were submitted to the UN Independent Commission of Inquiry in March 2015, and to the International Criminal Court in March and September 2015.
Our 2019 investigation into the killing of Tahir Elci, a renowned Kurdish human rights lawyer, was cited by UN rapporteurs as instrumental in the re-opening of the Turkish state’s investigation into the killing, and was subsequently cited in the prosecutors’ indictment, and discussed at length in court.
Our investigation of the murder of Pavlos Fyssas was played before the Court of Appeal of Athens in 2018, as part of the trial of 69 members of the Golden Dawn political organisation, and was reportedly significant in the judge’s decision in the case.
Our investigation into the presence of Russian military units in eastern Ukraine in 2014 was submitted to the European Court of Human Rights in 2019 as part of an ongoing case.
Our investigation into intentional fire-setting in Papuan rainforests is currently before a court in Hamburg, where submissions were made in February 2021.
More information on our casework at www.forensic-architecture.org
Refer to Al-Haq’s website for a full list of Al-Haq’s activities, engagements, and submissions.
1. ‘Marksmen’ in the Israeli army are different from ‘snipers’. Unlike snipers, they are part of a standard fighting squad: their task is to target shots more accurately than regular troops. They are differentiated by the use of different munitions (marked by green tips) and by their guns having a bio-pod and an optical scope (such as Trijicon ACOG x4). See here.↩
2. See Al-Jazeera’s report from 2 July 2022, here.↩
6. See here for IDF soldiers’ forum confirming marksmen’s equipment as that of Trijicon scope with 4x magnification; see here for the way in which M4 Carbine rifles are equipped; and here for Trijicon ACOG series.↩
8. When referring to spatial reconstruction at the level of ‘incident’, we refer to the methodological term created and employed by Forensic Architecture specifically, rather than the incident which is the focus of this investigation, as defined in section 3.↩
9. A ‘cone of vision’ refers to the area visible and is represented by a cone where the point originates at the eye, and where the angle of the cone reflects the optical properties of a human eye.↩
15. By significant moments, we mean the moment when the journalists were walking towards the IDF’s position, identifying themselves as journalists (06:31:06); the moment when the IDF fired the first round at the journalists (06:31:07); the moment the second round of shooting began, and we last see Shireen alive (06:31:18); and after Shireen as been shot and is seen lying on the ground (06:31:37).↩
16. We call this ‘situated testimony’.↩
17. See here for UNESCO and Reporters Without Borders guidelines. ↩