| Many of the worlds strongest documentary | | | | ‘distract’ the child’s attention away |
| photos depicts children. Since 1955 there have | | | | from the camera by asking him or her some |
| been 50 winners of the prestigious World Press | | | | questions if necessary. Being close to the child and |
| Photo award, and 40% of the winning | | | | using a wide-angle lens usually makes for a more |
| photographs depicts children. Again and again we | | | | ‘open’ photo, one that asks more |
| see documentary photos of children in magazines, | | | | questions than it answers. It also gives a feeling |
| news stories and as leading photographs in | | | | of intimacy between the child and the person |
| fundraising campaigns for aid, development work | | | | looking at the photo, thus evoking a stronger |
| and catastrophe relief efforts. Why is that? Well, | | | | emotional response. |
| not only are children cute, but because of their | | | | And don’t forget, since you are probably |
| innocence and vulnerability, they evoke strong | | | | higher than the child, also try and bend down or |
| feelings of sympathy in the viewer. We simply | | | | even lie down on the ground, holding the camera |
| can’t help empathize with the child we see in | | | | in the same height as the children’s eyes. Eye |
| the photo, even if it was taken on the other side | | | | contact can be a strong element and as with |
| of the planet. With children too young to be | | | | being ‘up close and personal’, it can give a |
| seriously mixed up in politics and religion, the | | | | more direct connection between the subject and |
| photos of children have the ability to cross all | | | | the audience. |
| borders and reach out to our hearts. If they are | | | | Sometimes it is alright to have the child pose a bit |
| produced rightly, that is. | | | | for the camera. Generally though, it can be |
| What makes a strong documentary photo of a | | | | difficult to give direct instructions to a child as to |
| child? There is some concepts that just seem to | | | | how to pose. “Try to look sad / happy” |
| work again and again. The mother holding her child. | | | | doesn’t work very well with children or, in |
| The child alone and crying. Children playing in the | | | | fact, other people who aren’t actors or |
| middle of poverty and destruction. Children staring | | | | professional models. Instead, just use their natural |
| from down to up, into the camera. With eyes | | | | curiosity for the camera and wait for the right |
| wide open and a desperate look on their face. | | | | moment. And if you really want to give |
| These photos motifs have almost become | | | | instructions, ask them to do something in stead |
| clichés, so it is up to us, the photographers, to | | | | of asking them to look in a certain way. “How |
| use our artistic talents to avoid overdoing the | | | | high can you jump?” “Kick the ball over |
| cliché. As a general rule though, if you can | | | | there!” Active instructions makes for more |
| capture a child displaying a strong emotion in your | | | | natural looks. The key words to remember here |
| photo, you have a good chance to make a | | | | is natural behavior, emotions, innocence and |
| powerful photo. | | | | vulnerability. With that in mind, you can get great |
| There is another couple of tips to make strong | | | | and powerful documentary photos of children. |
| documentary photos of children. Generally | | | | And finally, it is also important to remember that |
| speaking, try to go close to the child and avoid | | | | journalism is never 100% objective. And neither is |
| interfering in the child’s natural behavior. | | | | photojournalism and documentary photography. A |
| These rules can of course be contradictory. If the | | | | photo only shows one angle of “the complete |
| child starts to make unnatural poses and gestures | | | | picture”. As documentary photographers, we |
| at the camera, you don’t get that authentic | | | | have the power to choose which side of the |
| feeling. But if the child is doing something, playing, | | | | story we want to show. But we also have a duty |
| overwhelmed with feelings or otherwise occupied | | | | not to distort the facts. This is where a photo |
| in his or her thoughts, you can usually sneak in a | | | | series can be a good idea. A photo series can not |
| couple of shots without the child noticing anything. | | | | only capture the strong emotions, but can show |
| Keep your camera ready and have the exposure | | | | the variety and diversity of a certain topic, be it |
| set before you put the camera in front of your | | | | children or any other theme. |
| eyes. And while you are in the process, try to | | | | |