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With thirty-six exposures, or even
twelve, in the camera there is a temptation to shoot indiscriminately.
Writers on child photography often advised taking many exposures, in
the belief, presumably, that with a large enough quantity, there are
bound to be a few good shots at least. But it is possible to have
thirty-six indifferent pictures on a roll, and, although I am not
against taking many pictures, I believe that no exposure should be made
without at least a quick survey of the situation in relation to its
picture possibilities.
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A photographer wishing to remain an
unseen observer, must study the child's movements and expressions. You
must recognize when a group of children promise to create an
interesting situation. You must anticipate the development of the
situation to its natural climax. You must, in effect, survey the
happening from the outside, taking pictures, changing the viewpoint,
striving for improvements until all the important factors fuse into a
good picture. Your first set of rough prints must show a progression
and improvement with each shot leading to the one which caught the
essence of the situation.
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This kind of approach is put across in
the more progressive art schools today. Students are encouraged to use
the camera to increase their awareness of the world in which they live.
Even in primary schools, children are given cameras and sent out to
make photo-essays. These youngsters will not be content to take
snapshots with a box camera. They are using photography as a means of
communication. They have been called 'the Young Communicators'.
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For the younger viewpoint, I contacted
Hugh Scaman, a student at Leicester College of Art, England, who had
had photographs of children accepted for a Kodak exhibition of
students' work. I learned that he had ambitions to be a
photo-journalist. He regarded young children as good photographic
subjects because they were not old enough to be self-conscious and were
not concerned with the image they were putting over. 'They are full of
vitality,' he said, 'not yet having learned to invent worries. They are
too busy running, playing, laughing or shouting or sitting quietly
alone or perhaps with a friend, so completely absorbed as to be
oblivious of the camera.'
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On the whole, the children Hugh Scaman
has photographed have not suffered from camera-shyness. He has found
that if a child behaves shyly all one has to do is to make a great show
of photographing someone else. Whereupon the 'shy' child looks
disappointed, indicating that the apparent shyness was a form of
exhibitionism. Sometimes children are too keen to be photographed and
stop their play to come crowding round his camera. He finds it is no
use shouting at them. This is the time to talk with them. They
eventually leave and continue their game. Except, that is, for the
die-hards whose heads will appear on every second frame. 'These cheeky
show-offs sometimes make the photographs,' he says. (In my own
experience they usually spoil many pictures, since they are only too
well aware of the camera and assume deliberately false expressions.)
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Scaman considers that a lens of a wider
than normal angle is ideal, especially where there is little room to
move between rows of desks in a classroom or where one is surrounded by
children. He thinks the 35 mm. reflex camera has the advantages of
eye-level viewing without risk of parallax error, and the camera allows
many frames to be shot in rapid succession. But his particular camera
has the drawback of an extra loud shutter which makes the children
aware of his presence, even in the early stages. His photograph of the
two children peering cautiously from behind a rocking-horse was taken
on fast film with normal development in MQ. It was taken with the
classroom lights on and sunlight coming through the windows.
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He is reluctant to use flash because it
attracts the children's attention too early. There are always things to
photograph in class but one must not interfere with the teaching. This
would be ill-mannered and would lose the validity of the scene. He is
unstinted in his praise for teachers. 'Photographing in a school,' he
says, 'gives one some idea of the problems and the pleasure of
teaching.'
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Another representative of the younger
school of photographers is Sheilah Latham, radiologist turned
photo-journalist who regards photography as a natural extension of her
consuming interest in human nature. She did not set out consciously to
specialize in child photography, but, because of their wonderful lack
of inhibitions, children do tend to form the major part of her work.
She uses two single lens reflex camera bodies with a full range of
lenses, which she finds a convenient and versatile method. She always
uses available light.
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Many of her pictures, like 'Diane', tug
at the emotions. The defiance on the child's face, on which is
imprinted the mat k of neglect and deprivation, make this a strong and
moving comment. Many of Sheilah's pictures speak eloquently of social
problems. But sometimes she will post herself with shutter cocked and
senses alert at a strategic point, perhaps at a pedestrian crossing or
in a children's hospital. Delightful series of uncontrived pictures
result. Sometimes the camera is spotted, as in 'Monica'. This
attractive link girl, a natural model, responded with a happy, toothy
smile.
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Sheilah Latham has been very successful
in international exhibitions. But she continually studies the latest
advances in technique to keep abreast of the newest practices. That
fact, plus her instant recognition of a situation and her spontaneous
reaction to it, make her work outstanding.
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