'Where Is Your Mother, Little Boy?'

A lost little boy cries on a sidewalk stoop, tugging the heartstrings of a

passing woman, who inquires if he is lost, and where his mother is, all

in Kyiv Ukraine's main shopping street, on the steps of a high-end retail

establishment, in sight of hundreds of busy shoppers and walkers --

and 'mom' is nowhere in sight. Your ratings and critiques are invited

and most welcome. If you rate harshly or very critically, please submit

a helpful and constructive comment; please share your superior

photographic knowledge to help improve my photography. Thanks!

Enjoy! John

Carrying a camera and approaching children without a parent can potentially be very harmful or possibly even fatal for a male photographer -- if momma or daddy should spot a stranger with cameras approaching their kid, lost or not.

 

Experience has taught me that.

 

I spied the boy, sitting and crying, focused on him, and waited only a short time before this passing woman approached to offer him aid. Ukrainians are not quick to offer aid to 'strangers' but children are an exception for obvious reasons.

 

Even though I had a female companion who is a native, I didn't want to be mistaken for a man of 'ill-will' (and you know what that means . . . and I won't spell it out so it can't be indexed by Google), so I focused and watched.

 

My and my companion's watchful gazes were adequate protection for this small boy; we would let no harm befall him until he was in safer hands.

 

Luckily, this woman's maternal instincts caused her to step in quite quickly, cutting short our vigil.

 

I speak precious little Russian/Ukrainian so my ability to communicate with a lost child was minimal. My companion is fluent, but she also carried a camera, and we reasoned better not to be the subject of accusations, while at the same time 'protecting' the boy, with our gaze from fairly close quarters, which would have allowed us to intervene if the boy were truly 'bothered' by someone ill will.

 

[People are very suspicious of male photographers anywhere near unescorted (or even carefully escorted) children -- fed by often true and horrendous stories of what occasional 'bad guys' do, and those people tend to hide in the general populace, so I guess the public can't be blamed.]

 

I had small children at one point, and I have no problem understanding the parents' point of view. Discretion is always advised for the (male) photographer in such circumstances, if he values his personal safety.

 

John (Crosley)

I always had heard stories from people telling me to steer clear of the local constabulary all over Ukraine (the militia [mee -- lee - cha] is what they call themselves and I heard more than a few stories of corruption, but it never touched me, until recently.

 

Then I tried driving cross country in Ukraine, shortly after fines were raised tenfold which militia took as a green light to stop everybody for any pretext and demand exorbitant corruption -- the traditional method of handling a 'traffic stop' I am told,, is to bribe the officer who stops, and he expects to be paid on the spot. (I had no money -- none at all, so that was out of the question, plus I had done nothing wrong at all -- the 'stops' were pretexts)

 

Since I had literally not one cent or kopeck, when I got stopped (on a pretext each time) by not one, but two different militia members I put them on the mobile phone to my far away interpreter/translator, who kept each one on the phone each for one hour apiece, while she explained I was not able to pay them corruption and they could march me off the jail. *(which would have put them out of the corruption business for the whole night.)

 

Eventually each cop gave up in disgust -- each shaking his head, and telling me my female interpreter (who spoke to them by telephone) was a very fearsome person (and in the course of it, they missed many traffic stops, which would have graced their palms with much corruption, -- in a time when fines (and corruption) was suddenly 10 times normal).

 

To date, I have never paid corruption anywhere for anything, in Ukraine or elsewhere, but I also probably will never drive again in Ukraine in a new car with out-of-country plates.

 

Or at all.

 

I prefer to hire a driver or simply take the bus.

 

How does that relate to this photo?

 

In America, children are taught that cops are their 'friends' and will 'protect' them, so if they have problems, they should seek out a 'cop'.

 

Not so in Ukraine where the militia is viewed with great suspicion and often with scorn, for their corruption.

 

John (Crosley)

photographing other people's kids is always a bad idea. however, i want to curtail my comments to the composition itself. i like this picture, it tells a story. even without the explanation, the little boy looks a little lost. if anything, i think it is a little too bright. a little more contrast would have added to the mood.

 

i hope the boy was reunited with its parents soon.

Photographing 'other people's kids' is not always a 'bad idea; --- it's resulted in some of my most wonderful photos.

 

In some countries, if someone spies you photographing their kid with 'pro' style equipment, they embrace you and thank you for paying attention to their child.

 

Not so everywhere, of course.

 

It pays to know the terrain, if you get my drift, and to mind one's p's and q's. A telephoto can be helpful, or shooting from a car . . . and be prepared to hold out your hand, introduce yourself with a great big smile, and offer to show your captures to any worried parents and tell them how great that photo you just took was. It can be very disarming, because no photo I take would I ever be ashamed of, and there almost always are some very good ones.

 

If one excluded, not only kids but women -- especially young women - say from 16 - 23, who are quite pretty, one would have the guts taken out of 'street photography' -- it would no longer be representative of the world community -- and that is my goal, to capture man (and woman) -- and 'life' in general, in all its public aspects, in as interesting and aesthetic way as possible.

 

I do suppose I might have used 'shadow/highlight' filter on this a little more, but I probably would now develop this from raw, and step on the blue filter to darken the cement/concrete and stone a little -- a little trick a PN user taught me regarding a photo I took last Spring in Vienna.

 

Thanks for the helpful comment.

 

Best Wishes.

 

John (Crosley)

Happy New Year John,,, and a lot of Photos... and comments.. Best regards

Merci Beaucoup, Mon Ami.

 

And a joyeuse and productive New Year to you, too.

 

I am glad you still drop by; I was unaware you still were a viewer and I am greatly pleased to find you are.

 

John (Crosley)

I ask permission of the parents before taking a shot of their child in the wild. Most of the time they say no problem, others ask what for. But always I feel uncomfortable, cause of judgmental bystanders to whom I want to explain that I have permission and am not a pervert, but someone who enjoys the beauty of life.

That's great, but what happens when you're in a passing car with a zoom telephoto and you see something enchanting, and the parents are miles away?

 

Or in a foreign country and you don't speak the language.

 

You gotta make judgments about such things.

 

Look at all the photos of children in this portfolio and some were taken with permission of parents and others not, but usually from a great distance -- with a zoom telephoto where getting permission would be impossible or impracticable.

 

I often 'hold back' in the US where sentiment against such shooting runs very high, but in some foreign countries, such shooting is a badge of honor for the parents - and I never approach the child or children -- I know my place and have strict ethical bounds.

 

When I shoot female models -- even nudes - often intimate -- I have an enviable record. Every model who has ever worked for me has indicated a willingness to work for me again, so far as I can tell -- they all seem very pleased - ad are told up front that there will be no 'touching' and no 'advances' and no 'sexual talk or innuendo' - which is contrary to the experience of many (in a foreign country) where I often have shot.

 

I am dedicated to shooting people of all ages, and have a great number of shots of older people, possibly because of the 'character' of their face and also because they 'hang around' and also because they 'move rather slowly'., and seek to keep a balance.

 

Best to you, and thanks for the comment.

 

John (Crosley)

This is a great picture accompanied by lots of interesting stories. Crossing from India to Sri Lanka was the first time I had to pay extra...it was explained to me as something very natural to do...I remember having to go get boats ticket behind the counter as a surreal experience.

You can see a little bit of the woman's face but it's good. More face and maybe a slightly better framing might help but in these type of shot, you get what you get....It's not a set up.

It's interesting that you wish to see more of the woman's face. Frankly, it never occurred to me.

 

I understand your comment: 'You get what you get', but in this case, I think part of what I feel is the 'strength' of this photo is its 'mystery'.

 

You do NOT see her face (or much of it), but you know she's not mom.

 

You do not see the boy's face,but you know he's not reacting to momma.

 

You don't have to see the faces to see the story.

 

So, in a sense this is more universal than a better view of the faces might force us into -- we might be forced into a 'specific view' rather than a 'general view' in which each of us is a lost child or a mothering female tending after a lost child (or at least understand that's something that appeals to most grown, caring females -- it's 'built-in' to the genes, I think, but someone who is female should be telling me - as I can only suppose (intelligently I hope).

 

So,I think I caught a 'universal' photo, and if there were better faces, one might be forced into viewing specificity.

 

I cannot be sure that would be wrong -- maybe it would result in a photo with 'two levels' - the specific and the general - or it might just mask the general view . .. I am unsure.

 

I do like photos sometimes in which there is 'mystery'.

 

You may note that sometimes (from the start even) I would from time to time post a blurry photo,or even one not in focus.

 

Now,suddenly my most viewed photo (I am NOT owning up to it or identifying it), 'tells a story -- both sexual and humorous) with 500 to 1,000 new clicks (not views, but clicked views) daily . .. for several months and continuing. Major parts of it are decidedly blurred from camera movement issues - my vibration reduction feature was inadvertently turned 'off'.

 

I only posted that photo as a 'lark' and now it's got over 130,000 views!!!!

 

Other photos -- among my best -- are blurs.

 

Sharpness has its place.

 

Lack of sharpness sometimes is a photographer's tool, too.

 

Even motion blur which one encounters can occasionally be turned to advantage.

 

And mystery, as above, can turn a simple photo into a universal depiction . . .as I suggest this one has attempted.

 

Am I right or wrong?

 

Maybe it doesn't really matter . . . only that we recognize the issues and enjoy the photo for what it is.

 

Thanks Pascal, for joining in the discussion and sharing your experience.

 

John (Crosley)

I understand what you mean John. I have other thoughts about this picture...After spending some time looking at all your street captures in black and white (you are a very very good photographer BTW). You often use a provocative background and wait for a live subject to create a story, a tension/contrasting or echoing the billboard/set up scenery and it works great. Here, There is a lot more going on in my opinion. One thing which is enjoyable are the gray tones (street sidewalk) making a very nice background for the other subject of interests. Reason I say that is that this picture has value not only by its emotional subject content but also with its composition. The ladie's back cut off might not be the most deliberate choice but actually it might contribute to the interest. See how dark her dress is and white her legs are, (her attractive shape does not hurt either) She is a person that strikes interest. She is like a large shape looming over the boy and shadowing him even as if he is protecting his eyes from the sun but you can tell it's benevolent...it is motherly (even if she is not the mother). This is one of the most admirable trait in humans, what makes us human instead of animals. Not something you can capture on film everyday. Her scarf is another adder, it's a very interesting scene. It's far form boring to look at and that's what picture should do...awake interest at mutiple levels...You fully succeeded here. Thanks for the long answer to my comment.

Your analysis of this photo is admirable - it leaves ALMOST nothing to add -- I commend it to readers as a thorough understanding and exposition of the photo's composition and an extremely good analysis.

 

The ALMOST relates solely to one point which you have misunderstood, but it is easily understood by me because I was there -- maybe it is harder to read in the photo.

 

The boy is lost, so he has been crying (and thus shielded his eyes from view -- after all he is a male), and when a woman approached offering him 'help' he here is in the process of removing his forearm/hand from his eyes which were crying.

 

It is hard in Photo.net exposition to discern that - but that's how this view of the boy's shielded eyes came about (and the sun was pounding down, giving him a double reason to shield his eyes, so you are not wrong, either)

 

My commendation for a most thorough and admirable explication.

 

John (Crosley)

Thank you for good New Year wishes.

 

The very same to you (and doubled or trebled.)

 

I was unaware you still stalked these places, and am enormously pleased you do.

 

Your presence inspires me - you are one of the most gifted 'street' photographers alive today -- truly -- and no attempt at flattery -- just the truth.

 

John (Crosley)