Firstly, please
watch the video of my mock interview with Lewis Hine and find the script I wrote below:
An interview with Lewis Hine (Script):
Bry:Good evening everyone, my name is Bryony Parker and today we are hypothetically time traveling back to the early 1900’s. I am fortunate enough to steal ten minutes with Mr. Lewis Hine whose investigative photojournalism has been instrumental in transforming child labour laws. So where did this all begin for you Lewis?
Bonnie:Well…I bought my first camera in 1903 and I found a passion for documentary photography early on, especially photographing society’s vulnerable minority groups. While I was studying sociology in New York I had the opportunity to photograph Ellis Island immigrants. Following this assignment, I wanted to expand my horizons further and this type of photography became my primary focus from that moment onwards.
Bry:At this point, the field of photojournalism had already experienced rapid digital changes throughout the 1800’s, for instance, the first negative image, color image, and halftone photograph had all been discovered. As well as the shift from wet plates to dry plates. The majority of your work was black and white. Why did you not experiment with color images?
Bonnie:Firstly, it was very expensive and I was not making a great deal of money from my photographs. Secondly, my images seemed more authentic in black and white. I aimed to capture subjects looking into the camera in an attempt to depict and communicate intimacy to my viewers.
Bry: There is absolutely no doubt that your photographs communicated intimacy. You are notorious for publishing Charities and Commons. What did you hope to achieve with this series of photographs?
Bonnie: My objective all along has been social reform. I wanted to make people aware of the harsh realities, especially pertaining to children in the work place. Through my images I wanted people to "exert the force to right wrongs".
Bry: Your next career move occurred in 1908 when you became employed by the National Child Labor Committee. How was this experience for you?
Bonnie: I had the opportunity to travel a great deal which I really enjoyed. I think I covered approximately 12,000 miles in one year. I primarily documented portraits of children forced to work in factories and mills and the horrendous conditions and treatment they were subjected to.
Bry:Did you face any obstacles or dilemmas when you entered work places? How did the business owners react?
Bonnie:In some instances, I really put myself at risk entering factories, mills, sweat shops, and coal miles. Photographers were certainly not welcomed at any of these institutions. They did not want the public to know what was actually happening behind closed doors. However, I didn’t even give this risk a second thought. I wanted to help these poor kids and ultimately change child labor laws.
Bry:How did you manage to get inside then?
Bonnie:I often had to disguise myself as a fire inspector or insurance agent and hide my camera in order to even get through the door. I really had to put my life on the line in some instances. I was physically harmed and some owners even threatened to kill me.
Bry:Wow and this did not stop you. That is a reflection of your character and really epitomizes your dedication and commitment to the cause.
Bonnie:It wasn’t an easy task. I had to really be discrete, for example, I learned how to essentially write without looking and record captions in my pocket. I have always had a passion for working with children which stems from my early career as an educator. I loved talking to the children and tried to obtain as much information as I possibly could in such a short space of time. Sometimes if my disguise didn’t work, I waited for the children to finish their shifts and even made a number of home visits.
Bry:You stayed with the National Child Labour Committee for eight years. What was your primary motivating force?
Bonnie:I simply wanted to reform child labor laws and I almost felt as if I had a moral responsibility. The environment that these children were forced to work in was dangerous and insanitary. I had to expose the truth behind the working conditions and physical and emotional abuse the children were exposed to. I wanted to give these vulnerable children a voice and make the public aware. My photographs eventually shocked the public and humiliated the government. They had to do something.
Bry:Were there any other factors that influenced and inspired you?
Bonnie: Actually, as a child I worked in similar establishments, for instance, a furniture factory and endured thirteen hour work days six days a week and the pay was disgraceful. My own childhood definitely inspired me to try and make a change.
Bry:I’m really sorry to hear that you experienced similar treatment. But Lewis, your photography was ground breaking and had a profound impact on American society. We are all tremendously grateful and you should be very proud of your work and the effect it has had on society.
Bonnie:I guess you could say that my work helped a little.
Bry:Oh you are so modest. Your work influenced the Keating-Owen Act in 1916. This placed restrictions on children under the age 14 being employed in factories.
Bonnie:Yes this was definitely one of THE highlights of my career. To ultimately help change legislation was incredible. However, despite the long work days and extensive traveling, I was struggling to survive with the microscopic pay scale.
Bry:Like most photojournalists I’m sure your work faced opposition as it was centered on a somewhat controversial topic and the government definitely did not want their system to be exploited.
Bonnie:Without doubt, my images were criticized for not being “shocking enough.” However, I photographed reality and in my opinion accuracy was more likely to get people on board with my social reform campaign.
Bry: Are you aware of your own biases?
Bonnie:Tough question, I probably did not see it at the time. But clearly I was bias against the government and wanted to show the public exactly what was going on and what horrendous treatment the children were experiencing. I understand that employing children to work unsociable hours was extremely profitable. But it really was unsafe.
Bry:Thank you for your time Lewis. Any concluding thoughts you would like to leave us with?
Bonnie:I would just like to end with a segment from the Child Labor Bulletin of 1914. "For many years I have followed the procession of child workers winding through a thousand industrial communities from the canneries of Maine to the fields of Texas. I have heard their tragic stories, watched their cramped lives and seen their fruitless struggles in the industrial game where the odds are all against them. I wish I could give you a bird's-eye view of my varied experience."
Bry:You have definitely opened the nation’s eyes and hearts. I’m sure child labor would still be exactly the same today if you had not taken it upon yourself to try and make a change. The world needs more people like you. Ladies and gentleman, this is Lewis Hine. Thank you for watching. We will be back tomorrow to profile another renowned photojournalist. Don’t miss it. Next, please refer to the PowerPoint Presentation (below) for a display of Lewis Hine's work and my assessment of the Photographic, Artistic, and Compositional Principles:
Works Cited:
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