The US has a child labor problem – recalling an embarrassing past that Americans may think they’ve l

At the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years old.

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behind.

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ago.

‘An investigator with a camera’
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City.

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fears.

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American children.

Boy covered in soot poses with his hands clasped behind his back.
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-SA
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed.

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight frame.

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shifts.

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labor.

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures and in published reports At the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years ol

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behin

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ag

‘An investigator with a camer
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fear

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American childre

Boy covered in soot poses with his hands clasped behind his bac
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-S
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight fram

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shift

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labo

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures and in published reports At the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years old.

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behind.

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ago.

‘An investigator with a camera’
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City.

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fears.

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American children.

Boy covered in soot poses with his hands clasped behind his back.
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-SA
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed.

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight frame.

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shifts.

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labor.

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures anAt the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years old.

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behind.

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ago.

‘An investigator with a camera’
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City.

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fears.

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American children.

Boy covered in soot poses with his hands clasped behind his back.
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-SA
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed.

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight frame.

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shifts.

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labor.

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures anAt the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years old.

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behind.

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ago.

‘An investigator with a camera’
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City.

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fears.

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American children.

Boy covered in soot poses with his hands clasped behind his back.
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-SA
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed.

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight frame.

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shifts.

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labor.

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures anAt the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years old.

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behind.

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ago.

‘An investigator with a camera’
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City.

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fears.

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American children.

Boy covered in soot poses with his hands clasped behind his back.
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-SA
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed.

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight frame.

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shifts.

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labor.

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures anAt the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years old.

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behind.

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ago.

‘An investigator with a camera’
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City.

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fears.

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American children.

Boy covered in soot poses with his hands clasped behind his back.
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-SA
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed.

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight frame.

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shifts.

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labor.

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures anAt the University of Maryland, Baltimore County’s Special Collections, where I am head curator, we’ve recently completed a major digitization and rehousing project of our collection of over 5,400 photographs made by Lewis Wickes Hine in the early 20th century.

Traveling the country with his camera, Hine captured the often oppressive working conditions of thousands of children – some as young as 3 years old.

As I’ve worked with this collection over the past two years, the social and political implications of Hine’s photographs have been very much on my mind. The patina of these black-and-white photographs suggests a bygone era – an embarrassing past that many Americans might imagine they’ve left behind.

But with numerous reports of child labor violations, many involving immigrants, occurring in the U.S., along with an uptick in state legislation rolling back the legal working age, it’s clear that Hine’s work is as relevant today as it was a century ago.

‘An investigator with a camera’
A sociologist by training, Hine began making photographs in 1903 while working as a teacher at the progressive Ethical Culture School in New York City.

Between 1903 and 1908, he and his students photographed migrants at Ellis Island. Hine believed that the future of the U.S. rested in its identity as an immigrant nation – a position that contrasted with escalating xenophobic fears.

Based on this work, the National Child Labor Committee, which advocated for child labor laws, hired Hine to document the living and working conditions of American children.

Boy covered in soot poses with his hands clasped behind his back.
Lewis Wickes Hine, ‘Trapper Boy, Turkey Knob Mine, MacDonald, West Virginia, 1908.’ Gelatin silver print. 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (P148), CC BY-SA
By the late 19th century, several states had passed laws limiting the age of child laborers and establishing maximum working hours. But at the turn of the century, the number of working kids soared – between 1890 and 1910, 18% of children ages 10 to 15 were employed.

In his work for the National Child Labor Committee, Hine journeyed to farms and mills in the industrializing South and the streets and factories of the Northeast. He used a Graflex camera with 5-by-7-inch glass plate negatives and employed flash powder for nighttime and interior shots, hauling upward of 50 pounds of equipment on his slight frame.

To gain entry into factories and other facilities, Hine sometimes disguised himself as a Bible, postcard or insurance salesman. Other times he’d wait outside to catch workers arriving for or departing from their shifts.

Along with photographic records, Hine collected his subjects’ personal stories, including their ages and ethnicities. He documented their working lives, such as their typical hours and any injuries or ailments they incurred as a result of their labor.

Hine, who considered himself “an investigator with a camera,” used this information to create what he termed “photo stories” – combinations of images and text that could be used on posters, in public lectures and in published reports tod in published reports tod in published reports tod in published reports tod in published reports tod in published reports totor.s.e..Ak.n.s..a’o.d.d.