Sunlight filters through a tree canopy as children explore the natural play space. A bowl of loose parts forms patterns of colour and shape. A paintbrush leaves bold strokes across paper, while muddy hands balance sticks and stones into a temporary sculpture.
Each of these images tells a story of learning, curiosity and discovery. Yet none reveal a child's face.
At Goodstart Red Hill, Director Renee Mitchell and Educational Leader Davinia Munn have spent several years refining their approach to photography and documentation, placing children's learning, rights and experiences at the centre of practice.
"We've been intentional about creating photographs of learning instead of just producing a happy picture for parents," says Davinia. "We wanted to demonstrate quality education and make sure families could see the learning that was happening.”
As part of an action research project, the team surveyed families and found that many were primarily looking for photographs of their own child rather than engaging with the accompanying pedagogical documentation.
The findings prompted a shift towards more purposeful learning stories, with fewer images and a stronger focus on learning, environments and experiences. Through clear communication, educators helped families understand the reasons behind the change.
"Parents are time-poor and want reassurance that their child is happy and safe," says Renee. "That's understandable. But we made a conscious decision to reinvest our time and show what putting children first looks like."
Gradually, this approach evolved into what the team now calls safe pedagogical photography; capturing learning intentionally while respecting children's rights, agency and privacy.
What does safe pedagogical photography look like?
A key feature of Goodstart Red Hill's approach is recognising that different forms of documentation serve different purposes.
Floor books and children's learning journals remain within the service and may include identifiable photographs.
"Floor books don't leave the learning space,” says Davinia. “They follow the child as they move through the different rooms over time. Children love poring over photographs of themselves and looking at what they’ve learnt."
Digital platforms are treated differently. The service now only uses safe pedagogical photography for group learning stories on Storypark, while individual observations shared directly with a child's family may include recognisable photographs of that child.
The service has also moved away from using children's images on social media. Renee is acutely aware of the responsibility of having a Facebook page with 8000 followers, many from the ECEC sector.
"We wanted to role-model how we could share the thinking and learning that's happening, while still protecting the rights of the child and their right to be forgotten in a digital space, and their right to privacy," says Renee.
For Goodstart Red Hill, safe photography is about more than blurring faces or cropping children out of images.
"We don't want to just take a photo with no head," says Davinia. "Instead of thinking, 'let's blur out the face,' we like to think about the art of the photograph, what we're capturing and what learning is happening."
Safe pedagogical photographs often focus on:
- hands manipulating tools and materials
- close-up details of investigations and discoveries
- learning environments and provocations
- children photographed from behind or at angles that protect identity
- wider shots that capture relationships between children, spaces and experiences.
The approach also honours what Davinia describes as children's ‘right to beauty’.
"Part of the rights of the child is the right to beauty. Therefore, beautiful learning environments and provocations are really important."
Embedding consent into everyday practice
At the heart of the framework is children's voice and agency. Rather than relying solely on enrolment forms, educators actively seek children's permission before taking or sharing photographs.
The service recently held a Children’s Council meeting to ensure children understood why educators were taking photos and what they were used for.
"We've always been very mindful about asking children if it's okay to take their photo in the first place," says Renee. "The next step is asking if it's okay to share it with their grown-ups or in the floor book."
Some rooms have introduced a daily consent process, where children indicate each morning whether they would like photographs taken that day. Their decision is recorded on a whiteboard, providing a clear visual reference for educators and families.
Seeking consent in advance allows educators to document learning as it unfolds, without interrupting children's engagement in play and exploration. For those who choose not to be photographed, their decision is respected and upheld throughout the day.
"Some children don't want to be in a learning story or photographed when they are in flow," says Davinia. "And that's entirely fair enough."
By regularly inviting children to make these decisions, educators reinforce that children have a right to set boundaries and that their choices matter.
Where to start
Safe pedagogical photography is not about taking fewer meaningful photos. It's about slowing down and being intentional, taking images that capture learning while respecting children's rights, both now and into the future. It’s also about role modelling quality and safety.
Renee’s tips on how to take safe pedagogical photos include:
- seek consent to take the photograph
- focus on the learning
- intentionally crop identifiable features
- review the image
- seek consent to share the photograph.
Regulatory changes may be the catalyst, but children's rights should be the reason.
Further reading:
CELA: Recognising children's rights in everyday practice
CELA: Observations in the EYLF: Quality over quantity
CELA training:
Beyond the Lens: Ethical and Effective Documentation