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There exists a collective feeling that such photography projects are worthwhile, but what is this belief founded on?"Shatila – Children's Eyes," a recent photo exhibition in Dar al-Mussawir, documented images that came out of a three-month photography workshop for 15 participants, aged 11-15 years, all residents of Shatila refugee camp. French political science students Pierre Peyrelongue, Hugo Chouarbi and freelance photographer Enzo Baudino started the initiative. Selected from the Children and Youth Centre of Shatila, the participants were equipped with small digital cameras and shown the basics of photography, from lighting to composition.Following a similar format, producer Shadia Fayne-Wood and photographer Rayya Haddad will, for a second consecutive year, be running a photography program that'll be held at two temporary schools for Syrian refugee children in the Bekaa Valley.Fayne-Wood and Haddad expressed a similar desire for their project to leave a legacy.There is a political motive behind teaching photography and not simply conforming to the standard way of photographing marginalized communities.Initiatives like "Shatila – Children's Eyes," and Fayne-Wood and Haddad's workshops, seem to circumvent some of these pitfalls, embodying a more considerate form of photographic interaction.Photo workshop projects like these, and the exhibitions that emerge from them, ought not be automatically thought of as virtuous.
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