Hana Peskova is a passionate self-taught photographer whose journey began at Škola kreativní fotografie in Prague.
Based in Český Krumlov, Czech Republic, she explores the world through street and documentary photography, capturing the beauty of fleeting moments and untold stories. Drawn to forgotten places and lives lived on the margins, her work reflects both emotional depth and creative vision.
In April 2024, she won a solo exhibition with her powerful series
Child Labour, further cementing her commitment to socially engaged photography.
We asked her a few questions about her life and work.
All About Photo: Tell us about your first introduction to photography. What drew you into this world?
Hana Peskova: When I was 13, I read a book of interviews with Josef Sudek, one of the greatest Czech photographers. His images simply enchanted me. I asked for a camera for my birthday and started trying to capture magical moments the way he did. And I’m still trying to do that today.
What initially brought you to Bangladesh in 2018, and how did that visit spark the beginning of this collection?
Traveling is one of my greatest passions, and I’ve always been drawn to Southeast Asia—so I couldn’t miss Bangladesh. That trip was essential for starting this series. Bangladesh is an extremely poor country with a very high population density, but also incredibly friendly people. Unfortunately, child labour is visible almost everywhere—not just children helping their parents occasionally, as is common in other parts of Asia, but kids who have to contribute significantly to the family income due to deep poverty.
Was there a specific moment or encounter during that trip that made you decide to document child labour through photography?
Yes, it was at the Jaflong quarry (Bangladesh), where many children were working—even though the labour there is physically demanding even for adults. The sight of little children smiling while carrying baskets full of stones on their heads touched me deeply. They seemed proud to be working like adults or their older siblings, but it was clear they had lost the carefree spirit that childhood should bring. That’s when I decided to start documenting their work—to show the world how incredibly brave they are. The quarry has since been shut down; it was always illegal and only tolerated by the authorities.
How did witnessing child labour firsthand change your understanding of the issue compared to what you previously knew?
As a mother of two sons, I often compare the conditions children grow up in when I travel. I had read about the terrible working conditions in some Asian workshops where children labor for 12 hours a day, but I had never seen it in person. Seeing it firsthand made me realize that even the less demanding jobs children do regularly to earn income are harmful. They not only steal their childhood, but also hinder their physical and mental development. And when it comes at the cost of education, the damage is even greater.
How did you approach gaining the trust of the children and their families to allow you to document such sensitive moments?
Being a woman helped—and a smile is a universal language. I didn’t photograph in illegal workshops, so even when parents were present, I never faced negative reactions—quite the opposite, in fact. In many of these countries, child labour is sadly seen as a normal part of life. Of course, there are differences. In Kyrgyzstan and Iran, for instance, children tend to help their parents in family shops or trades, and the work isn’t usually as physically demanding.
Were there any stories or individuals who left a particularly strong impression on you during this journey?
Yes, again in Bangladesh—on the outskirts of Dhaka, the capital. There, families survive by crushing broken bricks into smaller pieces. Seeing tiny children, often just 3 to 5 years old, sitting on piles of bricks and hammering them all day was heartbreaking. These children weren’t smiling. They probably didn’t even know what a smile meant.
What do you hope viewers will feel or think when they see this collection?
I hope they realize how fortunate we are to be able to give our children a carefree childhood—although sadly, that’s not the case for every child. But at least in Western societies, the exploitation of cheap child labour is no longer tolerated. I was reminded of the powerful images by American photographer Lewis Hine, who documented child labour in the early 20th century. His work helped change how the world views this issue.
How important was it for you to include not just scenes of hardship, but also moments that reflect the children's resilience and humanity?
Absolutely essential. All the children I photographed were incredibly strong. I admired their resilience—the fact that, despite everything, they were still kids. When they could, they turned work into play. I wanted my photographs to capture how they cope with their difficult realities, and to show their strength and humanity.
