Buffalo Flats children are rediscovering the magic of photography the old-fashioned way.
Armed with 1980s point-and-shoot cameras, they spend their Saturdays capturing real stories of their neighbours and learning that every photograph can be a voice for change.
This initiative is part of the Narrative Photographic Club, a programme under the Khanya Youth & Community Development Centre, directed by Pierre Fray and Christoline Larwus.
The centre, located in the heart of a Buffalo Flats community battling social troubles such as drug abuse and lack of education, aims to give young people a safe, creative space to learn, grow and contribute meaningfully to society.
Mark Fredericks, a video technician, lecturer, and academic known for his documentaries on sport and politics, founded the project.
He saw an opportunity to use photography not just as an art form, but as a tool for literacy, communication and empowerment.
“It occurred to me that photography was well suited to that end.
“People stepped forward and donated simple cameras for the project.
“In essence, my love for photography and teaching inspired me.”
Every Saturday, Fredericks mentors a group of seven to 10 children, aged nine to 16, teaching them how to document life in their communities while learning valuable journalistic and storytelling techniques.
Alongside journalism lecturer Keshina Thaver, from Walter Sisulu University, the children are guided in combining photography with interviewing, writing and fact-checking.
The group ventures into local areas such as Fynbos and Vergenoeg.
They’ve documented everything from a local karate club that’s been running for more than 40 years to a former motorsports enthusiast whose story was nearly forgotten.
“My colleague, Keshina Thaver, teaches writing and narrative techniques, while I encourage camera care, environmental awareness, and framing techniques,” Fredericks said.
“The cameras are simple, all from the 1980s when point-and-shoot cameras were the rage.”
Children were recruited through Facebook, word of mouth, and outreach at the centre.
Parental consent was required, ensuring families were part of the process and many parents now actively support the initiative, joining community walks and engaging through a WhatsApp group where photos and updates are shared.
Unlike modern digital cameras, film photography demands patience.
The children must wait to see their results, learning the value of process and reflection.
“It’s about capturing stories, emotions, and shared human experiences.
“Photography teaches us to look closer, to really see.”
Fray said the initiative extended far beyond art.
“This programme is about giving back in knowledge and opportunity.
“It’s about nurturing a future generation that can think critically, express them-selves clearly, and engage compassionately.”
Fray said shy children had grown into confident communicators, interviewing strangers and telling stories with empathy and curiosity.
“Their work has impressed community members, who have praised the thoughtful questions and insight the children bring to their interactions,” Fray said.
The programme also instills a deep sense of ownership.
By documenting their surroundings, the children see themselves as storytellers and historians shaping how their community is remembered and understood.
Through their photographs, they reclaim narratives lost during apartheid and restore pride in local culture.
Yet, sustaining the initiative remains a struggle.
Fredericks funds much of it personally, covering the cost of film, cameras and transport.
Though his passion drives the project, long-term growth will require external funding and support.
Plans are under way for a public exhibition at the Khanya Centre, where the children’s photographs and stories will be displayed.
“This exhibition will come to life once all the films are developed and our judges have made their final selections,” said Fredericks.
“It’s about reminding people that photography isn’t just about taking pictures, it’s about telling stories that connect us all.”
