Children are more likely subjects for expressive images than most adults because of their uninhibited body language. I had been photographing a stern Lisbon sentry, saber rigidly held over his right shoulder and getting little more than a picture of a stern sentry. I may have been producing an effective environmental portrait, but it was certainly not street photography. A young girl who most likely lived in the neighborhood walked over to watch me work. She was more interested watching me move around with my camera than she was in looking at the sentry, who for her was already “part of the furniture.” I immediately saw a street photograph in my head – the contrasts between the rigidity of military behavior and the spontaneous informality of a child. I moved well away from the sentry, looked down into my flipped up LCD display at waist level, and turned my lens on the girl, while facing well away from her. She had no idea what I was shooting. She crossed her legs, touched her fingers together and began to softly sing to herself. I was able to make this picture, contrasting the leg positions, arm positions, costumes, size, age, race, gender, and attitudes of these two people. Because the girl is closer to the camera, she is much larger than the guard, and free to do whatever she wants. The sentry, on the other hand, must stand at the door to his box, a slave to duty.