Few women photographers are loved by the public so much as Dagmar Hochová. Her professional career was connected in the 1950s and 1960s with photo journals oriented on humanist photography. It may be the reason why she is today perceived as a photographer of children. However, objectively taken, this image is distorted. The photographic archive of Dagmar Hochová, which the Moravian Gallery in Brno acquired in 2013, shows the personality of the artist and her work more comprehensively. A considerable part of her photographs focuses on events of a cultural/political nature, on intellectual and artistic elites, themes connected with national identity and critical moments in our history. While children may be an important component of her professional portfolio, it is well known that Hochová herself did not like to be labelled a photographer of children as she felt it to be a simplification which removed the dimension of an engaged witness of the era from her photographic work.