P. 1


|Views: 653|Likes:
Publicado porKunal

More info:

Published by: Kunal on Nov 03, 2011
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less






  • Credits and Copyright
  • about the author
  • a word from darren rowse
  • PUSH
  • LOOK
  • remember



by Rachel Devine

How to take gorgeous photos of your kids

Credits and Copyright
Written by: rachel devine www.racheldevine.com Publisher: darren rowse www.digital-photography-school.com Producer: Jasmin tragas Graphic Design/Layout: naomi Creek naomi@naomicreek.com
Version 1.0 ©Copyright 2011 rachel devine all rights reserved. no part of this publication may be reproduced, stored or transmitted in any form or by any means, electronic, mechanical or otherwise, without prior written consent from the publisher, except for the inclusion of brief quotations in a review. you may store the pdf on your computer and backups. you may print one copy of this book for your own personal use. disclaimer: the information contained in this book is based on the author’s experience, knowledge and opinions. the author and publisher will not be held liable for the use or misuse of the information in this book.

Credits & Copyright About the Author A word from Darren Rowse Introduction THINK PREPARE SMILE REFINE RESEARCH PUSH LOOK Remember 2 4 5 6 10 17 33 49 62 75 84 99

website: www.com blog: www. Rachel is based in Melbourne.about the author Rachel Devine is a photographer who has been honing her craft ever since she got her first real camera at the age of fourteen. Teaching people how to take great photographs has become her passion and her book on photographing life will be released by Amphoto/Random House in 2012.com/sesameellis twitter: @sesameellis photo by Linda nguyen .com facebook: facebook. Australia.racheldevine. Her focus in her photography has always been kids. whether it was her nieces and nephews growing up or her first clients when she opened her business in 1995.sesameellis. An American expat mom of three. Nowadays she shoots commercially in the children’s industry and shares her personal work on her popular daily-life photoblog.

While in the past it’s all been about landscapes and travel subjects. Her images are beautiful but. not just staged portraits. lately it’s been pointing almost exclusively at my kids. My goal is to capture daily life. I want to capture images that reflect the personalities and experiences of my kids. they tell stories and reflect the lives of those she photographs. It is a fun but not always easy challenge—so I’ve been really looking forward to this ebook. My hope is that you’ll come away from reading this informed and inspired book to photograph the colorful and vibrant little people in your life. Darren Rowse Editor of Digital Photography School . As a father of three young boys I now know the joy and challenges of photographing kids.a word from darren rowse Over the years I’ve noticed a change in what I’m pointing my camera at. more importantly to me. In the coming pages you’ll learn why that is the case—Rachel’s approach to photography and teaching in this ebook will help many to capture the day-to-day lives of families. Rachel Devine’s photography was the first thing that grabbed my attention about her. Over the last five years I’ve taken it upon myself to capture the life of our growing family.

we’ll explore together the question of why we should and how we can create beautiful photographs of children that say something about them personally. the goal is to create images that will not only stay on our walls. These two images of the same girl were taken on the same day. Both capture different elements of her personality and. however. We’ll seek out inspiring ways of capturing them as emerging little beings all the way through to adulthood. i hope you’ll find here that there’s more to kid photography than that smile and eye contact about which so much has been written. in this ebook. not only for the photographer but the viewer as well. it’s undoubtedly a thrill to coax a child to look directly into the lens and lock perfect focus. images must be meaningful.introduction ever since the first family snapshots were taken. but in people’s hearts and minds for generations to come. introdUCtion 6 . better represent the child as she was at that moment in her life than one image or the other alone. people have been searching for the holy grail on how to photograph children. when presented together in a whole gallery of varied shots. While tips and tricks abound for achieving that coveted natural smile and eye contact from a still and cooperative child. but do even better: get the shots that make you smile. there’s merit in that simple but beautiful form of portraiture. i’m here to ask the question: is this really all we want? i’m here to make you think differently about the images you’re creating and help you to not only capture that smile.

That is the one I would be more likely to frame and hang in my home. The image of Clover on the far left is sweet and pretty. By way of example. Clover is a wild and crazy little thing who’s rarely still. Other people might be attracted to child photography because they assume it must be an easy job. As a mother. Sometimes this is a matter of not having time to learn—often they purchase a camera at the same time as they have their first child. but the one on the bottom is truly her. Her overwhelmingly larger-than-life personality is hidden in this pretty portrait. it’s almost misleading.introduction Children change daily. The only thing is. that image tells you nothing about my daughter—in fact. I feel we need to photograph more than just the pretty portraits. Let me tell you. and there’s both technical and artistic knowledge to be gained from every session spent with your small subjects. introdUCtion 7 . To honor this extraordinary time of life. I know those mornings when the children have grown and changed overnight. but almost always fun. and she has a sweet smile with direct eye contact. A lot of people seem to skip the essential steps of learning the basics of photography before declaring themselves kid photographers. The light is nice. This ebook is a guide for anyone who has a working knowledge of photography and feels motivated to take better photographs of children. it is rarely easy. Maybe you’re looking to branch out into that specialty professionally. I’d like to share with you this portrait of my daughter. Clover. the colors are warm. or more likely you want the best images of your own family that you can get.

This mindful shooting will not only minimize the amount of time spent sorting and editing all your images. including practical advice on setup and safety while working with the littlest of models. you will be sure to make purposeful choices each time you take pictures. we’ll also discuss how crucial it is to be free from false expectations of perfection from both your subjects and your camera. kid ph Children’s photography is its own genre. but also improve the shots you actually take. and thoughtful of the shots you are creating. We look at different methods of children’s portraiture through storytelling. which can help you to transform your own photography. observant. but l It is not tion. yet always respectful. and thought-provoking questions and exercises. this book is also full of hints to help you work with children of all ages. covering every type of child out there. introdUCtion 8 . We’ll extend your knowledge by exploring the best camera settings and exposure when photographing children in wide-ranging contexts. uck. so it’s vital to be fun and spontaneous. Meanwhile. varied techniques. that preparaprove your will imotography. but we draw much inspiration from other styles and traditions. Confidence with and knowledge of your equipment are also essential for success in photographing a child. Kids can be your toughest customer.introduction The topics in this book are designed for those who are familiar with the basics of light and exposure beyond auto mode. When you understand the rules of photography and how to control your camera.

Write three different words that you would like to describe your child photography style. and a lot of patience and smiles. and in the end your kid photography—whether it’s for work or for just love—will shine. and write down three elements of the image that make it remarkable. It will also require you to refine your work. Think back to the last image of a child that you saw or took yourself that moved you. preparation. This can be achieved with contemplation.introduction At the end of each chapter you’ll see three thoughts for you to consider after taking in the information you’ve just gone through. All of these factors have to become part of your practice. and not shy away from pushing yourself. Write three words that describe your child photography style. Persevere. Write your answers down in a journal or on your blog. look hard. and begin putting your answers into practice. introdUCtion 9 . ? CONSIDER 1. and to explore the more elusive aim of capturing meaningful images of children. My goal for this book is to inspire you to go beyond merely pondering how you might take a pretty picture of a child. breathe in inspiration. 3. 2.

THINK how to make every shot count .

but that moment. he was a very important doctor. the love of his life. This was the moment that really taught me to think about photography. a story a family treasure hangs in my mother’s bedroom: a beautiful family photograph taken in the fall of 1997. paul. and the photographer got ready to shoot. I knew how much I loved what I was doing. paul eventually came running out of the house apologizing for the delay—and wearing a bright red sweater. and had been running my own business as a children’s photographer for almost two.Left: My son. but for my clients as well. and we all match nicely in our coordinated outfits. all five of his children liked to challenge that order a little for fun. and it’s these unexpected. that was my family. that image is priceless to us because my father looks well and happy as he sits next to my mother. But there are no photos of that moment that so characterized my family and its dynamic. but we were waiting for my brother. you see. the photograph reveals no signs of the cancer that would take him from us two years later. and it certainly doesn’t represent the full story of that day. the autumn leaves are beautiful. who’d flown from denver for the reunion and was still inside getting ready. laughing with the rest of us in our matching outfits. I want to tell you about the ah-ha moment for me and my photography. would have been the perfect portrait. i remember that we were all told to wear tan pants and navy tops. We gathered outside. thinK 11 . a photograph of paul in the red sweater. that is. and he expected everything in his life to run in a certain order. the photographer didn’t think to take shots. Kieran. but one day the importance to me of great child portrait photography was made crystal clear in an instant. it did make my father laugh too. We all exploded into laughter—all of us except my father. my father was never a relaxed man. It happened when I was twenty-six years old. My father was growing increasingly irritated. it was a perfectly planned little prank—paul had the blue top hidden underneath. and in the end. that day. I’d been learning photography and making images for twelve years. But it isn’t an entirely truthful portrait of our family. Right: Today I record family history not only for me. who was steaming. revealing moments i strive to capture when i photograph my own family or any client’s. sits on a couch in my mother’s home next to a table filled with family memories.

real. Children are so open to the wonders of daily life and so fully engaged in every experience that they make such fascinating subjects. it sings. true and titled “My Beautiful Mess”. years later. but of chil iqueness of the un cular child. focused. let alone one that reveals the child’s true self.. they suddenly realize that they were actually hoping for something more than just those elements. you’re capturing their story as it unfolds for years to come. it really is an important task. yet when a parent sees a clear. or is it some small aspect of a person’s story that reflects of their life? assuredly there’s merit in nice-looking pictures. the photographer may have gotten a lot of straight portraits and then spent a bit of time editing them each to plastic perfection. parents often struggle to even take a clear photo of their child. it whispers. but pretty though they may be. but the impact is huge. a photograph of life.. upon showing their client the traditionally posed pictures they’ve created. to hear the parent say that while the images are lovely. it’s something far beyond nice. they’re just not representative of their child. how they can get any picture at all of their child. one of the biggest disappointments for a child portrait photographer is. i approach every session ready to thoughtfully capture what i can of my subjects’ true personalities and relationships. the difference can be subtle. especially if the gallery is filled with images that all look much the same. the most meaningful shot of my kids that I have taken. you’re not only documenting the universal moments of childhood. the shoot doesn’t tell the complete story. but the uniqueness of a particular child. i’m constantly asked by parents not only he You’re enting t documsal moments univer dhood. that moment with my family makes me constantly aware of how i think about kid photography. and well-lit image from a professional photographer. but a photographic portrait. it’s a shame to represent them with the same old formulas every time. a parti To this date. a photographic portrait tells a story. you’ll be capturing their connections with the people around them. and it usually seems that all they aspire to is a photo of their perfectly settled child smiling at the camera. offers so much more. is it just a picture. and such an honor.take a moment to ask yourself what a portrait means to you. thinK 12 . if you’re taking photos of children.

and not long afterwards i had a realization about my own work: at some point i’d become a worse photographer than i was when i started out all those years before. there were too many photos of the same setup after i’d clearly achieved the shot.the Myth of digital perfection Maybe it’s time for me to explain a little bit about myself to illustrate what i term the myth of digital perfection as it relates to kid photography—we’ll return to this notion throughout the chapters to come. Maybe it’s time for me to explain a little bit about myself to illustrate what I term the myth of digital perfection as it relates to kid photography—we’ll return to this notion throughout the chapters to come. and it wasn’t until i stopped to really look deeply at my work that i spotted the pattern. i learned the new medium on my nikon d100 while still shooting film alongside it for my business. it wasn’t intentional. In a nutshell. in a nutshell. because i was too preoccupied with taking 47 headshots to ensure the eyes were so sharp you could cut paper with their image. but on how manipulated and unreal the final edited version of the image can be. I feel that with the emergence of digital photography in our daily lives. that was when i’d become trapped in that myth of digital perfection and adopted a new shooting style in which i stopped thinking as i photographed. it’s as if the emphasis of a great child portrait is no longer on the moment captured. i was overshooting just because i could. it’s as if the emphasis of a great child portrait is no longer on the moment captured. thinK 13 . i feel that with the emergence of digital photography in our daily lives. i soon dropped the film and switched completely to digital. it had just happened unconsciously over time. i was able to pinpoint that downturn to when i began working solely in digital. i’m certain that there were unique moments and pockets of light all around me which were never recorded. and photography is also somewhat erroneously perceived as something that is free now that the cost of purchasing and processing film is no longer part of the equation. but on how manipulated and unreal the final edited version of the image can be. i was missing all the other more interesting stuff going on. And photography is also somewhat erroneously perceived as something that is free now that the cost of purchasing and processing film is no longer part of the equation. Back in the early days of digital photography.

and thought i should. the problem was that i wasn’t stopping to actually think about why i was making the choices i was. so go and capture as many images at one time as you can. they composed purposefully. even in the fast-paced genre of kid photography. Freckles like these should never be smoothed over or cloned out! thinK 14 . it was simply over-editing because i could. it was just as if i had been shooting film and more mindful of waste. there were only a few frames per subject or setup. Close enough became good enough for me when previously. really. the work was becoming a lot of quantity and a little of quality. is “hey. especially parentographers and advanced amateurs who want to work with kids. it’s digital. and they exposed skillfully. that was how people learned. nowadays. they planned and scouted. Fill up your huge memory cards. in the end they had fewer frames. as i look back over my first-ever digital images. it also fell short of a style that i was thoughtfully pursuing with the new freedom of digital editing. i notice several things. my images were pretty much perfectly exposed in the camera. the wisdom given out to new photographers. they knew the basic rules of photography and shot with those in mind. but my creativity was. photographers took their time to think through their shots. My camera was not on auto mode. i began letting my in-camera exposure slide.another major issue with my transition to digital was that perfectly fine images were suffering from over-processing in photoshop. it will cost you lots of precious time and all at the expense of actually learning what makes a great photograph.” although this approach may not cost money in terms of buying and developing film. and once i saw it in my own work. i had no choice but to get it right as i pressed the shutter button. one. but more images that they loved. this realization became a turning point in my work. it went beyond the minor exposure. i recognized it popping up everywhere else. two. My focus on what made a good image had shifted with my adoption of digital photography. Back in the day before digital was king. new photographers learning on digital were just shooting and shooting and seemingly hoping for the best. color. kids are not that saturated and smooth! i think the worst failing was that over time. and contrast adjustments that were once the realm of the lab and correspondingly needed in small amounts for any digital image. with film.

Relying on the spray-and-pray method of shooting, parents (and too many portrait photographers who work with children) often take hundreds of images at once hoping they’ll chance on a good one. There’s certainly some benefit to shooting a group portrait on sports mode, where the camera takes a lot of images in succession with one press of the shutter button—at least there’s a fair chance of capturing one shot where everyone’s eyes are open. But when photographing a child, relying on burst mode isn’t necessarily a good idea.

Learning to see
too many shots and not enough learning how to actually see what makes a better photo can cost you more time and work sorting through them all on the computer. and if you’re overly focused on the task of shooting as many images of one scene as possible, it may cause you to miss seeing other photo opportunities and thinking hard to develop ideas. a photographer of any style or genre needs to understand how to be a good viewer. to learn how to communicate with your audience—be it formed by parents or followers of your blog, if you’re in the habit of sharing your work online—you need to recognize the elements of great photography so that you can employ them in your own work. not everyone who views your photographs will have the same background or life experiences as you, but there are some universal elements present in all great photographs. these should always be considered when creating images that are more than just a snapshot destined to be forgotten on a hard drive. Learn to identify these in the images that you love, and you’ll be able to adopt them into your own work naturally. Learn to see your own work and perceive what it is you’re saying to the person who sees your image.

tographer A pho tyle or of any s eds to genre neand how underst ood viewer. to be a g

so by all means, take lots of photographs if you love to take pictures, but make each shot count. With a little perception and preparation, you can both elevate your work and find more fulfillment in creating it. you need to factor in time to think about your own work and what you hope to gain from your images before you start shooting. in the chapters to come, i’ve pulled out all my own tricks of the trade for you to get kids to sit still and look at the camera, and i’ve also compiled inspiring information about artistic genres for you to distill into your own practice. overall, i encourage you to gain a good understanding of the balance of fun, timing, patience, and letting go that’s required to photograph children. and perhaps most of all, i want you to forget about focusing on taking great pictures of kids in favor of working on taking great photographs that happen to feature kids. everyone likes a pretty picture; however, a great photograph has the power to move you.



I made sure that not only I got the beautiful and simple portrait for my client, but also plenty of candid shots while their gorgeous daughter played in the equally gorgeous surroundings.

1. Write out in detail your ah-ha photographic moment. 2. List the elements you consider essential to making a great image. 3. Think about your shooting style and identify the areas you would like to work on (shooting fewer images, better in-camera exposure, more variety).



the right gear to get you started

which means that the first step on the road to compelling photography is knowing what this tool can do. rather than being a production. but it’s not quite photography 101. The path to creative freedom begins by you liberating yourself from the false expectations of perfection that you think you’ll gain from having your camera on auto. your camera body. and aperture. lens selection. and you need to be prepared to document it. where thinking on your feet is essential. but also know exactly what you’re doing with it. it will lose its novelty to children and be as normal to them as any other everyday appliance. Learn to use it until it feels natural in your hands. shutter speed. photographic equipment varies greatly in quality and complexity. Life simply happens. it should fit right in. if you need to start from scratch learning the rules of exposure and camera function basics. children won’t react to it in a negative way. reading any beginner books alongside this one will just enhance the learning experience from the start for you. prepare 18 . and post-processing software alone are not just a tool kit. Digital Photography School has some great texts to get you started there.out and within reach. in terms of the result of the balance between iso. the camera still can’t think creatively. Being prepared is crucial to being free to follow your creative instinct when you shoot. especially with little kids. Learn to regard your camera as merely a tool with which you can create images that express what you envision. Work towards picking it up and putting it down as you would your phone. you must not only keep your camera out and handy. Having the camera out and within reach ensures that I will always remember the fleeting moments of life with small children. you need to at least be familiar with the principles of exposure. it also helps to have a mental set list of starting combinations. but a veritable mechanic’s garage of options and combinations. it’s vital that you become familiar with the basics of exposure and your gear before trying to work in a genre such as child photography. you’ll have so much to manage with the subject matter alone that you cannot waste time fumbling around looking for a certain menu setting or making wild guesses on exposure— you’ll risk losing that small window of cooperation from your subject. the camera shouldn’t interrupt the flow of your day. When the camera is to accomplish this. First of all. get that camera out of the bag and have it with you always. While very sophisticated these days. When taking photos happens seamlessly. i will be going into some detail. it goes without saying that a solid understanding of the exposure triangle is a must.

focus. and along with autofocus is one of the tasks i encourage kid shooters to leave to their cameras. or want to avoid using your camera’s built-in flash. Master all the other variable menu settings on your camera as well as the ones that control proper exposure. so shutter speed is going to be important—yet it’s often left behind for the more favored aperture setting. since sharp focus can be compromised by too large a move by the photographer when they recompose the shot. when they were simply aiming for shallow depth of field.Camera settings and exposure Kids move fast. parents frequently become confused about why all their shots suffer from blur. the key to achieving images that look the way you want them to look is to understand what aspect is most important to the image. if you are shooting in low light and don’t have a flash. as you’ll inevitably be doing some chasing after your subjects. For example. or move the focal point. Picking the best method of focus is essential to getting great images of children. and then recompose. so make sure to consult your camera manual for the directions pertaining to your specific model. if you want to isolate your child from the background and get a lovely fuzzy bokeh behind them. whether they are moving or you are recomposing your frame. you need to start with a wide aperture. start with the exposure control that regulates that element and work backwards through the triangle. this is another reason i suggest you spend some time getting to know your camera. there are two top choices for focusing: use the center spot. prepare 19 . you need to be confident and adept with the autofocus method that you use. since kids are rarely still. a high iso is going to be the first variable you set. but some can be adjusted with external controls. Make sure the white balance is set appropriately. they’re most often found through a series of in-camera menu options. Most of the time the auto white balance setting will do a fine job. the best way to ensure sharp images is to learn how to use and change the focal points. Focus might be one of the hardest things to master for the photographer new to shooting children—the coordination needed by the photographer to freeze an image of the lively subject requires practice. if freezing the action at your child’s sports game is your priority. as those buttons and menu combinations need to be second nature to facilitate easy and quick shooting. moving the actual focal points themselves often achieves a more accurate result. then a fast shutter speed will lead the exposure settings. every dsLr has the control for these different settings placed in different spots. or by the subject’s movement.

which will also help the shoot to run smoothly. i’ve carefully set up the picture controls in my dsLr so that my Jpegs come out needing as little processing as possible. especially photo shoots—it should be used for capturing the shots. i change over to closest-subject focus when i’m shooting from the hip or doing arms-length self-portraits. it will be an extra processing step that will require some time spent in adobe Camera raW or Lightroom. and you’ll essentially be stuck with those results. some of the less-expensive dsLr bodies aimed at amateur photographers have face recognition and other fancy trackingfocus options. you can move on to setting the scene. and contrast to your liking—most dsLrs have quite detailed picture controls that you can adjust through the in-camera menu. but these are easily fooled and more often than not result in out-of-focus shots—the mechanism just isn’t fast enough to deal with the quick movements of child subjects. and are confident with the principles of exposure. this way. sharpness. if you’re simply trying to take better photographs of your own children. so have your camera settings all ready before placing them in the scene. if you’re shooting professionally it really is best to shoot in the most neutral and unprocessed file possible. setup once you’re familiar with how your camera works. so C r spans apend all your don’t setting up and time s s great shots! so mis prepare 20 . not setting up. raW—all the saturation. attention s hildren’e short. which focuses on the object nearest to the lens.another option is setting closestsubject focus. Kids are quick. you can set the camera to output the images with saturation. sharpness. like bunnies. shooting in Jpeg will be fine for your purposes—in fact. and contrast can be more finely tuned in your postprocessing. prepare everything you possibly can ahead of bringing in your little model. Be mindful that the settings choices you make will be applied to your file in-camera. since you only have a certain amount of their time available to you— children’s attention spans run short for everything. this is what i use for all of my daily life photography.

make sure to meter the available light before you bring the child into the setting. as it will mean hundreds of unusable shots. Make sure that the elements in your image make sense to that image. What does or does not work for your particular subject? an urban feel may work really well for an edgy teenager’s portrait. When you place objects near your subject. if the child gives you the perfect expression as the very first snap. Juxtaposition this really is an extension of the setting up the environment section. Documenting my daughter’s first big trip into our new home city of Melbourne meant dressing up in her beautiful clothes (to her) and a trip to the graffiti covered lanes (to me) which are both represented in this one image from that day. you need to give careful consideration to the elements you pull together in the frame of the image. The big sister’s feet and the toy croc are a perfect juxtaposition to the baby. this is an especial risk for those relying on burst mode. prepare 21 . that may seem like an extreme example. incongruous objects should not be placed in the frame with children—placing a baby in a cooking pot with a chef’s hat and a wooden spoon is not cute. but to make sure that there are no trees or other objects seemingly growing out of your child’s head due to their placement in the frame. Make sure that you scan your viewfinder or LCd carefully.environment think about the environment for your image. but may not be the right context for photographing a newborn baby. but it’s something i’ve seen all too often. The environment is essential to the narrative of the shot. you create a relationship between them. having everything ready to go will lessen the risk of missed shots. parked cars on the road behind your child don’t make an appealing background. Whatever you decide on. this choice is perhaps second only to the subject in terms of the narrative of the photograph. not only for the distracting background elements you may have missed. it’s silly as well as appearing dangerous.

and placed in a busy environment. have a helper on hand just out of camera range whose duty it is to dive in and save the child if needed.styling Keep it simple. Other times. the stronger your statement. but never leave a child alone near water while you fetch your camera. When your subject is clad in bright colors. Sometimes an expression and colorful chipped nail polish is all an image needs to become a favorite. in cases like this. the safety of children must take priority over a cool shot. Compromising on safety is never worth it. your viewer won’t know their usage history and it will appear that you posed a child on regular functional train tracks—thus creating an image of a child in a dangerous situation. the fewer the elements you include. there’s a risk you’ll be too far away taking their photo to catch them. in what may seem like a u-turn. something similar goes for posing little ones who have just learned to sit up on top of surfaces other than the floor—if they topple quickly. prepare 22 Keep. surrounded by a giant bunch of balloons. i am also going to suggest that sometimes you let your little models do their own styling. think of photography as telling the story of someone in the least number of elements. train tracks may provide strong leading lines and a natural frame. those tricky poses are tricks and should only be done by photographers who are highly trained and working with assistants. but they are also really dangerous. Capture it all in the most simple and thoughtful way you can. so look for texture in an old trellis for your background or find a walkway for those leading lines. choosing their own wardrobe so you can portray the sheer mess of colors and patterns they find beautiful. Just remember to keep the safety of the kids in mind because while posing your toddler in that cool tree may have seemed like a good idea at the time. how ever colorful and crazy. it probably is. Let me say that again. and it’s her story you’re telling. Simple. even if you use old unused tracks. the impact is lost. Bath time and swimming lessons can make for fun photo opportunities. those newborns suspended from a branch are done through a composite of at least two images in photoshop. and the baby is supported at all times. It. it won’t be if they slip off while you are out of their reach. just make sure to keep your background simple to avoid overwhelming the image and to highlight the importance of the outfit. a child may dictate the scene with their favorite clothes. . safety if it looks dangerous. the difference is context and intent— your model has chosen her wardrobe because it means something to her.

merely knowing when the light is best is not enough. but with children as your models. you’ll need to be comfortable with using more than natural lighting if you want to work with children. they’ll be happy for an excuse to postpone bedtime by frolicking in the gorgeous magic hour as the sun is setting—well worth it for the most even and warm natural light possible. that golden hour will change according to seasons and location in the world— icelandic summers actually see this wonderful light in the hours around midnight—so bedtimes will mean this mightn’t be an option all year round. Kids have none of those wrinkles or bumps. also. so go ahead and experiment with that contrast. i find that if children are fed dinner early enough. meal times. you must also coordinate your shoots with nap times. shadow. soon you’ll get the hang of the balance of the light and the model’s different schedules. prepare 23 . it could be that characterful chair and lamp that will allow for dramatic directionally lit images. of course. and make notes of how the light changes over the course of the day. and everfluctuating moods and levels of cooperation.Light photography is all about light. A combination of strong direct lighting from the only window in the bathroom. you must become a true available-light photographer. or bright spots in portraits. For the most part. the lines of the tiles in the environment and a simple black and white conversion make this image of my tired daughter during evening bath time something striking. We often hear the blanket statement to avoid harsh lighting. able to shoot with whatever light is available to you when your model is ready. find the best light in your own home. Walk around and find your favorite spots. it could be those big windows that are never in direct sun but create lovely soft light all day long. one cool aspect of lighting and working with kids is that you can use light that might not be as flattering for an adult. but that’s really only because adults prefer to avoid the blemishes that are enhanced in that sort of light.

Learning how to modify light is the easiest step in that direction. the camera will lower the output of the flash to allow in a little extra ambient light. if you’re shooting on all-manual settings. on-camera flash units can be easily covered with either a store-bought accessory such as omniBounce. Modification is the key to making the flash as natural-looking as possible. Lowering Output set the flash to fire as a fill flash. Unless the light is softened somehow. the manual for your external flash or your camera will have specific instructions for your model. you can modify the light in any situation in several different ways. i have several sizes stored in the back of the car and in our garage for impromptu photo sessions. While i recommend turning off the on-camera flash as one of the first and easiest steps to getting better-looking photos. which will fill in the shadow areas. a white foam core board from the local office supply store is a cheap and light reflector. and its sheen is bright enough without causing the subject to squint. the pop up flash on your camera will cause harsh and unflattering shadows and contrast in your image. the white surface reflects light onto your model. prepare 24 . all these hallmarks of direct flash leave images looking quite artificial. i’ve been able to bend foam core in such a way that it stands up by itself. Used bare. An external flash unit pointed at a white ceiling and fired through a diffuser like the one made by Gary Fong created an almost studio look to this shot. or a simple homemade contraption of items found in almost every mother’s handbag: white tissues and a rubber band. the professional foil fabriccovered reflectors are usually too harsh for kids to look at—and also a lot more expensive to replace when stepped on by your rowdy models! as a mom.control. it also leaves the tiny little pin catchlights in your subject’s eyes. the easiest and most flattering is to bounce light back onto your subject. there are times when you may need to use it. however. working alone to photograph my own kids. Because it’s so affordable. you can adjust the output on most flashes with a +/. which requires a reflective surface. you can modify the light from the flash unit in the following ways: Diffusing Create a bigger light source by having the flash fire through material that will spread the light. it will cause the subject to be quite bright and the background to be much darker. you can even cut a shooting hole out of the middle of the foam core and take advantage of some amazing front fill light. i rarely have an assistant to hold my fancy professional reflectors.

Don’t be afraid to shoot outside at midday. just learn how to bounce flash to fill in the shadows for a great shot! Here I had help as someone stood behind me and held a white reflector up so that I could face my external flash unit backwards and bounce the light fired from it back towards our little model. prepare 25 . its innovative design allows the light from the on-camera flash to be redirected and bounced off a ceiling or wall. but there’s a nifty contraption made for them called professor Kobre’s Light scoop.Bouncing it’s not easy to bounce an on-camera flash that only faces forward. external flash units that you can attach to the hot shoe on the top of the camera can often be angled in different ways so that the light emitted can bounce off the ceiling or wall behind you. Make sure that any surface that you use to reflect light back onto your subject is as close to white as possible—anything bright-colored will cast that color onto your subject along with the light.

since children are likely to be smaller than yourself—you’ll usually need to be shooting close to your subject to get the full effect of using your body as shade. tall buildings and front porches that block the light create amazing areas of open shade almost all day long.Flagging another way of modifying the available light in a scene by blocking is the light falling on your subject. you can either hold a piece of foam core in between the light source and the subject to put them into shade. prepare 26 . both of which can result in overexposed areas on your subject. sun shades outside make great flags for natural light. people often try to use the area under trees in the park for open shade. or even use your own shadow to create the same effect. and the dappled light coming through the branches and leaves. As long as they are made of a neutral color. but be very careful—it’s tricky to spot the yellow-green color cast reflected up from the ground covering.

you can remove some of the pressure kids feel to perform by making a photo of them without actually pointing the camera right at them. Use the shape of their body or. When you use them creatively. if your children are touching. expose for the sky behind them. as you’ll not only create a fun photo of your child. Look for your shadows everywhere. try to get a great silhouette of your child. this is a wonderful thing to do at sunset. but also be able to record some of the glorious colors in the sky that would otherwise be lost in overexposure. from the playroom wall as the light comes in the windows to the tennis courts as you watch your kids practice late in the day. which will throw them into darkness. TIP: If you can get a nice silhouette of your child’s profile. if you have more than one child. the shape of them holding hands to create an iconic image. shadows shadows are a beautiful key to evoking the feeling of being someplace with your child. it can be very reminiscent of old silhouette cutouts—a nice little twist on modern portraiture.silhouettes While you’re playing with backlighting one day. make sure there is a separation between their bodies or they’ll merge into one unrecognizable black blob. they are a great way to add interest to a shot and even record yourself with your kids. . then instead of exposing for the child. prepare 27 Silhouettes and shadows make for interesting variations on the straight portrait. Make sure the light is behind your subject.

any clut ut of frame. people will see what you want them to see. Life with kids is messy. a massive collection of polly pocket dolls may be very important to your daughter at this stage in her life. photography is a common language that even kids can understand. Gasket. through your images. as a photographer. get in close or zoom in to avoid catching the background in your lens. Angles photography is a visual language and the angle with which you shoot the photograph is an integral part of the structure of the story you are telling. is that quilt cover too busy? Flip it over to the plain side. involve them in the process. show them a certain respect when you make the effort to physically go down to their level. you might celebrate the mess with photographs as well. you have a lot of control over the story that you tell. fill it with any clutter in the scene. Learn how to set-dress real life. Use simple colored backgrounds. Conversely. show them their images on the screen. and make them feel special. fill it with b laundry ter in the scene. and that mess isn’t always relevant to the story you’re telling with your image. grab an empty laundry basket. s o set-drepsy t earn howrab an em t L real life. that the choices you make should serve a purpose. slide it o prepare 28 . as an example of mess being treasure. slide it out of frame. think of composition as part of the grammar of this language.Composition What you leave out is often as important as what you include.

Looking down will help tell your story from unexpected points of view. Bird’s Eye: Break your eye-level angle by shooting from above. Whether you take a picture of them reading a book or playing with a toy car. a shiny appliance. photograph the details: eyelashes. Lines Using lines in your images helps guide the viewer’s eye to what is most important. Composition alone adds so much to the story in each portrait. the mountains of toys. and even the crumbs on the floor add detail. or the path of the sidewalk stretching out in front of the subject. it could be the leash of a toy animal being dragged along behind. or even the toy they’re grasping with their tiny hands. move around the child and record what they’re doing. emphasizing their smallness. immerse yourself in their world.Peeking: instead of taking a straight-on portrait. they become the road map to the subject in your image. The bird’s eye portrait of the baby reminds me just how tiny my son once was. Getting Down: From a child’s perspective. Reflections: Use a reflection in a mirror. toes. Capture that world to add their point of view to your photographic story. lines are everywhere. These two shots are up at the top of my list of personal favorites. when used well. Close Up: Children’s faces are so perfect and beautiful that it’s great to fill the frame with them. the world is so massive. Curved or straight. the overshadowing furniture. Photographing my daughter looking at herself in the mirror represents the beginning of her independence and growing self-awareness as she started her first year of real school. Far Away: step back and photograph the child in their big world. prepare 29 . or a fixture to catch the child when they don’t realize the camera is trained on them.

start with natural colors. which doesn’t look nice on anyone. watch the color on skin—avoid that bright orange territory. don’t underestimate the power of black-and-white shots. if you want to experiment with different looks. trends. Keeping it as close to real life color will give your images a timeless quality to outlive the trends.Color While a pop of color is great. prepare 30 . keep the original files in case you want to go back to them as technology. With that said. get the exposure right in-camera. if you’ve chosen to shoot Jpegs and have set the saturation high. if you have to do a lot of exposure correction in post-production. and your skills evolve. shooting to expose for proper skin tones is an idea that will never go out of style. the skin tones can become a real mess. also. take a few test shots and check your histogram. and then you’ll have the freedom to play from there. Celebrate childhood with color in your images. you also must make sure not to over-expose really light skin nor under-expose darker skin. ensure that your white balance setting is producing flattering renditions of the skin tone—not too blue and not too orange. the over-saturated colors of digital photography and the new vintage looks may appear as dated in a few years as the school pictures of the 1980s.

What you include and where the frame is placed is an integral part of the structure of your visual story. known as “a frame within a frame”.Framing the frame of the camera’s viewfinder is a literal boundary. fill the camera’s frame as tightly as possible with your child’s face. but it really helps capture them in their own world. doorway e Use the ural fram as a nat elps capture which h ld in their your chirld. Stepping back. and should be considered carefully. not only does your withdrawal give your child a break from your camera. at the opposite extreme. determining the canvas on which to create your image of light. getting down to child’s level and using the environmental elements as your frame will help set the scene. it won’t allow you scope to crop the image afterward. there are levels to the frame that begin with the actual viewfinder’s borders and then go inward. but it is a dramatic way to capture their ever-changing features. you can find ways to highlight your subject with natural frames found in the environment. own wo prepare 31 . although you may be confined to the outer edges of your sensor’s frame. step back and use the doorway to the child’s room as a natural frame.

remember to focus on content as well as just the perfect photo. i think we love our “phonetographs” so much because we’re free to focus on the content of the image and the moment that we’re capturing. and loving the results. to crafting painting-like visions of perfection. The top shot is with my camera phone and the bottom with my DSLR. but do you find something still holding you back? Maybe that myth of digital perfection has you too focused on getting a “perfect” portrait. While i’m not suggesting that you swap over to the auto setting. but then refer to the tips above to try some different approaches at each session that you do. i see the focus of digital photography tending to shift away from capturing the fleeting yet important moments that define our lives. You may need to consult your camera manual if you’re unfamiliar with this. but both were magical moments not to be missed. ? CONSIDER 1. i’ve taken some time to think about why i love that sub-medium of digital photography so much. i am saying that we need to shift as much emphasis onto seeing and feeling the moment with our dsLr as we do with our camera phone. as i have both my smartphone and dsLr with me most of the time. 3. i couldn’t say that either is more convenient. just like my dsLr. prepare 32 . we thoughtfully composed the photograph and then carefully exposed it. somehow that film mindfulness is becoming lost in digital photography. resulting in portraits so smooth and glassy that kids just look like dolls. and we need to shift back. Locate the menu and then refine the settings of the picture controls for JPEGs on your particular camera so that the resulting image file looks even more like you would want it straight out of the camera. Compile a list of ideas to try for your next photo-shoot from the ideas in this chapter. 2. When we know our settings and learn how to be comfortable working with kids. we’ll get so much more out of our digital cameras than we ever imagined.that myth of digital perfection again so you have all these ideas down. When did texture and detail become bad words? When film was the only option. there are even cameras now that feature digital makeup. Define at least three things that you feel may be holding you back creatively in photography. it provides instant gratification. take that pretty picture. With the wave of smartphone popularity recently. i was just expecting less perfection from my camera phone. We can see the lovely light without really worrying about the grain or light settings.

SMILE tips & tricks on Working with Kids .

fun. some awareness of how to best deal with the more extreme moods will help make a shoot run much more smoothly. though. it will make the right kids happy and intrigue the ones with whom you’re having a hard time.Whether you want to capture just that one shot or to document an entire childhood. timing. While some folks are naturally attuned to babies. you’ll find that within the same home there can be very different personality types. sometimes at different times of the day. here are tips to make all ages and temperaments easier to navigate. honesty. if you fail to cater to specific personality types. no matter what stage of life you like capturing best. While of course we all have the ability to respond to children on an intuitive level. and observation need to become the backbone of your practice. there are many facets of your own personality and skills you need to develop to work with kids of all ages. you may go from speed bump to roadblock very fast. sometimes those personalities and moods are shown at the same time. the many stages that children go through as they grow up need to be understood and anticipated. sMiLe 34 . others are more comfortable working with teenagers. is that whatever you do. perhaps the most fundamental tip. patience. in addition to the varied personality types. Respect. keep smiling. Like the old saying that a smile will confuse an approaching frown. While there are some universal truths to keep in mind about kids.

highlight just how small they are in the world. they really can’t escape your lens.Babies these are tricky little people in so many ways. raphing n photiogsafety Whe . no babies blue with cold—please! Above: All I need to do is look at that top photo of my newborn twins and I am taken back to that day when they first came home and were so small. they could cuddle together in one baby rocker. keeping the baby fed and warm will ensure they are as comfortable as possible for the shoot. Focus on the connections they’re forming with the adults in their lives. your own newborn is a great place to start—consider marking the passing of time in scale with a series of size-comparison shots in one chair or with a certain stuffed animal. While we all love the gorgeous skin of a newborn in just their diaper or even their birthday suit. a grea sMiLe 35 . it is possible to capture their beautiful newness— after all. and you’re completely bound to their time schedule. yet when you get to know their rhythms. Sunlight from a big nearby window was gorgeous for illuminating the moment and clearing up jaundice! Left: A different way to use a chair to mark the passage of time is to actually feature it in the photographs to add a sense of scale as your child grows. the r babies mfort are and co ount to getting paramt shot.

if all else fails. they think wrong words are hilarious and for the most part are the easiest creatures on the planet to keep amused. because you’ll have made them laugh. Little children tend to fall apart around four in the afternoon. the kids of this age group will generally feed off your positive energy. Who can be as fascinated by a rock or a leaf as a small child? to them. remember that photography is not just about light and camera equipment. they’ll just love you more for it. either. sMiLe 36 . that will be what’s captured. it will show in the images. it is also a relationship between the subject and the photographer. When children this age are having a great time. and a simple statement that everyone’s going to have some fun. so earlier is often better. if you stay upbeat and energetic. they also get tired and hungry. try to coordinate the timing of the shoot with the child’s happiest time of day if you can. this is the age of imagination. Listen to them and their ideas—these tiny people are not yet jaded. Being silly with the toddler set will get you far and you will be rewarded with delightful smiles. the world is new and everything we take for granted is still wonderful. think about the entertainers at a child’s birthday party: all they need to get their tiny audience excited is a smile. Make a trip around the backyard a magical adventure to another land. maybe some music. so ensure that snack breaks are worked into long sessions—nothing brightly colored to stain faces and clothing. this is not a time to be self-conscious. their confidence soars and they are most willing to participate in new adventures—such as the photography shoot you’ve planned. Kids will not think you’re a fool when you act like one. planning for their pattern of moods can change everything about which side of them you capture. be silly. you don’t have to work that hard to make kids this age happy. When kids love you and your camera.Little Kids Little kids love fun. and may just teach you a thing or two. tell them one while you shoot. if you have a happy and genuine relationship. and little kids love stories.

Being relaxed and happy does not always mean big grins. sMiLe 37 . the more self-aware they become in front of your camera. these scenarios then will become the base plan for at least part of your shoot.t(w)eens the older children get. T(w)eens don’t have to smile if they don’t want to. Let them help tell their own story by choosing their own wardrobe and styling the shoot. and remember that goofy faces and sulkiness often mask insecurity. you may be running the photography session and considering your subject to be a child. but they need to feel your respect. they may really want to share their love of horses. their true self will shine with encouragement and reassurance. While they may not be completely grown up. consider the time of day. Begin with their idea and work with them to create the rest of the image. or prefer to hide behind a book. these young adults tend to come alive in the later part of the day. also. Unlike many little kids who are up before the sun. Whether they are self-conscious or full of bravado. Follow their schedule and you’ll have happier subjects. Getting them involved in the ideas for the shoot can be the key to their enjoyment of the process. getting tweens and teens involved in the process is crucial to loosening them up. aim to treat them with the same equality as you do when photographing adults. tweens and teenagers are not little kids anymore.

is unknown to them. try taking some shadow photos if you’re outside or reflections if you’re inside. like you. even if the parents don’t plan to be part of the session. Converse with them and follow their lead. if this still proves to be too direct. you can use these moments while they hold the child to capture detail shots or to have a tour of the home. While your camera should be there with you. and the child remains wary and unresponsive. think of this stage as an exercise in necessary trust-building. and is nothing to be feared. your subject. this way. as a result. the camera. they’ll warm up to the idea that you must be okay after all. so consider taking this time to photograph some tender moments of the child with the parents. Utilize the time that you’re getting to know your subject to also be metering the light in the room and looking for natural locations and props that are present. sometimes the parent is needed to begin the session. Be patient and sensitive. and before long you. sit with them for a while. if the child sees you interacting positively with their parents. as you would try with any skittish creature. the child will see that the camera doesn’t make loud noises and big flashes while you’re preparing. it just requires some slow. this doesn’t make for an impossible photographic situation. don’t point it at the child right away. gentle introducing and trust-gaining. and the unknown can cause some anxiety for these shy types.shy Kids We’ve all met kids who are wary of new situations. and the camera will be getting along like old friends. sMiLe 38 . focus your attention on the adults present. making sure you get down to their level. they hide behind the safety of their mother’s legs at the sight of a stranger. you can capture a few images of the child without having to train the camera right on them. as you both warm up to the session.

if you attempt to get started right away you’ll most probably be dragged off by the camera strap. who obviously know you. this also goes for your own kids. after all. and that’s the best time for you to try for the images you want. they actually need to wind down. photography will develop a happy reputation in their minds. these guys are so excited by new situations that they practically levitate with nervous energy. rather than requiring a warm-up period. the novelty will soon wear off.goofball Kids you’re bound to meet another type of personality that makes it a challenge to get right into a photo session: what i call the goofball kids. and they’re perpetually plastered with ear-to-ear fake grins. we’re striving to capture their true personalities—letting them enjoy the process will often be all they need to relax and let their natural happiness shine through. Let them perform for your camera. you can still be taking photos. they may not reward you with all the expressions you want. but consider this time as more of an introduction to you and your camera while the child shows off for you. so let these kids run off a bit of the excitement first. sMiLe 39 . you need to be ready for that perfect window of time between their excited start and crash of being done with it all. Like any photo shoot with kids. but start to act up as soon as you bring the camera out. but when the kids are having fun.

if they’ds Ask thetmke photo a like to before or of you ou take their after y . on the sit-and-stay schedule.the “absolutely not having it no Way you Can Make Me” Kids you’ll very likely know these kids. and start plotting our way out of it. the negative emotions will be transferred onto the act of taking photographs for your kids. There are days when she says “no” and I respect that. the resident photographer. the camera comes out. but the moral of the story is to remember to keep the mood light even when it’s frustrating for you. photos sMiLe 40 . they’re going to avoid them as much as they can. say something like. often got into a bit of a yelling match with us when we weren’t exactly Contrary to what it may seem. ask them if they’d like to take photos of you before or after you take their photos. and they’re not going to give it to you. if the kids associate photography sessions with you being cross with them. Gemma is not always up for having her photo taken. and they groan. of course i treasure those photos now because my father is gone. Let them “win” from a series of options that are all winners for you. We’d see that tripod being set up outside our beach house for the annual summer family photo. i remember a lot of my family photo sessions being pretty stressful growing up—my father. they know what you want from them. as they’re usually your own kids on a power trip. so it’s essential that things remain fun. “Would you like to take photos in your red dress or in jeans and a t-shirt today?” to help them feel ownership about what they are wearing. if you get upset or angry. Beat them at their own game and give them the illusion of control. giving them choices that don’t include not taking photos at all usually gets them involved in the process instead of just being your model.

i simply get down on my knees to whisper to my little model that we’re going to go and take some photos together first before the parents join us. it makes the kids feel special. and fun is the key. try asking them to look in the lens to watch it blink. Making the kids feel treasured no matter what their age or personality type is paramount to getting the most special images. here are more tips and tricks that i’ve gained with many years of experience: • If you’re having trouble getting eye contact from your subject. 5DMII.recognize this situation. they may be acting up because they know just how important this session is to the grown-ups. Children know that fairies don’t live in your lens. just about anything can become an easy and inexpensive lens ornament to get kids to look at your camera. and to be the kids’ ally. 1/1000sec.. i get in there and diffuse the tension between the children and their grown-ups.. after which your little subject can decide what they want from within that pile. i’ve had many sessions where i sMiLe 41 . f11. you want kids to trust you. have the parents pull out a selection of clothing that they’d be happy for their child to wear. you’ll meet with great resistance. so like a little photography bomb-squad agent. 70mm. but you can easily get one to balance on there. many things can become a lens ornament. and then we’re able to rejoin the parents for family shots too. if they see you as just another grown-up who wants something from them. then disappear from the scene. they and i as a team get the photos everyone wants.a dinosaur too! With a little blu-tack. or even put a brightly colored hair scrunchie around the lens and ask them to tell you what color it is. so make sure you ask them to look for something that’s actually there. your job is to be a kid. are you shooting someone else’s kids? Maybe they’re better for you if their parents aren’t around. the happy reaction when they find it will reward your lens with a genuine expression! With a little bit of re-usable adhesive. ISO250. it’s fun.

sizes. Keep a bunch small stickers of hand to enticeon toddlers to st still for a pho ay to. or peeking over the top or around the side of your camera. so a simple game of peek-a-boo is usually the best trick. However. you may get eye contact but no lens contact. SHAPE TUTORIAL The instructions are easy! • Use card stock for this project so the shape will stand up and not bend over the lens • Gently place your lens face down on the color of choice • Draw a circle tightly around the innermost edge of the lens that your pencil can reach • Remove the lens and carefully cut the shape you want around the circle you just traced • Cut just inside the pencil drawn circle so as to make a smaller hole • Cut small slits in the edge of your opening so the new lens shape can slide tightly on your lens • Put your face out there and get comfortable shooting from the chin. just like actors. and colors. you can snap her great smile. you can use shape recognition to entice them to look at the camera. Kids love to be told to go and stand on the ducky! Babies like to see faces. Buy a few packs of various bathtub no-slip stickers and use them on the ground as markers for your little model to stand on. she’ll stay still long enough to check it out and try to get it off. • Need to keep a fast toddler still for a moment? try my sticker trick. you might even tell her to close her eyes as you do it and close it up into her little fist so that when she opens it up. they need to know where you want them to stand. so make sure to interact with them over or around your camera and not just from behind it. • Children are natural actors. sMiLe 42 . the point is to get the camera away from your face and click while you’re engaging your subject.• If the kids are really little. these spots are called “marks”. this easy photo tutorial demonstrates making different shapes to go around the lens out of colored cardboard. if you hold your camera too far away. in the film business. they come in all shapes. place a small sticker in the palm of the toddler’s hand. Keep a bunch of small stickers on hand (a good idea for a kid photographer anyway) for this one.

a thumb in the pocket instead of the entire hand is one that looks particularly adorable. shake it. if the model has a sense of insecurity. borrow their beloved toy as your assistant for a few shots. you can even make a game out of it. sMiLe 43 . Confidence comes from knowing what’s required of them without surprises. putting hand on hip. move it. it will affect the shoot. you need to demonstrate what you want so that they don’t feel as though they’re being left to figure it out themselves. • Even with direction. Kids are very bendy. Let kids be involved in the process and share your shots with them on the LCD. take a portrait of their favorite security object and then show them its image on the LCd on the back of the camera. twirling hair. and make sure their hands are relaxed by giving them something to do. so photography is a great way to relate to them when their verbal communication is still developing. you’ll snag a great shot of their childhood friend as well as share the emotional experience of photography with them in a way that they can understand. so visual.• Kids are visual—they learn with images before they have language. kids can be stiff in front of the camera. tapping toes. children do well when they’re shown their directions and poses instead of just told. With the child’s permission. instead Let them decide how they want to pose.ll when Being do we children hown their they’re sns and poses directio of just told. Bend it. get them moving in place. such as “photographer says”. • Being so visual.

if your own kids are always in front of your lens. sMiLe 44 . Your children may take an interest in photography themselves. you’ll have happier models if you get them involved. and click the shutter while they’re thinking. and this is a great way to keep them still and engaged. An inexpensive point and shoot camera in their hands is your ticket to seeing life through their eyes.Asking questions is a great way to get kids to relax and open up to you and it will show in their expressions. give them the family point-and-shoot or even a disposable camera. take the time to ask your model some simple questions. • Kids of all ages like to answer questions. • Kids spend their days being bossed around. have the child direct their own parents— the kids love to turn the tables and be the boss. you can even answer your own questions with wildly wrong and silly answers to get some great laughs. Make the questions age-appropriate— a smaller child will be all giggles at a question like “What did you have for dinner last night? spaghetti and wormballs?” if they’re little. if you’re shooting someone else’s family. and let them become the one in charge of you as a model.

. also. • When the kids really don’t want to smile for you. not be the subject.• The same question would cause an older child to roll their eyes. so you might ask them about their favorite music or books. Left: Trade silly faces for smiles. the props need to enhance the subject. one or two balloons: gorgeous. My advice on this is the same as my theme for the entire shoot: keep it simple and fun. an old typewriter. you could say something like: “i take great photos. and be true. enh t be the s no Above: Use props. a bunch of balloons. • One type of barter is the trade of sharing talents. the issue of props always comes into play. sMiLe 45 . never forget about safety.” not only will they be excited to be the star at something. so let me show you and then you can show me what you’re best at. but it may end up giving you some great props for shots. For example. and three chairs at a tea-set table out in the forest: too much. i like to think of it in terms of a deal where both parties are happy and having fun. don’t over-use props. is the hood of that rusty old truck really a great place to sit your small child? is that vintage suitcase lid going to fall and trap tiny fingers? ps need to ubject. it’s fair to trade children’s time in front of the camera for some sort of compensation.. try something like: “you do five smiles for me and then you get to do five crazy faces for the camera. Pro s ance the ubject.this is what i do best.” • When photographing children. it helps to keep current on what’s popular with their age group so you don’t look old and out of touch! • Consider using bartering and deals to get kids on your side. although photographing should never become such a battle that one needs to go as far as resorting to bribery.

you’ll also know when you’ve exhausted your allowance of time with your subject. in control. so sometimes the end of a shoot deserves a lollipop. and fun. it’d better be one you can provide. they will too. rushed. i’ll end with my two best and most important bits of advice for anyone who plans to photograph children. • Always keep smiling. You decide. if you smile and have fun. OK. sMiLe 46 . if that photo is blurry or bad. you’ll just have to try another time. or frustrated.• Be true to your word. if you say “Just one more shot. If you’re hurried. angry. your child or subject will feed off those emotions. Know when your model is exhausted and make sure you respect their limits. There’s no magic word or trick that you can pull out of your bag that will work with every child each and every time.” then you need to honor that and take just one more. if you promise a treat at the end of the shoot. Children need to know that they can trust what you say if you want them to model for you again and again. • Learn when to let it go. once you learn to be flexible. don’t make promises that you can’t keep. Maintain a level of trust and respect at all times.

i had the twins step off to either side of my eldest daughter. no one’s looking at the camera. i got one more shot after my son had run off. i noticed the beautiful light. they were allowed to run about and be silly. once. it now hangs as a canvas in our home. i then asked the twins to run in and give their sister a hug. and when i shared it online people loved it. photography with children should always be that way. but they looked stiff. they did. When i had my camera set properly. all of this took less than five minutes of our time. i think the best part was that someone in the alley told me that i was a fun mom. i got the shot. it’s not even in color. i made sure to meter the light in the scene. and my children were having a ball running around the tiny little alley. the editing at home took under five minutes as well—i just ran one of my black-and-white actions over the Jpeg in photoshop to highlight the amazing light and unify their mismatched clothing. i had my camera with me. My little boy was being a goofball and i saw that he still needed to run off some energy. who i told to stand on either side of the little gutter. so we were all happy. i took a few shots of them all. but i knew that the one i wanted was safely recorded and we could move on to the next fun adventure we’d planned in the day. and i got the shot i was after. i knew her wide-legged stance would make her more stable. they had fun. sMiLe 47 . and because i was ready. i’d just taken them out for hot chocolate and a coffee for me. so i gave them a task. i asked them to take a portrait together and demonstrated how i wanted them to stand all holding hands. While i watched them play. But not only did it speak to many people who don’t know the children personally. and they certainly weren’t dressed in their best clothes.the real picture i took this photo of my children.

Carefully move your crib to a south or north facing window which does not get direct sunlight. Identify the personality types or ages that you’re least comfortable working with. Make a shopping list for stickers. and write down some ideas for how you can better work with them in the future. or hurried. marks. If you ed off smile fun.? CONSIDER 1. 2. Really listen to yourself the next time you are photographing a child and make sure that you break any bad habits you may have like shooting well past the “only one more” you promised. sMiLe 48 . and lens ornaments! Always k If you’re eep smiling. they will too. rushe child or frustrated. angry. those emsubject will fe ur and have otions. yo d. to capture tender tones for a sleeping baby. 3.

editing and equipment .REFINE post-production.

or both. chances are you don’t have a lot of uninterrupted time on your hands—and the moments that you do have free are usually not allotted to be spent on your computer. you’ll want to create an easy post-processing routine.Just as this is not a photography 101 book. as you will with photos of your children. the creation of the final photograph is only at the halfway mark. not dreaded and put off. editing. but now falls to you and your computer. agonizing over imperceptible differences while flipping back and forth between the photos enlarged to 100% in your photo-organizing software. Especially with digital. this makes the post-processing workflow a lot easier—whether you’re a parent or a photographer of children. there’s a whole world of photo-processing that may once have been the domain of the corner onehour lab. you need to review and question your own images. When you’re a parent photographing your own children. reviewing. this sounds like a lot of work. it is a task that can be enjoyed too. Use this chapter as a way to refine the process that you currently use. not the sharpness. Above: Zooming in to check if the eyes are sharp enough has become a hallmark of the new digital perfection myth as not all images with sharp eyes are good photographs and not all soft images are bad photographs. your goal being to speed up the minor edits and allow time to really polish the most special shots. but more images that you actually love. reFine 50 . but it is essential—and if you shoot thoughtfully and work methodically. printing. selecting. neither is it a primer on the basics of digital photography post-processing. one of the goals of shooting mindfully is that you end up with fewer photos. these days. and sharing your images. you will waste at least 45 minutes each time. you certainly don’t have a lot of time to sit at your computer sorting through images hoping to find one that worked. Left: Focus first on the moments you capture. it’s up to you to refine your own work by organizing. you’ll be able to do it all quickly and well. you’ll already need to have a handle on the actual editing software you use in order to get the most out of this chapter. Culling images is a beast of a task at the best of times. and trust me. Your effort at getting a great photograph does not end when you hit the shutter button and capture the image in your camera. if you photograph thoughtfully and avoid burst mode. and it’s especially painful when you have an emotional attachment to the images. but you’ll also need to take some time to refine your work in a more contemplative manner. you escape having to decide which of the seventeen identical portraits of your child is the one to keep and print.

i can cross-reference by both subject and date. i make sure that i transfer those photo files to the computer every night. though. efficient process for whenever you open an image. a great tool—once you understand the process of importing and exporting your image files. With this in mind. my mother handed me a scrapbook of baby memories and a brown paper bag of slides and prints and said. i detail my post-processing routine here—you might choose to use it as a run sheet for your own work. the creative edits and style is up to you.” i realized then that my file storage was more than fine. i take as much care as i can of my images. and the ability to work in layers in photoshop is worth the price difference alone. i have them in folders organized by date-taken with keywords relating the subject’s name or what event it is. so if you want to grow artistically or even turn your photography into a business. i recommend that you invest in the full version of adobe photoshop Cs™. of course. With this system. reFine 51 . i’m careful to maintain an orderly. it’s no fun to have to organize a ton of images years later. it’s also an affordable option for someone looking for more than the free or cheap photo-editing programs that come with your camera or are found online. When i turned 39. as only you know how you want your photographs to look. and i didn’t need the extra stress of further backing up. Lightroom™ has its limits. but no longer worry about losing them all— to me. as a mother who takes images of her children nearly every day. having defined your own style. photoshop has a lot more tools for fine adjustments than Lightroom. i never had thirteen back-up copies of every negative i ever took. one thing i learned from going through stacks and stacks of slides that my father shot of my childhood. edit your images via the same order of steps every time so you’ll develop a smooth.the first step in the process is off-loading the images from your card. that’s just another incarnation of the myth of digital perfection. “i think these are all you. being organized from the outset will save you hours of editing. after the photographs are on the computer. so i‘ve decided to let go of the anxiety over ensuring multiple backups of each digital file. i replace the card in my camera and format it. an all-in-one program such as adobe Lightroom™ is Being present when shooting means that you can capture a few meaningful frames without having your camera on burst mode. yet simple electronic filing system for my images. the processing flows quickly and easily without having to swap between different programs for organization and editing. or either.

i do this on sight. i now take the time to go through and pick the ones that will be edited and eventually kept as finals or even printed. this process takes no more than a few moments and i usually end up with quite a few. expressions. i rate it at three stars—i have a nice collection of three-star images filed away as ammunition. Edit for Favorites For me this is the hardest part of the editing process—if i let it. the concession i’ve made with the hoarder side of myself is that even though images may not get a star rating at all.1. as a first step. and move on to the next stage of selection. as the images are re-rated with the filter set to show only five-star images. i start by going through all the images and giving the ones that i really like five stars. Most photoediting software programs offer a rating system The multiple shots you do take do not have to all be of the same expression. i look for focus. With the star system to filter them when i’m reviewing later. i found myself not only taking too many photos. and overall image content photo by photo. it was taking me hours to cull a simple shoot. reFine 52 . and the ones that are clearly not keepers get demoted all the way to no stars. at least it’s all tidy. by going with my gut reaction like this. i’m not really a minimalist person by nature. this second step takes a bit more time. i know i tend to keep more than i need. i made a deal with myself to never actually delete a file unless it was absolutely trash. the ones that i doubt will make the cut are demoted to four stars. so i make sure to do it when i have a block of time set aside. but also having a hard time parting with shots that were never going to be printed. if it’s a flawed but funny shot that i may want to someday use to embarrass my kids at their twentyfirst birthday celebration. i find sorting the winning shots from the losers is easier when i employ the star system. Mark your favorites and then move to the next stage of your workflow. without close scrutiny. so while i like things tidy. the ones i’m not going to work on disappear. similar to that in the Lightroom and adobe Bridge methods i use. Back when i was new to the world of digital photography. With only my five-star rated images showing. that resolution reduced the anxiety i was feeling and allowed me to speed up the image-selection process. i won’t delete them—i have the hard drive space to store those files. this task would suck me into my computer for hours on end. i then use the filter option on the program to only show the images rated with five stars. we’re left with only the collection of images that will move on to the next stage of the process. With this second round of image cuts completed.

and Tone Just like the darkroom or the one-hour lab of years past. i advise anyone serious about taking photos. ensure the white balance is natural. all of this effort could go to waste if you’re not working on a calibrated monitor. so i make sure to get it as close to correct in-camera as i can. ion tool t A calibra re that ill ensunitor is w your mio g accurate n render and tones. Other simple adjustments like levels. curves. even if you’re just a parent wanting to create beautiful images of your children. however. to think about investing in one more fancy piece of equipment: a calibration tool will ensure that your monitor is rendering accurate colors and tones. colors 53 reFine . Color. Contrast. there’s nothing as disheartening as editing what you feel is a wonderful photo and getting something dark and red back from the printer. With the image open in your editing program. adjust the exposure. look to the histogram for confirmation of proper exposure.2. Brightness. this is where you’ll be processing your work. most images will need a little bit of adjusting in post-processing. The image on the left was too warm for my liking. Contrast. and then double-check that there are no blown highlights or extreme color casts. but it was nothing that a selective color adjustment layer could not easily fix. you can only do your best editing if you start from the best image possible. even then. once you’re certain that you have a solid digital file edited to be true-to-life color and exposure. and Curves settings until you have a good base image. you can move on to the next step. color balance or even a simple hue and saturation layer can be all an image needs when it is well exposed in-camera. Edit for Exposure.

consider a tighter crop just above the wrist or elbow. take special care when cropping your portraits not to chop kids off at weird points. scan the edges of your image for objects that are coming into the frame. but there are times when we miss that mark and need to refine our framing in post-production. make sure it’s balanced so that the void actually enhances the person in your image. if the lines of that object fail to direct the viewer’s gaze around the image.Here I really liked the reflection element in the image. refine your vision for the shot by perfecting composition and framing. try to have the eyes of your subject fall into the upper line of your rule-of-thirds composition—this will ensure that even though some of the head may be cut off at the top of the frame. so embrace this opportunity to make sure your image composition is working as well as it can. 3. Edit for Framing and Image Content at this stage. your image will ideally be well composed in-camera. so I cropped the original to a square format leaving only the window. the entire image will appear balanced. I deepened the shadows with a simple levels adjustment layer to add definition to the reflection. if only part of the hand made it into the original frame. reFine 54 . on tight face shots. if your image has a lot of negative space around your subject. We don’t get a lot of second chances in either life or photography. crop it out.

then tidy it up or make it disappear altogether. not dolls. like a snotty nose. By all means clean up the spots created by sensor dust (i use the spot healing brush in photoshop or the clone tool in Lightroom). but don’t smooth over freckles—leave your child subjects looking like real kids. your images of your own children are your call. don’t edit it out before asking their parents. reFine 55 . but nice change). but do consider what it may say to your children down the line when they look at images of themselves as a child and notice that they’ve been altered. but hold back on the urge to over-process just because you can. then clean it first. others want to see the beautiful children just as they are. Something like a simple scratch can be removed easily in Photoshop as it is not a permanent feature and will be forgotten after it is healed. if you’ve photographed a child with a severe birthmark or prominent mole. While some will want to see blemishes removed or diminished (try taking down the reds of a “stork bite” birthmark or newborn acne for a subtle. if the mark is transient. My personal guideline is that if it’s cleanable first. such as an acne blemish or allergy rash. anything that only surgery could remove i leave alone.4. Edit for Spots and Other Minor Corrections this is another chance to refine your image.

or a tone effect. perhaps you’d like to share your images in black and white. Edit for Special Effects or Fine Tuning once the image has been edited to the bestlooking version of itself. there really is no rule of thumb here for whether black and white is used. your vision for your work needs to be thought out well enough that by this point you know what look you’re working towards. once purchased and downloaded. but the vision is all yours. you can even buy the actions from a photographer whose style you admire. actions are a set of editing steps recorded and saved to run together in photoshop when you press a button. i have my own collection of photoshop actions for sale to get people started.5. they are loaded into an action palette in the program itself. play around with the action steps to refine their look even further. we’ve all Above: Taking the color out of this shot meant that the distortion created by the water steaming down the glass wall would become patterns that all blended together. I created a preset for Lightroom to brighten the whole image and give the areas of highlight a warm feeling. then you can add on the final touches of your style. this step could take you hours or just a few minutes. or maybe you prefer the vintage feel of old analog film. if they offer them. action files can be double-clicked on to be immediately loaded into the action palette in photoshop. reFine 56 spent an hour trying unsuccessfully to get color right on an image just to give up and turn it black and white! . speed through this part by creating actions in photoshop of the editing techniques you like and use most often. depending on how much work you need to do to create your desired effect. at some point in our digital photography career. Bottom right: That same preset that I created for the rainy day shot has become a favorite of mine to give an instant warm “look” to many different images. this is where you can set your style in processing. Top right: This image was fairly dull due to the rainy day lighting.

6. but the best of the best shots can be given that last once-over. Edit for Final Gallery or Collection not everything that you shoot and edit will end up in an album or on your blog. Something like that is work I would only do on images that were going to be printed. these time-consuming final touches only need to be done on your favorite shots that are going to be displayed or printed. reFine 57 . Just simply painting over the red dead branches of the trees with green (set to Mode: Color) and then darkening them a bit makes the subject of this shot stand out more. Look for any things that need cloning out or painting over.

as in my case. I suggest p as a bucslude prints inre. there are many different options for making a book of your own photography. soon you’ll have years of your life in images that you can sit on the couch and look through—no computer needed. but one easy-touse solution with good quality results that i’ve used for personal work is blurb. you’ll soon have a stunning collection to flip through. it always seems that the first child gives rise to multiple volumes of baby albums. it’s a time issue. it isn’t a love issue. scrapbooker. or designer. you in ricing structu your p professional photography lab is worth the extra money. if you’re a parent of more than one child or even the fifth of a family of five kids. your client may really want to buy that disk of files. i think that is the one place in this ebook where i most need to take my own advice. if you’re a planner. like i am. impress upon your clients that the prints you offer might be more expensive than those offered by the corner shop. schedule a print order once a month. if you are a parent.com. you may notice the number of printed images of each child is inversely related to their birth order. but the last child. if you plan to photograph children as a business. My children will know my father through printed photographs only. i suggest you include prints in your pricing structure. you can avoid the photography burn-out that happens and be sure of ending up with equal amounts of photographs for each child. include a professionally printed set of proof prints if for no other reason than when the client inevitably does have inferior prints made. make an effort each month to drop copies of your favorite shots into a new folder labeled “Book”. but the quality of final images on archival paper from a plan tochildren If you raph hotog iness. reFine 58 . they will not have any reason to blame your skills as a photographer. even if you just fill an album with 4" x 6" prints of your favorite shots. intending to share their images freely with family and friends online or even get the photos you’ve taken printed cheaply at the local discount superstore. Print Make actual paper copies of the images you are creating—they’ll probably outlast your computer’s hard drive. but the prints you can have made at a professional lab are much more emotionally valuable than images on a disk that tend to stay on a disk. gets a brown paper bag of slides. have those gorgeous images compiled and printed into an actual coffee table book. or even your blog.7. if you’re mindful of your photography. if you do decide to offer a disk of images to your client. at the end of the year.

i never stopped. Being so young. laptop. you. if this is a big worry to you.000 images on Flickr™. if my children ever request that i not share any more images of them. those people do get my attention. i am aware of the attention. if you’re just starting out and building your portfolio by shooting for free. they do have a use-by date of sorts. and/or prints. so it’s essential that you discuss this with parents of your models and get their written consent before you shoot. but Flickr is where i began my online photo sharing story in late 2004. this is where i create what i think of as my little digital fire safe. as their mother. Ultimately the decision of whether any images of children that you take can be shared online or in any medium is up to the individual parents. most of them are set to private. Furthermore.8. i do understand that it’s a genuine worry for some. i’ll stop. i know i can’t rely on them being functional in the years to come. you’ll want to display your work. but once i got started. images where the children can’t be identified. password-protect your family blog. there are also many people ranging from ignorant to dishonest who help themselves to online images for commercial purposes. wherever i am. must decide for yourself. You can always choose to only share publicly. i make sure that i print copies of my favorite shots and upload all Jpegs of my absolute favorite images to an online storage system. however. even if we were to lose the external hard drives. reFine 59 . and i even have a few photos on google +. it will probably not be worth your time to do shoots where you will not have permission to share the final images. i’ve chosen to not post any images that could be deemed embarrassing or detrimental to them in the future. due to the online popularity of my images on Flickr and my blog. i can’t control them. but every individual needs to weigh it up and make the best decision based on your comfort level. they’re hardly aware at all of the attention. Because of that. my children have become semi-public figures. set your Flickr stream to private. there are many people out in the world who look at all sorts of innocent images with nefarious thoughts. i didn’t upload any images until early 2005. and as such receive fan email and comments. so i choose not to think about them. Issues of posting images of children online this is a very complex and sensitive issue. i can offer my view that determines the extent to which my husband and i share the images i take of our own children. i have Facebook. i know i can access them from whenever. Knowing before you begin will save you any disappointment. and from there you have essentially lost control (though not copyright). but one that must be considered by anyone who is photographing children. any image that you post online has the potential to fall into the hands of someone else. so i don’t bother with them myself. i think of the web as a family photo album we’d have sitting on the coffee table at home and if i wouldn’t show an image to dinner party guests. they’ve even been recognized in public. on a different but related note. Currently i have over 5. But that’s where i stop the digital perfection (archival) madness. as a parent. While i store every digital image that i’ve ever taken on external hard drives in our home. My views all boil down to one main thing: i’m more worried about people in real life who might come into contact with my children than i am of anyone who might view their images online. consider watermarking your web images. if you’re considering photographing children professionally. and for those i suggest implementing the many security options online. as a parent. For a small yearly fee. and take care with your Facebook security settings and whom you add as a friend. and because of that. i find watermarks ugly and ineffective. and my cease-anddesist order by email. in keeping with respect issues. then that image doesn’t go online. Post and Share i have a blog.

how about that horizon? is it slanted across the frame in every shot just because someone once said that you needed to try interesting angles? that’s not what they meant! how comfortable do your subjects look? are you relying on the kids to act naturally for you? refer to Chapter 3 for tips on working with kids. don’t let it take over your images. do you need to add variety to your images by zooming in or out more frequently during the shoot? often aspiring kid photographers will be given the advice to get in close for a better shot. this is the practice of recognizing when you’re developing your style versus settling obliviously into a rut. you’ll see just how far you have come as a photographer and not merely how big your kids are growing! start by looking at all of your images that you’ve fully edited into one gallery or collection. recognize and break out of patterns that aren’t working for you. review and revise your work on a regular basis to escape becoming stuck in a pattern. not everything should be shot at f/1. and even what your editing steps were. but always remember that children will need some direction.refining your Work now that the practical post-photo session information has been covered. or are they awkwardly standing in a line? did you over-edit every shot with a heavy fake vignette because you thought it drew attention to your subject? if the point of interest in your images isn’t clear without a darkened oval surrounding it. the focus of your work needn’t change. now look for settings. they may act as though they want to be the boss. you need to look at the whole picture with a critical eye. While that’s sage advice.8 just because it looks cool to have a blurry background. pay attention to focal lengths you’ve used and the amount of frame you’ve filled. if they don’t know what’s coming next or what you expect from them. hoping to fix it later in photoshop? reFine 60 . it isn’t just looking at other photographer’s work that will help you grow—identify patterns in your own work over time and search for ways to expand your vision. and keep growing by consistently pushing yourself to fix past mistakes. but the way you communicate it can. Write down what you’re inspired by. if your subject is children. their anxiety and discomfort will show. as you look back at your work over time. While you might already be keeping a folder of your favorite images pulled from magazines featuring other photographers’ work. what you loved about the image. study your images and learn from your own work. if you’re working with family groups or more than one child. don’t forget to keep a collection of your own photographs. this process of scrutiny and evaluation is all part of learning how to see photographs. let’s talk about the other elements involved in refining your work. or do you see evidence of a tendency to underexpose. it’s a sign you need to rethink your composition. try stepping back and being an observer as well. but most kids thrive on structure. have you shown their connection by having each subject touching. Keep a journal to write what you think. scan the set to see if they’re all shot on the same portrait or landscape orientation—maybe you’ll resolve to rotate your camera more.

Make a list of the photography gear you covet most. and only when you can no longer grow. the 50mm will be a true 50mm focal length. or not knowing my editing program well enough. which means most of the lowerpriced models. want to try If you mething new.” the majority of the time it isn’t the gear or lack of gear that’s holding me back. reFine 61 . Learn to work with what you have. Most parents buy their fancy dsLr camera with a kit lens: a cheap zoom with a variable aperture that’s quickly outgrown by most people. 3. “error occurred between desk and chair. the 50mm will take on a longer focal length due to the digital crop factor and therefore will actually approximate an 80mm lens. technology is changing and improving all the time and new photography gear is exciting—but if you want to try something new and unfamiliar. consider renting a different focal length lens before you buy it. Look at your collection of camera gear and consider the purchase of new equipment carefully. Describe your artistic vision for your photographs. on a full-frame sensor dsLr that tends to be marketed to professionals. you don’t need the latest and shiniest camera body or lens just because the guy behind the counter pushed it or some mothers in your playgroup have it. either way. it’s rarely the fact that i lack the camera model released five minutes ago.” i remember the saying. 2.4 lens—the nifty fifty is something every kid shooter should have. and the generous aperture will give you the ability to create a shallow depth of field and shoot in lower light situations without flash that you will never ever be able to get from your kit zoom. it is a lovely lens to have in your photography kit.” and turn it back on myself to become: “error occurred between shutter and finger. something to note is that on a cropped digital sensor dsLr. it may be my lack of planning for a shoot that’s to blame. these little lenses are relatively inexpensive.8 or f/1. “if only i had x or y. look into buying a 50mm f/1. Review your post-processing system and think about where you can save time. and then list in detail the ways you think they would enhance your kid photography.refining your equipment are you blaming every bad shot on your camera body or lens? every time i look at my own work and think. but my own skills. if you have a kit lens on your dsLr and are frustrated with image quality. For something different. I get out my old Polaroid SX70 and carefully shoot film from The Impossible Project. but super sharp.g a so sider rentin efore con b different lens you buy it. when it’s apparent that it’s your tools that are limiting you. then you’re ready to upgrade. ? CONSIDER 1.

RESEARCH seek new inspiration & styles .

these elements are essential to your images transcending pretty pictures and becoming fascinating and meaningful photographs. here we’ll discuss other broad genres of art and photography. anyone who wants to take better photographs of children can apply the various styles to their own practice. composition. these are pared down to a very simplified group of elements for a reason: this is not a photography theory textbook. The universal elements of great photography—technique.It’s important to be familiar with what makes a photograph compelling to a viewer. feeling relaxed and refocused after. researCh 63 . one just needs to learn how to see what it is that makes them compelling to us. By reducing these to the essential elements. but rather a book to inspire kid photographers. take a moment to stop and breathe in all the inspiration that’s out there. While it still may be a portrait of my oldest daughter. Above: I try to make an effort to every now and then create images that are really out of my normal style range. Look to these other types of photography for ways in which you can add interest to your own work. I have used a number of new techniques here to produce a photograph that is nothing like my work to date. and here we’ll look to theories on photography for that inspiration. search beyond the local child photographer’s blog and dig deep into the history of the art form. and subject matter—should not be discarded just because the subject happens to be a child. light. Left: Not every client shot has to be a traditional portrait. you will take it all in. In fact. Just like when you take a deep breath. influences are everywhere.

depth. Look to traditional portrait techniques to create timeless images of children. Color. and calmly confident expression most often seen in adult portraits adds contrast to a child’s portrait and in turn conveys a sense of their power. including the hallmark triangle of light under one eye. PROJECT IDEA Set up a home studio in your living room with a dining chair. KEy ELEmEnTS TO InCLUDE • Color • Side light • medium aperture for detail • Convey a sense of stillness and deliberate pose Light from one window to the side of your subject is perfect for serious yet beautiful portraits. the noble poses. direct gaze. and a kid. subdued expression. The smaller features of a child’s face will not produce the harsh shadows found on an adult’s lit at the same angle. Known for his self-portrait work. and drama can all be enhanced by mastering the art of side light. a window. itional ad ok to trechniques Lo t ortrait e timeless p to creat of children images researCh 64 . When all these elements are right. otherwise known as Rembrandt lighting. the dutch golden age painter favored side-lighting and a three-quarter view of the face.traditional portrait photography Kid photography does not have to consist solely of candid shots. the portrait can go from flat and dull to mesmerizing. With its sharp directional light casting shadow on every wrinkle and blemish. No fancy lights needed for a studio feel. the deeply shadowed face. portrait painters such as rembrandt knew how to light their subjects long before there was a camera to record it all. but the tiny features and smooth skin of children are perfectly suited to this approach. and darkly elegant background give a grand sense of stillness to a traditional portrait. it isn’t always the most flattering light for adults.

Considered to have its start in the 1800s as photographic equipment and processes became more portable. Above: The first moments of my husband as a new father are forever captured in the black and white shot taken the day after our oldest daughter was born. It was an emotional moment as he had been delayed due to minor issues from birth. documentary photography is event-oriented. this genre is not as random and candid as the street photography off-shoot we look at next. it requires a lot of planning within the action.documentary photography documentary photography is a popular form of photography used to record significant and historical events. overwhelmingly real and almost ordinary in focus. your goal as a documentary photographer of children is to compile a story of the event and explore its many facets. Left: I was ready with a camera in hand the moment our son first learned to crawl. the main element in this genre is the captured moment. it could be as simple as making a meal. KEy ELEmEnTS TO InCLUDE • Color and/or black and white • Wide angle • macro detail shots • Convey a sense of action and purpose to the story told. documentary photography has gone from accurately describing unattainable places or environments to sharing space with fine art photography. so you must have a purpose to capture the moment. in an informal and unposed style. or as complex as documenting a child’s treatment and recovery from an illness. researCh 65 . such as births and weddings. PROJECT IDEA Birthday celebrations with style. I took that one from my vantage point in my hospital bed. it is candid but stresses the objectivity and truthfulness you would expect to see in photojournalism.

or even public events.street photography street photography is a candid style of documentary photography that captures its subjects in a public environment. it often concentrates on a single unplanned instant in a person’s life. it does need to be spontaneous. since one of the points of this genre of photography is to not bring attention to the photographer. such as the market. Left: The body language of the girls and their juxtaposition to the long legged stranger is what makes this image. it’s essential to capture your subjects completely unaware of your camera’s attention on them. using the realistic and objective technique seen in straight. another element that defines this genre is being at the right place at the right time with your camera. if not on you. it is a reminder to keep your camera near you. researCh 66 . park. With a real height of popularity between the mid 1950s through the mid 1970s. holding your camera away from your face—or even as low down as shooting from the hip—is key to this style. PROJECT IDEA neighborhood kids playing on the sidewalk. it’s a fantastic way to photograph kids. KEy ELEmEnTS TO InCLUDE • Black and white • Wide-angle lens • Lower than standing viewing perspective • Convey a sense of observation and reflection Above: While it does not have to actually be on the street. so consider anytime with your kids to be a possible right time for photography. this style of photography has reinvented itself with the increased development of portable cameras. unscripted photography. including mobile devices. at all times.

and typically used for advertising. lifestyle photography captures and portrays real-life situations and subjects in their element. often considered natural portraiture. images are bright. This unposed and joyful genre is a great way to capture the happy nature of children. KEy ELEmEnTS TO InCLUDE • Color • Golden backlight • Happy emotion and action • Convey a sense of joy and warmth Color. expressions and environment. While the images are actually taken during staged setups. environment and light are all key elements of lifestyle shots. due to the light. this unposed and joyful genre is a great way to capture the happy nature of children. colorful. PROJECT IDEA Beach or park portraits with action. researCh 67 .Lifestyle photography another branch of documentary photography. they appear completely natural and spontaneous.

With an excellent base image to start with. one of the founding fathers of modern art photography. in the early 1900s. your vision for child photography based on the style of these genres can be taken to a whole new level of art in post-production. PROJECT IDEA Focus on creating a portrait of a child that is one color-heavy image (even white) with additional post-processing to enhance the desired effects. almost impossible to tell from a painting.Modern art photography Modern art photography often coincides with abstract photography. employed photography to portray feelings instead of simply illustrating an object. this form of photography can also be used to convey the photographer’s view on current world issues that affect children. these photographs are thought-provoking and powerful. edward steichen. KEy ELEmEnTS TO InCLUDE • Unexpected color • Simplicity & sparse framing • Pattern • Texture in the image and in the processing • Convey a sense of mystery researCh 68 .

this genre highlights mood and styling. it focuses on the client’s needs. as it can be built around one object of clothing. KEy ELEmEnTS TO InCLUDE • Color • mood • Appropriate environment for Framing details that would otherwise seem odd work well when doing a fashion shoot with kids. rather than the photographer’s personal goals. fashion photography is expressive and quirky. it can also involve a very complex image. however.Fashion photography PROJECT IDEA Fashion shoot with entire outfit from the thrift store. background along the same lines as modern art photography. this can be an especially freeing genre to blend into your child photography style on occasion. with odd juxtapositions. whether it be playful or dramatic. it often relies on breaking basic rules of focus and exposure to add impact. having started in the mid twentieth century. What child doesn’t like to play a little dress-up? • Attention to posing and expressions from the child • Broken rules of exposure or framing for impact • At least one element of clothing to drive the entire idea researCh 69 .

focusing on lighting and composition. researCh 70 . it’s essential to remember these elements as a part of the whole. PROJECT IDEA Record your child’s bedroom elements to define their current stage in life. and presents meaningful. in making a true portrait collection of a child. but I will never forget their importance for a brief time. either natural or handmade. KEy ELEmEnTS TO InCLUDE • Color • Detail shots of the items in the room • Proper lighting techniques Those beloved bears are now long gone as we have moved on past the newborn stage. tangible items in a significant environment. this art form dates all the way back to the Middle ages. it could even be the environment itself that’s the central feature—consider basing a photographic project around your child’s room. different stages of a child’s life will be marked by different items that they are attached to.still Life & interiors photography Like paintings. and by their wildly different tastes in decorating. still life photography features commonplace objects. and represents them clearly.

you don’t want your child to look back through their history of photographs and never see you. KEy ELEmEnTS TO InCLUDE • yourself as well as your child • Reflection • Wide-angle lens • Proper focusing technique Whether you use a wide angle lens and hold the camera out in front of you or find something shiny to catch your reflection. PROJECT IDEA Reflection time with your child. get into these shots with your kids! researCh 71 . Mirrors are a common household item that provide a powerful tool for reflecting a moment with your child for the camera. because you were always behind the camera instead of in front of the lens with them.self-portrait photography self-portraits date back to the fifteenth century and albrecht dürer. but artists making themselves the main focal subject of their work became increasingly popular in the mid sixteenth century. Just as we do today with photography. artists have been using reflective materials to place themselves in the image.

and unnatural distortion. relax into the strength of composition to make your shot interesting researCh 72 . distortion. the lo-fi lens and cheap construction create unusual optical effects like light leaks. and then work with what you’ve captured when you’re back at your computer. process with actions that simulate and enhance the effect of the toy camera film. square cropping • While the processing can be fun and unpredictable. then tie it all together with black-and-white postprocessing. you must start by forgetting that the LCd on the back of your camera even exists. Consider a square crop to suggest a few of the medium-format toy cameras such as the holga. how about posing your seven-year-old on a banana bike seat? or if you’re going for a sixties look. and became popular in the 1960s. darkly vignetted edges. if you’re thinking 1970s. Play with focus and blur to suggest the plastic lenses of old toy film cameras. have your teenager sport a hairstyle from that era and perhaps just a smidge of the iconic makeup. you can even get vintage toy lenses for your dsLr. try the plastic diana lens for a lo-fi effect in-camera. grain. if you want to replicate film photography. PROJECT IDEA What is your idea of vintage? a sider a squt re Con a to sugges umcrop edi w of the mameras fe format toy cHolga. give your contemporary child photography a true vintage feel. and carefully weigh up your location and the styling of the shoot. such as the KEy ELEmEnTS TO InCLUDE • Use post-processing techniques to replicate the lo-fi effects: vignette.toy Camera photography toy cameras are inexpensive film cameras made almost entirely out of plastic. rely on your knowledge of proper exposure and sense of composition to make the image.

KEy ELEmEnTS TO InCLUDE • Focusing on great composition and capturing those special moments With moments and light as the only focus. I can create magical vignettes of my children’s daily life activities. it doesn’t have to be one or the other. and some interesting processing to follow up with. i think that’s why the camera phone is really striking such a chord in our photography-loving hearts—it’s getting back to the essence of photography with the added bonus of digital instant gratification. relax. however. your mission here is to take your dsLr. in having our fancy smart phones with us all the time. it’s a cross between toy camera photography’s interesting effects and documentary photography’s moment-based feel. Simply take a photo with your DSLR of your child every day for the year. and just focus on composition. the emergence of dsLrs and ever-more sophisticated software to edit images has pushed the realm of kid photography into a fantasy genre. the pressure to get these perfect but surreal images of children has taken the focus of kid photography from the pure moments of childhood to porcelain unreality. elements that add to the image. • Leaving proper exposure to either your aperture priority or shutter priority so that you can relax and enjoy being spontaneous researCh 73 . your fancy digital camera needn’t sit gathering dust. PROJECT IDEA Just one shot a day.phone-tography phone-tography is such a new genre that we’re making history as we speak. this is becoming the new way we tend to document our children’s history through photography. where even parenting magazines are publishing covers featuring images of children that have been edited to resemble plastic baby dolls rather than real live humans.

Find the most compelling genre of photography listed above and research it fully. the wide world of art and media offers many other sources of inspiration beyond these—this small selection is just to start you thinking about the options out there.? CONSIDER 1. but that’s where you can stretch your creative muscles. unmanipulated photography at a time when the pictorialists were dominating with their fanciful. when group f/64 re-embraced straight. soft-focus. when seemingly every start-up child portrait photographer relies on the same set of vintage actions and texture overlays to make their photographs interesting. not everything will be a fit. as any art form does. take lessons from these other genres. and rewrite them for your own story. similarly. com) board of images that inspire you.pinterest. and get into the practice of identifying the elements you find most compelling. Journal your ideas for translating your new inspiration into a child photography shoot. filter-heavy images. the many different genres highlighted here point out that an image doesn’t have to look like everything else to be interesting. and there are boundaries of safety and ageappropriateness to be considered. i want to encourage a return to the essentials of a good photograph straight from the camera. this is not meant to suggest people shouldn’t play and have fun with their child photography! Quite the opposite. sees changes and backlashes to current trends as a part of the journey of moving forward. take you f . Find one photographer from your selected genre and write down what words come to your mind as you look at their work. use the outlines of the key elements of interest. a famous example of this in photography took place in the early twentieth century. ace to start The best plell-made is with a w let your image and nal vision own persorom there. 3. photography. 2. Sometimes the image will not need anything more than an interesting angle to tell a story. the best place to start is with a well-made image and let your own personal vision take you from there. researCh 74 Keep a journal or start a pinterest (www.

photo setups you can try to help push your own boundaries PUSH .

We may not be out photographing in a war zone. and all I accomplish is more of the same underwhelming images. it’s very likely a sign that it’s time to shake things up.8. the goals are fairly detailed. and builds our confidence so that we can incorporate new ideas on the fly. environment. and so it’s all too safe and easy to keep shooting your work over and over again with the same tried-and-tested setups. it’s often easier to be free when constrained by a goal and some limits. open-shade rut. in this chapter. we’ll look at seven different photography exercises designed to break you out of your iso 250. our minds sharpen and focus when we’re forced to problem-solve. pUsh 76 . push. When you feel the desire for more from your images. they’re merely the prompt you need to try something completely new in terms of how you approach photographing kids. let alone portraits commissioned by a client. However. these tasks may feel awkward to you. Whether it is for yourself or for a client. it’s in times of stress that we think most creatively. photographing outside of our comfort zone trains our mind to be a better observer. but as child photographers we must have the skills to think quickly on our feet—we’re often managing challenging subjects. here. and endgoal comfort zone. the only thing that jolts me out of creative torpor is purposefully extending myself beyond my equipment..it is there that you will capture the beautiful moments. these tricks are not meant to change your style for good.. When you’re given a creative task. but the technical instructions are kept to the bare minimum in order to stimulate your creativity in how you choose to interpret them.There are many times I set out to photograph my kids with the best of artistic intentions. There’s undoubtedly a lot to manage when photographing your own children. operating by rote is just when easy quickly changes to boring. some more so than others. i suggest that the ones which make you feel uncomfortable are the ones you really should grapple with—when you’re stuck. 24-70mm f2. push yourself to take photos that are not your normal light or pose.

When your flow of words starts to trickle off. now. think about the framing. don’t over-analyze. like this one of my son with his cucumbers from lunch held up as eyes. so the point of this first exercise is to get you to really think about what is the essence of an engaging portrait. though. or even abstract ideas and colors that represent your child. your son will grow up and still have his brown eyes. to complete this exercise. in fact. pUsh 77 . the goal is to use your camera to capture these twelve facets of your child’s personality. as a parent. just jot down whatever comes to mind. and exposure carefully as you’re shooting so you can get these twelve images in as few attempts as possible. your brief: to tell their story in twelve images without once picturing their face. Portray a Child … Without Featuring the Child i see so many mugshots of children that say nothing about the child themselves. You can start this project with the obvious shot of your child somehow obscuring his face.1. It is very fitting for the word “Silly” that is on his list. What are all the elements you could put together to tell your child’s story? this is your opportunity to capture a visual portrait of this moment in your child’s life. pull your twelve favorite shots and edit them simply so as not to detract from the photography. but represent them with an object like this abandoned pacifier for the photo of “Growing” from the list of words I wrote to describe my son. Looking back on your child’s visible story. translate at least twelve of the words on your list into photographs. camera settings. try to limit yourself not only to twelve final images. What are the could u lements yor to tell e put togethe story? your child’s Or show less of the child like this image of my son with his sister that represents the word “Twin” from his list. think about your child and begin by writing a list of words that describe your subject right now. you’ll see nothing that speaks of their obsession with the color green or their ever-present soft-toy sidekick. stop writing and see how many you’ve ended up with. it’s not hard to take photographs of our little one’s adorable face. You can even show nothing of the child. but those other elements of his childhood will be long forgotten. i know i make images like that all the time. InSTRUCTIOnS take twelve images of objects. display the images as a grid or as an old film strip. but also very few attempts at each of those twelve shots. here comes the challenge. places.

you may shoot an additional twelve images (equal to another roll of 120 film) if you need more frames to complete your session. yashica-Mat. you’ll be forced to consider your photograph carefully as you take it. and rolleiflex by cropping an entire session of images into squares in your post-processing program. if you do feel that you need more. the key for you here is to be aware of the parts of the frame that you’ll crop out later. but an entire shoot. the compositional rules remain the same for any format. By limiting yourself in terms of both image quantity and square frame constraints. add an additional twelve frames as if you were shooting an additional roll. since you’ll be seeing the usual rectangle through the viewfinder of your dsLr as you shoot. InSTRUCTIOnS plan your session around twelve square images. the goal of this exercise is to plan for not just one frame in the square format. pUsh 78 . open them in your photo-editing program and crop them to square format (often represented as 1 to 1 in the drop-down menu of the crop tool). Think Inside the Square While your dsLr or 35mm sLr takes rectangular photographs.2. reference the old 120 medium-format square film frames from gorgeous cameras such as the hasselblad. When you have your final files. there’s another striking option that has served myriad photographers well over the years: square. Keep square in mind for the whole session and don’t be afraid to fill the frame with your subject as well as pulling back. shoot carefully. remember to consider the space that will be lost in the rectangular image frame as you shoot your images. limit yourself to twelve frames for the entire shoot—that would be the same number of images you’d expose for a roll of 120 film. but you’ll find the placement of elements within the square frame to be vastly different from that of a rectangle—you’re essentially losing a whole section of the image that you shoot. mindful of proper exposure so that you avoid needing to take many images beyond the twelve that you’ll edit. as with the first exercise. try thinking beyond that familiar format. maintaining the composition you planned for the final square image.

which will result in more digital noise. For example. give the images a black-andwhite finish to unify the grain and lessen the visual distraction that the noise can have on the subject matter. purposefully underexpose the image by a stop and then pull it back to proper exposure in post-processing.8 at 1/400 sec depending on the look you’re going for. so raise the iso. with your camera set to Manual. grain isn’t always a bad thing. Embrace the Grain one of the hallmarks of this myth of digital perfection is an almost creepy smoothness to images. prepare to photograph inside where the light will be less intense. real life has texture. set your iso to at least 800. pUsh 79 . process your final image into black and white. to unify the noise and incorporate it into the character of the image. if the proper exposure for the scene is iso 800 f/2. take a deep breath and accept the imperfections in the image just as you would in real life. and can actually add character to your images. although digital images have similarity to film in terms of pixels on the sensor being the digital equivalent of silver particles on film negatives. but it may really challenge your digital photo perfection oCd.3. and often were gritty and dirty just like childhood can be. Children’s features blend together and even their hair is often less like strands than sheets of plastic. counter the darkness a bit by raising the exposure. InSTRUCTIOnS you don’t need to do too much work for this one. real life has freckles and depth. film images of ages past had a lot more grain to them. Low light situations. these are kids you’re photographing. turn off your in-camera noise reduction. then set your camera to either f/4 at 1/200 sec or f/2. Raising the ISO allowed me to capture the shots without flash and the resulting noise added some texture to the images. in your photo-editing software. like these images shot in a hotel with sun protection glazing on the windows. is a great time to embrace the grain. not dolls that you’re painting. but the amount of grain really is up to you as an artist and therefore the amount of underexposure will depend on your desired result. and even add some extra grain with a filter in photoshop.8 at 1/200 sec. change the settings so that you’re underexposing the image just a smidge—clearly not a technical term. Meter your scene and then.

and experiment with going slower from there. Kids are so fast. pUsh 80 . play with the contrast levels to give definition to the blurry subject. if you’re not comfortable with full manual mode. with a still camera and a long exposure. but the task is to at least begin the experiments with a shutter speed slower than you’re comfortable with. Capture the chaos and blur of the arsenic hour. add illumination to your subjects by painting them with the light from a flashlight or lamp. this is a great exercise for late in the day. the more the ambient light will be captured as well. Slow Your Exposure i read it all the time: you must use a shutter speed of at least 1/250 sec if you want to work with kids. spinning and dancing and doing whatever they do. think about twilight in the backyard or dinnertime in your home. that’s doubtless true.InSTRUCTIOnS Using a tripod will allow you to capture the motion of the child without blurring the entire image with camera shake. which lets the camera record the movement. shine the light on your subject. While the shutter is open. perhaps moving it around a bit to soften the effect. so a darker environment will really shine in a setup like this. so those qualities should be celebrated. in your photo-processing software. Trying to get three small kids out the door is bedlam and I decided to capture the energy with a slow shutter speed as they raced past their ready bags to get shoes and coats. you’ll never catch them with slow speeds. 4. play with that blurry and dreamy quality. that tornado of activity before dinner and bedtime. School mornings are crazy in our house. With the camera set to record at a slow shutter speed. the goal is to really play around with this idea of representing the speed and blur of childhood. Children are so full of energy that they’re nearly always on the go. set your camera to shutter priority and pick a slow shutter speed—try 1/30 at first. but do you always need to catch them? perhaps not every photo needs to be perfectly sharp and still. there’s something very poignant about the way childhood flees in the blink of an eye. one of the ways to achieve this is with a long exposure. this will open up a whole new range of looks in your imagery. the longer your camera’s shutter is open. so think about how you can express that— consider showing the motion instead of freezing it. or illuminate a portrait of your child by painting the light on them with a torch or lamplight during a long exposure. press the release and let your child free in the frame.

make sure your child is fine before thinking about recording the fuss. InSTRUCTIOnS there’s no real way to plan for this exercise. pUsh 81 . keep the focus on the subject’s face and simplify anything else. you don’t need to take a string of images and you certainly shouldn’t let your photography come before safety. the troubles witnessed in the Time Out Spot. is a simple backdrop. but resist this in favor of showing the beauty in the sticky chaos. not hide away. but he sure needed a good cry. merely letting off emotional steam or frustration. Oh. the tear-stained cheeks need to be the clear and purposeful subject. you may just have to zoom in close. or an overturned glass of milk). the trick to working with the messes of childhood. and these really should be shown as well as the smiles. why not capture that moment? Childhood is full of irrational emotional outbursts. Let Them Cry never to be confused with “make them cry. for example. there’ll be plenty of perfectly appointed portraits for other occasions. Look at your angle as well—sometimes just moving to your left or right or heightening your perspective can remove enough of the background from your frame to give the entire image a simple and timeless feel. He did not need stitches. it’s more about being ready to capture life’s real messy glory as it happens.” of course! if your child is safe and unhurt. then look to the background— unless it’s integral to the story (a broken toy. you may be tempted to fix their ponytail or change their outfits to match. I documented his first major “owie” but not right away. but the fact that children are emotional beings is something to celebrate. I can’t even recall the drama of that particular day. the first step is to have your camera out and ready to go at all times. but it certainly was beautiful to behold. When the moment arises. Left: Evidence of the bad fall was still on my son’s face even hours after a return from the doctor.5. to make it beautiful. Let them get messy and record the real side of childhood. as the situations that arise to cause the outburst usually mean the subject won’t be overly keen on moving to a better location. so de-clutter the background and ensure good exposure and lighting.

if you’d like to think in terms of 35mm professional film. When you have a limited quantity of something. don’t even look at your LCd between shots. don’t delete any shots that you take in-camera. take a look with a critical eye at the 36 images as a whole in your photo-organizing software. carefully review your framing and exposure before you press the button. and storytelling. But as we saw earlier. While you’re shooting those 36 frames. your motto here is to shoot digital as though each frame costs you money to develop. it’s the one that many digital photographers find the hardest. see if there are any patterns you could work to improve on. Limit Your Frames While this may seem like such a simple task. focus. pUsh 82 . and storytelling aspects that make up your image. if they’re a mistake. but 36 consecutive images that have been thoughtfully taken. the point of this exercise is not to get 36 perfect images. 6. once you’ve uploaded the images to your computer. compared to a folder containing hundreds. in fact. it just means you’re down a frame. Limiting the number of frames that you can shoot for each subject forces you to think carefully about the framing. exposure. Were you missing the moments? are the exposures good? What are the issues in your work that even careful shooting doesn’t solve? these areas in need of improvement will be much more apparent if you have fewer images. you’re less likely to waste the resource.InSTRUCTIOnS simply give yourself an image number limit. then 36 frames is one roll. framing. review them for exposure. and wait until those 36 frames are on your computer to see what you’ve come up with. Getting the exposure correct before disturbing my daughter’s shower was essential to making sure frames and time weren’t wasted. limitations can be surprisingly freeing to the creative soul. this is a task that everyone should try. Let this be a real film-inspired exercise. Two of only three shots taken. and is even part of other assignments here. so when you’re photographing your kids around the house.

? CONSIDER 1. your goal here is to recreate a story or. think less is more. or take one portrait of your child that summarizes the entire project. and then have fun with your child in front of the lens. Create a Story now it’s time for you to have a little fun with the whimsical. then together you can illustrate that story with photographs. Just put to use all the skills you’ve learned about thoughtful photography. nor overuse props. 2. then add an extra element of playtime. Costume the story. pUsh 83 . you shouldn’t need to take hundreds of photos merely to get one. you can create a series of images to illustrate the different parts of the story. even better. let your child help to make one up. Which of these assignments is your immediate favorite? Do that one last. You do not need a full set or many props. with the story illustrations as your end goal. decide on the story you’d both like to tell through photographs and prepare your ideas for the images on paper. well. Be literal. avoid taking too many images. Be grand. think snippets of a story or the cover of a book of fairytales when you’re working on this. Which of these assignments seems the hardest for you to do? Do that one first. or start small. InSTRUCTIOnS With your child. 3. pay attention to the rules of good exposure and compelling composition. and the rest. What three words would you use to describe your photography of children now? You can let imagination and costume be the only things that tell the story. that’s up to you and your child. and let the imaginations of both you and your child take over. set up your images from your notes.7. or create something abstract and odd. fantasy side of childhood. the key is to make all the elements of your image be purposeful choices. you won’t need to smooth these images into satinlike oblivion. Just have fun with your child and the story you’re working with.

LOOK Case studies–interviews & photos .

i think the one common thread linking all my favorite child photographers is that they see photography as just a part of life. Whether they specialize in kid photography by trade, or it’s just where their talent really shines, none of my favorite photographers only shoots kids. recording life with their cameras is essential to their souls, and it shows in their work. these are not photographers who pack their cameras away between portrait sessions—the people who move me with their images of children are always taking photographs. even if they were not paid for what they do, they would continue to be photographers. if your main attraction to photographing kids is because you think it might be a nice little side job, then i suggest you take a moment to really evaluate your passion. do you pass by something and do a double take because the way the light is falling caught your eye? do you grab your camera in the same way you grab your keys when leaving the house? i really think that these small signs can indicate the difference between a child photographer and someone who just takes photos of kids. if you really want to take better photographs of children, you can learn a great deal from photographers who can’t imagine life without their cameras. they pull inspiration for their art from literary works, the trappings of ordinary life, and even music, in addition to yet other photographers. their artistic subject of choice, like yours, just happens to be kids.

What’s your photography background? i guess i would say i am a self-taught photographer. i had the honor of working as a darkroom technician for a very talented photographer when i was about twenty. i learned to use an enlarger before i learned to use a camera, and simply applied my darkroom knowledge to a crappy old manual camera that i inherited from my grandfather. i sort of learned photography backwards. Where’s your camera bag right now, and what’s inside it? My camera bag is stuffed in the bottom of my closet, full of old lenses and camera bodies that i never use. i’ve always hated carrying a camera bag. typically you’ll find me lugging my nikon d200 around in my handbag. there’s a 35mm 1.8 attached, and it’s protected by a UV filter— i’m famous for losing lens caps. i have a nikon 18-55mm 3.5-5.6 lens that i bring out now and then, but i hate not shooting with a fixed lens, so i don’t use it very often. What was the last photo you took? We adopted a new kitten last week so most likely it was a picture of her. Cute li’l Jinkee p.—she’s so cute that i worried my camera would explode. Just before shooting Jinkee i took lots of photos of my husband and his best friends shooting giant guns at a firing range. i like to mix it up.

Where do you get your inspiration? i find inspiration everywhere. i love it when light and shadows intersect just so, and i love to shoot in the gleam. there’s usually something interesting and beautiful happening with the light when i decide to pull my camera out. i like to capture those ephemeral moments when just for a fraction of time real life looks like a beautifully art-directed film. What drives you to keep photographing kids? i want to memorize every second of my daughter’s childhood. i have a terrible memory, so i take pictures instead. she loves to look through them and remember all of her friends, or special toys, maybe a favorite dress that she wore when she was three. When it comes to photographing other people’s kids, i find them to be so much more comfortable in front of the camera. they don’t need lots of direction, and it’s nice to give someone else a permanent memory, too!

Jaime goodridge
Jamie first caught my eye on Flickr years ago with her amazing portraits of her daughter, Bunny. Always engaging, Jamie’s image series is filled with outstanding shot after outstanding shot that while might be just portraits of a child growing up, could hang on any gallery wall. Her key to making these childhood images not only gorgeous but compelling is the use of light, framing, and posing. She is a photographer and a musician who has often been accused of being too attentive to her dog, Piggy. She lives with her husband and daughter in Portland, Oregon. They tolerate her eccentricities because she makes them laugh every now and again. You can find Jaime’s work online and the full series of Bunny images on her Flickr stream.



Could you describe your process for a photo from idea to final image? i have a hard time setting up shots. i much prefer to capture images as they happen in real time. My camera remains parked in manual mode. the benefit i love the most about shooting digitally is that i don’t really have to miss moments metering for light anymore. i typically pop off a test shot and make adjustments to my exposure using the test shot as a reference. i do all of my editing on my laptop in ps3. Usually i work from my bed as it’s nice and cool and dark and darkroom-esque in there. have i mentioned how much i miss working in the darkroom? i can spend anywhere from fifteen minutes to over an hour working on an image. i just can’t seem to let go of the image until i’ve tried a dozen different tweaks. it’s that darkroom love in me popping up yet again. What one tip would you have for people to make their images of children more memorable? Candid shots will always be more cherished than posed ones. When you pore over photos of yourself as a kid, your favorites are probably the images of you engaging with other people or with favorite toys, not the ones of you standing rigidly next to your aunt harriet with a forced grin on your face. the everyday moments are so very special when you’re able to look back on them years later.



in fact. LooK 88 peta Mazey This professional children’s photographer has an amazing ability to portray the world of kids beautifully. and a few rolls of color film are in the fridge. somewhere else in the house is a Canon 5d with a Canon 24–70mm 2. and a tamron 17–50mm 2. i can’t tell you how many times i’ve gone into a shoot with a specific idea in mind and ended up with something completely different because of what the subject has given me.8 back then). Her images have the ability to make any viewer smile with their lovely light and quirky sense of humor. What was the last photo that you took? With my dsLr. and what’s inside it? My camera bag is at my family home in a closet (not sure which) with a broken flash. other things that i can’t live without. Peta’s use of color and photography technique is accentuated by a talent for design that’s apparent in her framing and composition of each shot. learning to overcome crappy equipment builds a great understanding for once you have earned the good stuff! a love for the art and a dedication to get better through constant practice is key. showing the progress of my bedroom in my new-to-me house. and by the time i was out of university i had a fully formed business and a good little photography kit (a Canon 20d. paintings. . We had so much fun shooting together that we ended up taking photographs most days. are a bunch of 4gB memory cards (not too big—don’t want to lose 12gB worth of photos!) and my old memory card reader UsB stick that i love to pieces. oh. design magazines.8. blogs (though not really photography blogs—there are very few photo blogs i keep track of).8 L lens attached and somewhere different again is a Canon eos 3 with a 50mm 1. a pile of batteries. i think some photos of needlework that i’m cataloging for a client. was with my iphone. Ruby. but are super-slow and not really very sLr-like at all). after a while other people started asking me to photograph their kids and families. She takes photos of adorable kiddos and happy families as well as shooting campaigns for her commercial and editorial clients. i was studying graphic design at university at the time and nannying for one of the cutest little girls ever. Where’s your camera bag right now. so i got a point-and-shoot (one of those ones that look like mini sLrs.What is your photography background? i started taking photos using the still feature on my parent’s video camera about six years ago. nature. New Zealand home. Where do you get your inspiration? everywhere! Movies. where she lives with her family and the cutest little dog around. Her work is clean. that’s one of the coolest things about working with kids—often the best shots come entirely from them and their personality. though. bright. and a wedding invitation in it. which should be in my camera bag but aren’t. music. or even their own ideas they’ve put into the shots. and endlessly playful. When she’s not roaming the globe she calls Wellington. the last photo i took. inspiration for me is a total mix of all that stuff and the subjects themselves. Peta counts herself pretty lucky to have a job that takes her around the world shooting photographs and meeting awesome people. a 50mm 1.8. Facebook and her Portfolio and Blog She teaches classes with Rachel Devine at Beyond Snapshots and sells Childs Play Actions to make your photos pretty. You can find her work on: Flickr. i had so much fun with that. My journey into photography has taught me that you don’t need the best equipment to get to learn. it was a great way to learn because there was no pressure and i could take the time to explore what worked for me.

even if i’ve had the end result in my head for a while. i do like to consciously think through how to best harness the scene to make an image that makes the viewer react. and up to a certain age they’re free of the selfconsciousness that often holds adults back. if i want them laughing i’ll joke around with them or tickle them to get a giggle. and some are concepts that are interrupted by chance. some days nothing seems to go right. although that helps—i mean see into their world. most of the best photographs are orchestrated in some way. i’ve learned over time that arranging shoots around nap times and having breaks for food and rest makes all the difference with younger kids. chances are the shoot will go great. but the ones you’ll appreciate down the track are the ones where you were guided by them. this process might happen over a week. What one tip would you have for people to make their images of children more memorable? get on their level. What do they enjoy doing? how can you capture that in a photo that tells a story? What are their quirks? What makes them shriek with laughter? a perfectly orchestrated photo of a child out in a field with a suitcase and a balloon might seem like a great idea now. some photos are concept from start to finish. i try to make it seem spur-of-the-moment and fun for them. some are chance from start to finish. laugh. but i won’t force it. though. but the days where everything does come together make up for those crazy days a hundred-fold. or if i want them looking faraway and thoughtful i’ll give them something to think about. well-executed portrait either! LooK 89 . i can’t say there aren’t times where i question myself for choosing to work predominantly with children. or think. or it could literally happen in twenty seconds. it’s time to give up and try again another day! Could you describe your process for a photo from idea to final image? My photos are half concept and half chance. if the child will take direction. i’ll nudge them down a path i have in mind. even though i want the end result of a photo to look natural and spontaneous. if they feel good. if they’re tired and hungry and miserable. Usually my ideas will start with a setting or a piece of clothing or even just seeing a child do something that i think could be made into more of a story through photography. Whether i’m shooting daily life or concept shots. My brain will go on a roll until i get to an idea of how i could best portray that in an image.What drives you to keep photographing kids? they’re challenging and fun and honest. i don’t mean just crouch down and get on a low angle. even simply thinking through the light in relation to the subject can take a photo from a snapshot to something else. don’t forget about the charm of a simple.

the one that sticks in my mind the most is of a small. growing things.. and the old albums as well: my parents’ wedding album with the scratchy silver cover and the pretty lacy protective paper between each photograph. nothing. Christine can tell a whole story in one image with her use of framing. Great Britain. Christine gill Christine’s images of her son and daughter are always so moving. With their emotive lighting and composition. She loves to take pictures of the things she loves. let me tell you. ahh. i can remember so vividly how much i loved pickpicking the wallpaper off little bit by little bit. and colors all working with her subject—all you need is that one shot. light. She loves the outdoors. nature. “We’ve only just put that wallpaper up!” she’d say. just wallpapered over. it always made my mother so cross. i did feel ever-so-slightly guilty. they tell a universal story of childhood. My photography background is viewing photographs and being in love with them. and this is the hornbill at the bird gardens. and this is me eating sandwiches at the beach. little shred by little shred. i shudder to think how long my friends had to sit through “oh. there’s a piece or two from a brightly colored plastic tea set that i loved to play with on the windowsill. Christine was born and raised in South Wales. i could tell you about the joy of first being allowed to use my father’s old pentax sLr. and i did try not to do it but.. and—ha ha—there’s a funny story about that. exposing in places the bare walls below and in other places the wallpaper from long ago that was never removed. i can remember some of the pictures very clearly that were taken during my own childhood. Currently living in Conwy. North Wales with her three kids and an American expat husband. but really that doesn’t compare to the years of looking through old photographs and being so grateful for the parts of my childhood that are preserved in them. no more. there was nothing nicer than picking at a fresh patch of wallpaper and hearing that little tearing noise and seeing the bare wall or old paper underneath.. children. You can find her work online at rebeccahelen. all sorts of animals. and her own family.” My family had this large cream plastic cube with photos displayed on the outside of it. the ring binder album with orangey pictures of my older sisters with their bellbottoms and pageboy haircuts. and the wallpaper below the windowsill is almost all picked off. i loved that box.What’s your photography background? What got me interested in photography in the first place were simply photographs.co. even though i haven’t seen them for years.. i could tell you that i tried photography while doing an art course at college. open it up and there were hundreds more inside. round me at the age of two or three standing by my bedroom windowsill. she runs her own studio.uk and on Flickr LooK 90 .

rather than focusing on the ladybird itself. tamron 17–50mm 2. but just in case i don’t. ever. and those are good. conflicted children. and the old plastic fantastic nikkor 50mm 1. and what’s inside it? it’s on my bed. it had a picture of a small boy on the cover. naughty children. the boy’s eyes and his cut lip and messy hair—they tell a story all by themselves. they have deep thoughts. happy. What was the last photo that you took? it’s a picture of a ladybird on my daughter’s arm. it really made an impression on me. to take a picture like that!” so far from the smiling. but continue to carry around. But they’re not only that. as i got older i really wanted to be able to take a picture like that.8). But he was able to remember exactly what it was like. but i remember seeing the cover of the U2 album War. happy children. roald dahl once said most grownups have completely forgotten what it’s like to be a child between the age of five and ten. so they can look back and know how something felt—that makes me happy. a few lenses (sigma 70–300mm. When i’ve taken a picture that i think preserves those feelings. they feel the unfairness of the world more starkly than we do. and an assortment of scratched-up filters that i never use. to take a portrait that’s more than a record of how a child looked at a particular time. his face mostly. pretty young. i think it’s important to capture not only happy smiles but everyday moments as well. surprised children. laughing children. inevitably there will be sadnesses and frustrations. bouncy stuff of childhood. i should have taken a picture of her enjoyment of it. inside the bag is my camera (a nikon d200. like roald dahl. just in case i’ve gotten it wrong. sad children.Where’s your camera bag right now. and i dumped it there when we got in. so it’s a blurry picture of a ladybird on my daughter’s arm. LooK 91 . a spare camera battery. one of my very favorite things to witness and photograph is the connection between children and nature. because children are and should be smiling and happy and bouncy. We’ve just returned from a day out at the lake. fascinated children. i feel that. i want to immerse myself in the world of the child. and that was how he was able to write his books for children. along with a roll of toilet tissue. frustrated children. he advised any grownup who really wanted to find out to get down on hands and knees and go about like that for a week. i guess i would say my biggest inspiration for taking pictures of children is simply children. i don’t feel i have come close yet. Where do you get your inspiration? i don’t know how old i was at the time. they’re complicated and unique. she wouldn’t hold it still enough. but you can just see that his arms are resting behind his head. they’re people. the feeling of “oh. try my best to see things as they do. i can pretty much remember what it was like. a bandana. but whenever i look at that picture it rises back up in me.8. four years old).

but no photograph was taken. i think. Memories are very important to me. where the face says something very important.. the sun was streaming through the window and it felt warm on me and picked out the bright orange tones of the carpet. it’s a beautiful picture in my head.” there’ll be memories in there that they wish they had pictures to go with. i can remember the dusty fishy smell and what it felt like to lift up the food and let the grains run through my fingers onto the floor.. no doubt. reds and blues. i would love to have it be a real picture that i could hold. though. “oh. “don’t eat the cat food. i don’t wanna miss a thing! LooK 92 . is of me sitting on the floor of my parents’ bedroom running my fingers through a pile of fish food that i’d just emptied onto the carpet. a picture of a two-year-old me happily making a trail of orange juice on the floor. i love that i have the picture of my toddler son when he had clearly just popped a scoop of cat food into his mouth after being told and told and told and told. i love the portraits too. you don’t even need to know what that thing is. but i do like to keep a good life record for them. i love that my father decided to take that picture before telling me to not tip juice on the floor. it’s yuck!” i love that i have the picture of my daughter and her room covered in talc because she wanted to make it snow.What drives you to keep photographing kids? My earliest memory. but it’s important that it be said anyway. there is. sometimes there can be so much selfexpression in a single look. Like aerosmith. i can remember the feel of the grains and the colors. totally engrossed. i want my kids to have pictures where they’ll go. yes. this was the time that.

i do. and i’ll miss some of that carefree spontaneity. Maybe the feeling of the moment actually influences the way i process the pictures. LooK 93 . but i love the expressions that come between the poses. usually. being engrossed in a computer game. then my camera is with me. but i think it does. if we’re going on an outing. now a teenager. and i’ll catch some of those natural expressions. but i very rarely use it. With the light being just perfect. but it’s what i like best. What one tip would you have for people to make their images of children more memorable? Keep your eyes open to the beauty of the everyday. has very sadly developed an aversion to the camera. there are looks that you know are put on for the camera. there’s something about still being in the same feeling. i let my daughter or whoever else i’m shooting choose her own poses. i’ve made up a few simple actions for myself so that i can do this quite quickly now. then i do that with the Channel Mixer. but when it is.Could you describe your process for a photo from idea to final image? i very rarely stage a shot. Well. Mostly we’ll chat. reading. i upload the pictures to iphoto. i’ve been feeling for the last few months that i’ve been a bit stuck in a rut just clicking on the actions. the photo shoot doesn’t last more than a few minutes. Be mindful of the little things. sometimes i’ll notice a particularly beautiful stream of light coming into the room and look around for a child to put in it. rather than a performance. these days. if i want to convert something to black and white. it comes down to when the light is pretty. For the last week i’ve been adding a black-and-white layer to my color images. Usually. the best memories happen in everyday life. and Unsharp Mask. dancing to music. anyway. i like to process the pictures straight away. My favorite time to shoot is when someone is just doing their own thing. Just a few shots—i want the shot to be natural. when the real person shines through. Usually though. playing. so i’ve been trying to play around more. which i often do. i quite like the results i’ve been getting with that. and if i stay clicking for too long a performance is what it will turn into. My son. or whatever it is that they like to do. i do own an external flash (nikon sB 600). the main tools that i use in photoshop are Curves. this is rarely possible. i’m not sure. bringing the opacity of the layer to about fifteen percent and then upping the contrast. which is especially nice for when i’m doing a set of pictures that i want to have the same tone and brightness. where i have the last eight years of my life stored (as well as all backed up on an external hard drive) and my ancient photoshop Cs for editing. and the light is streaming into the room and i just sit somewhere where i won’t interfere with what is going on and click away. to experiment. gaussian Blur. it’s my daughter. i have no idea why that would make a difference. the sorts of colors and tones that i bring out. i think we remember those little things more than we remember birthdays or big special occasions.

a spare camera battery. so who knows where my camera bag is? that bag is in a really bad state. i have a picture hanging on our wall that i took of the floor of the eiffel tower. break old habits. What was the last photo you took? i try to take at least one photo every day. The change in her work is visible and her love for photographing children has continued to grow. because i love the silly things they do and always wonder what they think. a couple of kit lenses. as their parent. i look at them for not only ways to shoot my own kids. it came with my current camera. i think to myself that they’re adults in little bodies. the roughness of a sidewalk. It’s not the case. i loved the natural light that we had at my old house. the softness of a baby blanket. i find it entertaining to look at those images and remember those moments. and the commitment to follow through and keep trying the new things. and the buckles are broken. even the crisscross design of the metal floor. they all inspire me. LooK 94 . although i would be lying if i said i didn’t get inspiration from other photographers. and art—especially mixed media and abstract. capturing their “adult” mannerisms. i also think they’re just beautiful. so commercial photography helps me define this. and i wanted to get one last shot before we moved. Currently i have an old speed light. Fashion is an inspiration for many. design. and a expodisc white balance filter. whether it is with my dsLr or my mobile phone. If you take the ideas on board and begin to put them to use. color.Where do you get your inspiration? Most of my inspiration comes from my kids. the last photo i took with my mobile phone was a picture of my daughter’s stuffed Mickey Mouse that she placed in some really great light in our new house. and smiles so i can hold on to them forever. texture and shapes also inspire me. Meredith Magnusson It’s always energizing to look at photographers who inspire you and get excited to start doing more with your own work—but sometimes it’s just as easy to dismiss the ability to grow yourself by thinking that they are professionals. i am also inspired by fashion. and learn from new sources of inspiration. My children inspire me. a lot of times. so they must have some secret. but i just want to capture their beautiful eyes. skin. you will see the change in your work. and what’s inside it? We recently moved. i feel i’m still finding my own photographic style. but the styling of the clothes as well. Where’s your camera bag right now. everything was so interesting. travel. the curves of a table lamp. You can view Meredith’s work on her MUM Photography Flickr photostream. One more journey I want to share with you is that of Meredith Magnusson: a parent with a desire to get more from her photos of her children and the drive to keep up the process of refining her work. With my dsLr. i am biased. but mostly i’m inspired by children’s fashion. texture. i took a photo of my two-year-old helping me pack. i remember standing at the top and trying to remember everything about that experience. music. light. But really the reason i got into photography was because of my children. Anyone can do it if they have the desire to do so.

LooK 95 . i remember being a child. however. because the different colors of those objects are so vibrant and my eye is drawn to them. Most importantly. i don’t think i’ll ever be 100% happy with my work. i saw how big a world the photography community was and started looking and comparing works of photographers that i admired. i found through photography i was really connecting with my baby. it had been a long time since i had a hobby. My journey has been something that i never expected. as i kept taking pictures. Light is another aspect that i look to. it’s something i use towards photography to help communicate my story i’m trying to tell. if i want to convey life through my work. Why do you want to learn more about photography? i first started really getting into photography a couple of years ago after our second child was born. and i was not only falling in love with her. color is all around—i get excited to see what it looks like in an image. i’m increasingly inspired by color. i was pleased with the outcome to a point. than the perfect image is nonexistent. and as a creative person i needed a creative outlet. Looking back. and has blossomed over time. but i look to them and study their work to improve my storytelling. i’ve realized that nothing is ever perfect in life. sometimes i find myself taking a close-up picture of a group of rocks. it’s just a matter of really seeing what the world is showing you and connecting with those details visually. all in all. yet as i study more and more. but never really thought of it as something i could do. always aware of how sunlight changed throughout the day and seasons. i knew i needed to really learn how my camera worked. Whether it’s the color of bright children’s clothing or the deep red of a beetroot. but also the new medium that i was using to capture my little girl. i no longer compare my work to other photographers. Looking back at that sense of observation now. i have a list of things i know i need to work on.i always found myself leaning towards black-andwhite photography. i think as my interest grew. inspiration is absolutely everywhere. the theory behind photography. i’ve always been a fan of photography. and what i could do as an artist. especially of children. which keeps me focused on practicing and perfecting my images. from technical to editing.

Kids are fascinating beings and a lot of us connect with them on so many levels. because i feel i’m still searching for those things. i guess the hardest thing i find is patience. as you compare more. it never really goes as planned. the best ones always end up being the spontaneous ones. What one thing do you find the hardest when photographing children? some people may argue with this point of view. truly. their editing. but taking pictures of kids has to be one of the hardest genres ever. i can plan all i want. the camera and children go hand in hand. i call it the “compare” phase of the journey. it’s not just about taking pictures. and how they use light and depth of field. the best part of photography is that you visibly see your progression. and with practice i’ve learned to let go and go with the flow. it’s an art form. however. and through that i hope to come up with my own style or voice. it’s a natural partnership. composition. i say hope. When i do look at other photographers. and there is self-assurance that starts to resonate in your own work. i get closer and closer to obtaining my own definition. all children are beautiful. Confidence is a big aspect that grows over time. and you have to deal with temperaments. and i look back at my older photos and reflect that i’ve come a long way in two years. there always seems to be an overwhelmingly stressful feeling of rushing and getting the shoot over with. BEF OR E O BEF RE O BEF RE LooK 96 . to me. and although there are some planned shots i do get. and there’s some level of intimidation that goes along with that.What has driven you to pick children as your subject? as a parent. and ideally causing the same emotional experience with your audience. practice is the magic piece to the puzzle. there’s a definite negative connotation that comes along with the word “compare”. When i want to plan a time to take pictures for the yearly Christmas card. overcoming this comes with confidence as a shooter. it’s non-stop and can be often chaotic. Could you briefly describe the process you use to refine your work? there isn’t a day when i don’t try to refine my work. i believe the photography means connecting with the person or object you’re photographing. Maybe it’s their innocence or not-so-innocence that reminds us of when we were that age. they don’t sit still. the negative comparisons become positive studying. and initially we all look at other photographers and have this dream of being as good as them someday. every day. i take note of all the things i like. i spoke earlier of comparing photos to other photographers. Capturing their early quirks and discoveries before life gets a little more complicated is what i love to do. i think there’s a natural tendency to be drawn to photographing children. i tend to study their style. and there’s just something about a great portrait of a child that always makes me stop and feel. it’s truly a technical and emotional progression. you realize that even those photographers feel that they need to refine their work.

seeing how much you can paint a picture with light is just fascinating to me. Light is such an emotionbuilder. LooK 97 . seeing where they set their light sources. and i want to know more about it. Where’s your camera bag right now. and my favorite video lens the tokina 11–16mm 2.4 (which stays on my camera most of the time). i never turn down the chance to talk some shop. the 50mm 1. the 85mm 1.2. What was the last photo you took? the last photo i took was at the reed Krakoff show at nyFW of a model who was running late and had three sets of hands in her hair trying to get the tangles out from the last show. I first came to notice Ryan’s work (along with the rest of the world) as he documented his wife’s pregnancy with their daughter. It was my father who was always behind the family camera capturing the moments as we lived them. but i have had many teachers along the way. and what’s inside it? My camera bag is in the overhead compartment of this airplane on its way home from my first new york Fashion Week experience.ryan Marshall Photographing children is not just the domain of female professional photographers and mothers with cameras. i’m always hitting pause when i watch a movie at home and studying the composition of a shot. and hear how someone else might approach the same light. i also carry around the usual number of backup batteries and cards. inside i have the Canon 7d with the 24mm 1. I have had the pleasure of working with him on a speaking engagement and look forward to every post he shares. Where do you get your inspiration? i get almost all of my photography inspiration from films. His love for film inspires me. Here is a dad who is passionate about melding his love for his family and his love for photography into a fantastic art form that he shares with his readers on his awesome blog: Pacing The Panic Room.8. how they play their backgrounds. What’s your photography background? i am a self-taught photographer in the sense that i never received any formal training.8. and I really enjoy looking at the photos he shares knowing that they really were just the moment as he saw it. Learning about photography is my favorite part about photography.

i want the kids to look back. and not just see their growth physically. don’t forget to shoot their happy memories too. Could you describe your process for a photo from idea to final image? if it is a photo of the kids. i have this snapshot my mother took of me as a kid: i’m just standing in this pool.What drives you to keep photographing kids? i almost exclusively photograph my own children and. i have to give them What one tip would you have for people something to do. LooK 98 . it’s usually a situation that i see take shape. the drive is to freeze them in time. memorable? the less they notice you. and the better the picture will be. waiting my turn to go. When you shoot that. and will try to not interfere with the moment. it’s a bit like magic. ‘i loved those shoes’. the second i try to direct them to stay engaged in whatever activity they were doing. get the camera. so they have a collection of their memories. if i’m just after a portrait. but the expression on my face was somehow adult that it was a little window into my personality. the things they fall in love with are wonderful and usually pure fantasy. it’s over. so there is a ton of stealth to most of the shots i get. and say. the more genuine the air is when your finger hits that shutter. even if you just sneak a shot of them lacing up a favorite pair of shoes. even if it’s as simple as filling to make their images of children more up a watering can with water. but also see their spirits and personalities taking shape. well. your kids don’t have to be forced to smile in every photo for them to remember they were happy kids. hold that picture up. they will get older. and then i sneak off.

haphazardly standing on his head on the couch. my nephew Ian sits quietly for the camera and Kellan’s ever present pile of stuffed animal security objects are nowhere to be seen. his crazy disruption could be seen as ruining the shot. However. As my flash lit up the scene. when I look up at the photograph I took that day. It is an image I took on the same day that we had our professional family portrait taken. What I want you to take away from this book is that child photography is more than tack sharp eyes and big smiles. Being present and prepared is what will give you the confidence to get the pretty portraits that you want. Even in black and white.remember One photo in particular has hung framed on a wall in every home I have lived in since 1997. so I decided to capture an image of her standing on the coffee table just before she was told to get down. always seemed to take center stage. It is your turn to begin now. I can tell that they are in the ‘sweater and pants combination’ we as a family wore on that important portrait day. I did not have my camera out while the hired photographer was working. it revealed her older brother in the background. but later that night I wanted to take a few shots of my niece and nephew. but also create the powerful images you never knew you couldn’t live without. but this is what has made the shot so memorable and special. my niece. When I look back at our professional portrait. The littlest member of our big family. I can clearly remember the children that they really were and I can see the beginnings of the adults they have since grown to be. To some. #dpskids . it is made of memories and true personality.


twitter or by visiting her blog or website: website: www. post their best photos. Become a Forum Member Over 190. ask and answer questions and have a lot of fun with their camera. I trust that you’ve found it helpful in becoming a better photographer. Not only do we think they’ll thank you for helping them improve their photography but it helps to keep growing the dPS community with every sale of the book.com/digitalps happy snapping! Darren Rowse . We’d love for you to join us – simply visit our forum area and look for the join now link. There are three main ways that I’d like to invite you to do this: 1. Become our ‘friend’ on these sites for updates from the site as they happen! Tell a Friend If you’ve enjoyed this resource we’d love for you to share news of it with a friend.com/sesameellis twitter: @sesameellis Tweet about it Sign Up twitter.com/ kidsphotos Con neCt With raCheL you can connect with rachel on Facebook. great resources and equipment for photographers and shows off some great photography.000 of the readers at dPS have joined our free forum/community area. To get this free weekly newsletter sign up here: 2. It contains links to the latest tutorials on the site. There are areas for all kinds of photography.com facebook: facebook. including the “share your shots” forum where readers are encouraged to submit their photos. Follow us on Twitter or Facebook Many of our readers also choose to interact with dPS on social media sites Twitter and Facebook. WANT MORE? How to Keep Improving Your Photography Of course there is a lot more to learn about photography and I’d like to personally invite you to continue to journey with us as we explore the topic on the Digital Photography School site.sesameellis. reviews. key discussions in our forums. Please pass on news of this ebook by: Email a Friend Share this link with your friends who you think might appreciate learning how to improve their photography: digital-photography-school. 3.SHARE THE LOvE Thanks for buying a copy of dPS’s latest photography resource.com/digitalps facebook. In this section of the site members share what they’re learning. Subscribe to our Weekly Newsletter Each Thursday I email a free newsletter to over half a million of our readers.com blog: www.racheldevine.

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->