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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 email@example.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
racheldevine.sesameellis.com/sesameellis twitter: @sesameellis photo by Linda nguyen . website: www. Nowadays she shoots commercially in the children’s industry and shares her personal work on her popular daily-life photoblog.com facebook: facebook. Australia. whether it was her nieces and nephews growing up or her first clients when she opened her business in 1995. Her focus in her photography has always been kids. Rachel is based in Melbourne.com blog: www. An American expat mom of three. 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.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.
Darren Rowse Editor of Digital Photography School . 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. more importantly to me. lately it’s been pointing almost exclusively at my kids. While in the past it’s all been about landscapes and travel subjects. It is a fun but not always easy challenge—so I’ve been really looking forward to this ebook.a word from darren rowse Over the years I’ve noticed a change in what I’m pointing my camera at. Her images are beautiful but. As a father of three young boys I now know the joy and challenges of photographing kids. 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. Over the last five years I’ve taken it upon myself to capture the life of our growing family. My goal is to capture daily life. Rachel Devine’s photography was the first thing that grabbed my attention about her. I want to capture images that reflect the personalities and experiences of my kids. not just staged portraits. they tell stories and reflect the lives of those she photographs.
We’ll seek out inspiring ways of capturing them as emerging little beings all the way through to adulthood. Both capture different elements of her personality and. but in people’s hearts and minds for generations to come. 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. introdUCtion 6 . people have been searching for the holy grail on how to photograph children. when presented together in a whole gallery of varied shots. in this ebook. the goal is to create images that will not only stay on our walls. images must be meaningful. 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. While tips and tricks abound for achieving that coveted natural smile and eye contact from a still and cooperative child. These two images of the same girl were taken on the same day. 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. but do even better: get the shots that make you smile. however. 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.introduction ever since the first family snapshots were taken. better represent the child as she was at that moment in her life than one image or the other alone.
it’s almost misleading. the colors are warm. Her overwhelmingly larger-than-life personality is hidden in this pretty portrait. To honor this extraordinary time of life. The light is nice. I’d like to share with you this portrait of my daughter. Maybe you’re looking to branch out into that specialty professionally. and there’s both technical and artistic knowledge to be gained from every session spent with your small subjects. By way of example. A lot of people seem to skip the essential steps of learning the basics of photography before declaring themselves kid photographers. introdUCtion 7 . Clover. Other people might be attracted to child photography because they assume it must be an easy job. but the one on the bottom is truly her. This ebook is a guide for anyone who has a working knowledge of photography and feels motivated to take better photographs of children. Let me tell you. it is rarely easy. I feel we need to photograph more than just the pretty portraits. The image of Clover on the far left is sweet and pretty. but almost always fun. I know those mornings when the children have grown and changed overnight. that image tells you nothing about my daughter—in fact. and she has a sweet smile with direct eye contact. or more likely you want the best images of your own family that you can get. The only thing is. That is the one I would be more likely to frame and hang in my home. 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. As a mother.introduction Children change daily. Clover is a wild and crazy little thing who’s rarely still.
yet always respectful.introduction The topics in this book are designed for those who are familiar with the basics of light and exposure beyond auto mode. we’ll also discuss how crucial it is to be free from false expectations of perfection from both your subjects and your camera. but also improve the shots you actually take. uck. We’ll extend your knowledge by exploring the best camera settings and exposure when photographing children in wide-ranging contexts. and thoughtful of the shots you are creating. and thought-provoking questions and exercises. We look at different methods of children’s portraiture through storytelling. varied techniques. this book is also full of hints to help you work with children of all ages. but we draw much inspiration from other styles and traditions. This mindful shooting will not only minimize the amount of time spent sorting and editing all your images. so it’s vital to be fun and spontaneous. observant. Confidence with and knowledge of your equipment are also essential for success in photographing a child. you will be sure to make purposeful choices each time you take pictures. kid ph Children’s photography is its own genre. that preparaprove your will imotography. but l It is not tion. Meanwhile. including practical advice on setup and safety while working with the littlest of models. which can help you to transform your own photography. When you understand the rules of photography and how to control your camera. Kids can be your toughest customer. covering every type of child out there. introdUCtion 8 .
2. and begin putting your answers into practice. This can be achieved with contemplation. and in the end your kid photography—whether it’s for work or for just love—will shine. breathe in inspiration. ? CONSIDER 1. It will also require you to refine your work. and write down three elements of the image that make it remarkable. Write three different words that you would like to describe your child photography style. preparation. look hard. and a lot of patience and smiles. Think back to the last image of a child that you saw or took yourself that moved you. Persevere. introdUCtion 9 . Write three words that describe your child photography style. My goal for this book is to inspire you to go beyond merely pondering how you might take a pretty picture of a child. and not shy away from pushing yourself. and to explore the more elusive aim of capturing meaningful images of children.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. 3. All of these factors have to become part of your practice. Write your answers down in a journal or on your blog.
THINK how to make every shot count .
It happened when I was twenty-six years old. and he expected everything in his life to run in a certain order. paul. and we all match nicely in our coordinated outfits. but for my clients as well. paul eventually came running out of the house apologizing for the delay—and wearing a bright red sweater. but that moment. thinK 11 .Left: My son. Kieran. and it’s these unexpected. a story a family treasure hangs in my mother’s bedroom: a beautiful family photograph taken in the fall of 1997. We all exploded into laughter—all of us except my father. that is. the autumn leaves are beautiful. and it certainly doesn’t represent the full story of that day. that day. that image is priceless to us because my father looks well and happy as he sits next to my mother. i remember that we were all told to wear tan pants and navy tops. But there are no photos of that moment that so characterized my family and its dynamic. but we were waiting for my brother. My father was growing increasingly irritated. it was a perfectly planned little prank—paul had the blue top hidden underneath. it did make my father laugh too. laughing with the rest of us in our matching outfits. you see. that was my family. and in the end. all five of his children liked to challenge that order a little for fun. the photograph reveals no signs of the cancer that would take him from us two years later. Right: Today I record family history not only for me. and had been running my own business as a children’s photographer for almost two. and the photographer got ready to shoot. the love of his life. revealing moments i strive to capture when i photograph my own family or any client’s. a photograph of paul in the red sweater. would have been the perfect portrait. sits on a couch in my mother’s home next to a table filled with family memories. We gathered outside. who’d flown from denver for the reunion and was still inside getting ready. I knew how much I loved what I was doing. But it isn’t an entirely truthful portrait of our family. who was steaming. I’d been learning photography and making images for twelve years. he was a very important doctor. the photographer didn’t think to take shots. but one day the importance to me of great child portrait photography was made crystal clear in an instant. This was the moment that really taught me to think about photography. I want to tell you about the ah-ha moment for me and my photography. my father was never a relaxed man.
if you’re taking photos of children. 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. a parti To this date. it’s a shame to represent them with the same old formulas every time. and well-lit image from a professional photographer. it whispers. offers so much more. but pretty though they may be. i approach every session ready to thoughtfully capture what i can of my subjects’ true personalities and relationships. yet when a parent sees a clear. but the uniqueness of a particular child. a photographic portrait tells a story. but of chil iqueness of the un cular child.real. parents often struggle to even take a clear photo of their child.. Children are so open to the wonders of daily life and so fully engaged in every experience that they make such fascinating subjects. is it just a picture. it’s something far beyond nice. to hear the parent say that while the images are lovely. i’m constantly asked by parents not only he You’re enting t documsal moments univer dhood. thinK 12 . the shoot doesn’t tell the complete story. and such an honor. it sings. especially if the gallery is filled with images that all look much the same. but a photographic portrait. the most meaningful shot of my kids that I have taken. and it usually seems that all they aspire to is a photo of their perfectly settled child smiling at the camera. upon showing their client the traditionally posed pictures they’ve created.. it really is an important task. you’ll be capturing their connections with the people around them. focused. one of the biggest disappointments for a child portrait photographer is. the difference can be subtle. years later.take a moment to ask yourself what a portrait means to you. true and titled “My Beautiful Mess”. a photograph of life. let alone one that reveals the child’s true self. that moment with my family makes me constantly aware of how i think about kid photography. how they can get any picture at all of their child. they’re just not representative of their child. they suddenly realize that they were actually hoping for something more than just those elements. you’re not only documenting the universal moments of childhood. but the impact is huge. you’re capturing their story as it unfolds for years to come.
thinK 13 . In a nutshell. it had just happened unconsciously over time. it’s as if the emphasis of a great child portrait is no longer on the moment captured. in a nutshell. i’m certain that there were unique moments and pockets of light all around me which were never recorded. i was able to pinpoint that downturn to when i began working solely in digital. because i was too preoccupied with taking 47 headshots to ensure the eyes were so sharp you could cut paper with their image. I feel that with the emergence of digital photography in our daily lives. i learned the new medium on my nikon d100 while still shooting film alongside it for my business. it wasn’t intentional. 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. but on how manipulated and unreal the final edited version of the image can be. 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. and it wasn’t until i stopped to really look deeply at my work that i spotted the pattern. 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. i soon dropped the film and switched completely to digital. Back in the early days of digital photography. it’s as if the emphasis of a great child portrait is no longer on the moment captured. there were too many photos of the same setup after i’d clearly achieved the shot. 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. i was missing all the other more interesting stuff going on. but on how manipulated and unreal the final edited version of the image can be. i was overshooting just because i could. 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.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.
i had no choice but to get it right as i pressed the shutter button. the wisdom given out to new photographers. two. Close enough became good enough for me when previously. really. it was simply over-editing because i could. new photographers learning on digital were just shooting and shooting and seemingly hoping for the best. My focus on what made a good image had shifted with my adoption of digital photography.another major issue with my transition to digital was that perfectly fine images were suffering from over-processing in photoshop. that was how people learned. Fill up your huge memory cards. Freckles like these should never be smoothed over or cloned out! thinK 14 . and once i saw it in my own work. i recognized it popping up everywhere else. nowadays. my images were pretty much perfectly exposed in the camera. and contrast adjustments that were once the realm of the lab and correspondingly needed in small amounts for any digital image. it’s digital. as i look back over my first-ever digital images. and they exposed skillfully. but more images that they loved. this realization became a turning point in my work. i began letting my in-camera exposure slide. Back in the day before digital was king. in the end they had fewer frames. it will cost you lots of precious time and all at the expense of actually learning what makes a great photograph. My camera was not on auto mode. photographers took their time to think through their shots. even in the fast-paced genre of kid photography. it was just as if i had been shooting film and more mindful of waste. they planned and scouted. color. but my creativity was. especially parentographers and advanced amateurs who want to work with kids. so go and capture as many images at one time as you can. the work was becoming a lot of quantity and a little of quality. they knew the basic rules of photography and shot with those in mind.” although this approach may not cost money in terms of buying and developing film. the problem was that i wasn’t stopping to actually think about why i was making the choices i was. kids are not that saturated and smooth! i think the worst failing was that over time. and thought i should. there were only a few frames per subject or setup. is “hey. it also fell short of a style that i was thoughtfully pursuing with the new freedom of digital editing. i notice several things. with film. one. it went beyond the minor exposure. they composed purposefully.
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
Learn to regard your camera as merely a tool with which you can create images that express what you envision. which means that the first step on the road to compelling photography is knowing what this tool can do. it should fit right in. in terms of the result of the balance between iso. 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. First of all. children won’t react to it in a negative way. get that camera out of the bag and have it with you always. While very sophisticated these days. photographic equipment varies greatly in quality and complexity. rather than being a production. Learn to use it until it feels natural in your hands. and you need to be prepared to document it. reading any beginner books alongside this one will just enhance the learning experience from the start for you. but also know exactly what you’re doing with it. but it’s not quite photography 101. shutter speed. you must not only keep your camera out and handy. lens selection. Being prepared is crucial to being free to follow your creative instinct when you shoot. Digital Photography School has some great texts to get you started there. 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. it goes without saying that a solid understanding of the exposure triangle is a must. you need to at least be familiar with the principles of exposure. it also helps to have a mental set list of starting combinations. When taking photos happens seamlessly. if you need to start from scratch learning the rules of exposure and camera function basics. especially with little kids. When the camera is to accomplish this. Work towards picking it up and putting it down as you would your phone. your camera body. Having the camera out and within reach ensures that I will always remember the fleeting moments of life with small children. and post-processing software alone are not just a tool kit. where thinking on your feet is essential.out and within reach. the camera shouldn’t interrupt the flow of your day. i will be going into some detail. but a veritable mechanic’s garage of options and combinations. the camera still can’t think creatively. 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. Life simply happens. it will lose its novelty to children and be as normal to them as any other everyday appliance. and aperture. prepare 18 .
moving the actual focal points themselves often achieves a more accurate result. or move the focal point. this is another reason i suggest you spend some time getting to know your camera. if freezing the action at your child’s sports game is your priority. 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. as those buttons and menu combinations need to be second nature to facilitate easy and quick shooting. but some can be adjusted with external controls. as you’ll inevitably be doing some chasing after your subjects. For example. there are two top choices for focusing: use the center spot. Make sure the white balance is set appropriately. since sharp focus can be compromised by too large a move by the photographer when they recompose the shot. since kids are rarely still. Most of the time the auto white balance setting will do a fine job. so make sure to consult your camera manual for the directions pertaining to your specific model. a high iso is going to be the first variable you set. prepare 19 . so shutter speed is going to be important—yet it’s often left behind for the more favored aperture setting. focus. 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. you need to be confident and adept with the autofocus method that you use. then a fast shutter speed will lead the exposure settings. if you are shooting in low light and don’t have a flash. if you want to isolate your child from the background and get a lovely fuzzy bokeh behind them. Picking the best method of focus is essential to getting great images of children. when they were simply aiming for shallow depth of field. or by the subject’s movement. the best way to ensure sharp images is to learn how to use and change the focal points. or want to avoid using your camera’s built-in flash. parents frequently become confused about why all their shots suffer from blur. Master all the other variable menu settings on your camera as well as the ones that control proper exposure.Camera settings and exposure Kids move fast. whether they are moving or you are recomposing your frame. and then recompose. start with the exposure control that regulates that element and work backwards through the triangle. you need to start with a wide aperture. and along with autofocus is one of the tasks i encourage kid shooters to leave to their cameras. they’re most often found through a series of in-camera menu options. every dsLr has the control for these different settings placed in different spots.
since you only have a certain amount of their time available to you— children’s attention spans run short for everything. Be mindful that the settings choices you make will be applied to your file in-camera. raW—all the saturation. it will be an extra processing step that will require some time spent in adobe Camera raW or Lightroom. sharpness. setup once you’re familiar with how your camera works. i’ve carefully set up the picture controls in my dsLr so that my Jpegs come out needing as little processing as possible. not setting up. 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. this way. especially photo shoots—it should be used for capturing the shots. which will also help the shoot to run smoothly. so C r spans apend all your don’t setting up and time s s great shots! so mis prepare 20 . and contrast to your liking—most dsLrs have quite detailed picture controls that you can adjust through the in-camera menu. if you’re simply trying to take better photographs of your own children. like bunnies. which focuses on the object nearest to the lens. shooting in Jpeg will be fine for your purposes—in fact. attention s hildren’e short. some of the less-expensive dsLr bodies aimed at amateur photographers have face recognition and other fancy trackingfocus options. sharpness. and contrast can be more finely tuned in your postprocessing. so have your camera settings all ready before placing them in the scene. you can move on to setting the scene. this is what i use for all of my daily life photography. and you’ll essentially be stuck with those results.another option is setting closestsubject focus. i change over to closest-subject focus when i’m shooting from the hip or doing arms-length self-portraits. prepare everything you possibly can ahead of bringing in your little model. Kids are quick. if you’re shooting professionally it really is best to shoot in the most neutral and unprocessed file possible. you can set the camera to output the images with saturation. and are confident with the principles of exposure.
but may not be the right context for photographing a newborn baby. this choice is perhaps second only to the subject in terms of the narrative of the photograph.environment think about the environment for your image. as it will mean hundreds of unusable shots. it’s silly as well as appearing dangerous. this is an especial risk for those relying on burst mode. The big sister’s feet and the toy croc are a perfect juxtaposition to the baby. make sure to meter the available light before you bring the child into the setting. 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 create a relationship between them. 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. Whatever you decide on. but it’s something i’ve seen all too often. parked cars on the road behind your child don’t make an appealing background. What does or does not work for your particular subject? an urban feel may work really well for an edgy teenager’s portrait. 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. you need to give careful consideration to the elements you pull together in the frame of the image. if the child gives you the perfect expression as the very first snap. Make sure that you scan your viewfinder or LCd carefully. prepare 21 . When you place objects near your subject. that may seem like an extreme example. Juxtaposition this really is an extension of the setting up the environment section. The environment is essential to the narrative of the shot. having everything ready to go will lessen the risk of missed shots. Make sure that the elements in your image make sense to that image. not only for the distracting background elements you may have missed.
styling Keep it simple. Let me say that again. have a helper on hand just out of camera range whose duty it is to dive in and save the child if needed. a child may dictate the scene with their favorite clothes. just make sure to keep your background simple to avoid overwhelming the image and to highlight the importance of the outfit. i am also going to suggest that sometimes you let your little models do their own styling. 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. Other times. the fewer the elements you include. even if you use old unused tracks. Simple. Bath time and swimming lessons can make for fun photo opportunities. how ever colorful and crazy. those tricky poses are tricks and should only be done by photographers who are highly trained and working with assistants. prepare 22 Keep. choosing their own wardrobe so you can portray the sheer mess of colors and patterns they find beautiful. so look for texture in an old trellis for your background or find a walkway for those leading lines. the difference is context and intent— your model has chosen her wardrobe because it means something to her. 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. in what may seem like a u-turn. safety if it looks dangerous. and it’s her story you’re telling. the safety of children must take priority over a cool shot. but they are also really dangerous. surrounded by a giant bunch of balloons. think of photography as telling the story of someone in the least number of elements. When your subject is clad in bright colors. the stronger your statement. it won’t be if they slip off while you are out of their reach. but never leave a child alone near water while you fetch your camera. Capture it all in the most simple and thoughtful way you can. train tracks may provide strong leading lines and a natural frame. Compromising on safety is never worth it. in cases like this. It. and placed in a busy environment. 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. Sometimes an expression and colorful chipped nail polish is all an image needs to become a favorite. . the impact is lost. there’s a risk you’ll be too far away taking their photo to catch them. 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 probably is.
i find that if children are fed dinner early enough. or bright spots in portraits. Walk around and find your favorite spots. 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. For the most part. it could be that characterful chair and lamp that will allow for dramatic directionally lit images. you’ll need to be comfortable with using more than natural lighting if you want to work with children. of course. prepare 23 . We often hear the blanket statement to avoid harsh lighting. and everfluctuating moods and levels of cooperation. able to shoot with whatever light is available to you when your model is ready. you must also coordinate your shoots with nap times. and make notes of how the light changes over the course of the day. find the best light in your own home. A combination of strong direct lighting from the only window in the bathroom. you must become a true available-light photographer.Light photography is all about light. shadow. Kids have none of those wrinkles or bumps. but that’s really only because adults prefer to avoid the blemishes that are enhanced in that sort of light. 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. soon you’ll get the hang of the balance of the light and the model’s different schedules. meal times. 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. so go ahead and experiment with that contrast. 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. but with children as your models. merely knowing when the light is best is not enough. also.
Modification is the key to making the flash as natural-looking as possible. which will fill in the shadow areas. the white surface reflects light onto your model. and its sheen is bright enough without causing the subject to squint. however. there are times when you may need to use it. or a simple homemade contraption of items found in almost every mother’s handbag: white tissues and a rubber band. the manual for your external flash or your camera will have specific instructions for your model. Lowering Output set the flash to fire as a fill flash.control. a white foam core board from the local office supply store is a cheap and light reflector. Because it’s so affordable. 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. the easiest and most flattering is to bounce light back onto your subject. working alone to photograph my own kids. all these hallmarks of direct flash leave images looking quite artificial. which requires a reflective surface. 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. you can modify the light in any situation in several different ways. 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. While i recommend turning off the on-camera flash as one of the first and easiest steps to getting better-looking photos.Learning how to modify light is the easiest step in that direction. Unless the light is softened somehow. i have several sizes stored in the back of the car and in our garage for impromptu photo sessions. 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. you can even cut a shooting hole out of the middle of the foam core and take advantage of some amazing front fill light. Used bare. the pop up flash on your camera will cause harsh and unflattering shadows and contrast in your image. prepare 24 . i rarely have an assistant to hold my fancy professional reflectors. it will cause the subject to be quite bright and the background to be much darker. the camera will lower the output of the flash to allow in a little extra ambient light. i’ve been able to bend foam core in such a way that it stands up by itself. you can adjust the output on most flashes with a +/. it also leaves the tiny little pin catchlights in your subject’s eyes.
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. 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. 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. but there’s a nifty contraption made for them called professor Kobre’s Light scoop. Don’t be afraid to shoot outside at midday. its innovative design allows the light from the on-camera flash to be redirected and bounced off a ceiling or wall.Bouncing it’s not easy to bounce an on-camera flash that only faces forward. prepare 25 .
tall buildings and front porches that block the light create amazing areas of open shade almost all day long. but be very careful—it’s tricky to spot the yellow-green color cast reflected up from the ground covering. 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. you can either hold a piece of foam core in between the light source and the subject to put them into shade. As long as they are made of a neutral color. both of which can result in overexposed areas on your subject. or even use your own shadow to create the same effect.Flagging another way of modifying the available light in a scene by blocking is the light falling on your subject. prepare 26 . sun shades outside make great flags for natural light. and the dappled light coming through the branches and leaves. people often try to use the area under trees in the park for open shade.
When you use them creatively. if your children are touching. but also be able to record some of the glorious colors in the sky that would otherwise be lost in overexposure. Make sure the light is behind your subject. which will throw them into darkness. the shape of them holding hands to create an iconic image. expose for the sky behind them. as you’ll not only create a fun photo of your child. prepare 27 Silhouettes and shadows make for interesting variations on the straight portrait. . they are a great way to add interest to a shot and even record yourself with your kids. Use the shape of their body or. if you have more than one child. it can be very reminiscent of old silhouette cutouts—a nice little twist on modern portraiture. this is a wonderful thing to do at sunset. 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. Look for your shadows everywhere. make sure there is a separation between their bodies or they’ll merge into one unrecognizable black blob.silhouettes While you’re playing with backlighting one day. then instead of exposing for the child. 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. try to get a great silhouette of your child. shadows shadows are a beautiful key to evoking the feeling of being someplace with your child. TIP: If you can get a nice silhouette of your child’s profile.
is that quilt cover too busy? Flip it over to the plain side. through your images. Conversely. photography is a common language that even kids can understand. fill it with any clutter in the scene. s o set-drepsy t earn howrab an em t L real life. fill it with b laundry ter in the scene. as a photographer. get in close or zoom in to avoid catching the background in your lens.Composition What you leave out is often as important as what you include. you have a lot of control over the story that you tell. you might celebrate the mess with photographs as well. any clut ut of frame. grab an empty laundry basket. Life with kids is messy. show them a certain respect when you make the effort to physically go down to their level. a massive collection of polly pocket dolls may be very important to your daughter at this stage in her life. show them their images on the screen. Learn how to set-dress real life. think of composition as part of the grammar of this language. and that mess isn’t always relevant to the story you’re telling with your image. slide it out of frame. Gasket. Use simple colored backgrounds. involve them in the process. that the choices you make should serve a purpose. 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. as an example of mess being treasure. people will see what you want them to see. slide it o prepare 28 . and make them feel special.
Close Up: Children’s faces are so perfect and beautiful that it’s great to fill the frame with them. the mountains of toys. lines are everywhere. the overshadowing furniture. or a fixture to catch the child when they don’t realize the camera is trained on them. a shiny appliance. Curved or straight. Capture that world to add their point of view to your photographic story. move around the child and record what they’re doing. Looking down will help tell your story from unexpected points of view. emphasizing their smallness. Far Away: step back and photograph the child in their big world. when used well. toes. or the path of the sidewalk stretching out in front of the subject. the world is so massive. The bird’s eye portrait of the baby reminds me just how tiny my son once was. Composition alone adds so much to the story in each portrait. Lines Using lines in your images helps guide the viewer’s eye to what is most important. photograph the details: eyelashes. immerse yourself in their world. they become the road map to the subject in your image. Whether you take a picture of them reading a book or playing with a toy car. Bird’s Eye: Break your eye-level angle by shooting from above. or even the toy they’re grasping with their tiny hands. and even the crumbs on the floor add detail. it could be the leash of a toy animal being dragged along behind. prepare 29 . 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. Reflections: Use a reflection in a mirror.Peeking: instead of taking a straight-on portrait. These two shots are up at the top of my list of personal favorites. Getting Down: From a child’s perspective.
Color While a pop of color is great. don’t underestimate the power of black-and-white shots. Celebrate childhood with color in your images. the skin tones can become a real mess. start with natural colors. if you’ve chosen to shoot Jpegs and have set the saturation high. which doesn’t look nice on anyone. With that said. and your skills evolve. take a few test shots and check your histogram. get the exposure right in-camera. Keeping it as close to real life color will give your images a timeless quality to outlive the trends. if you have to do a lot of exposure correction in post-production. ensure that your white balance setting is producing flattering renditions of the skin tone—not too blue and not too orange. watch the color on skin—avoid that bright orange territory. also. prepare 30 . keep the original files in case you want to go back to them as technology. 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. trends. if you want to experiment with different looks. you also must make sure not to over-expose really light skin nor under-expose darker skin. shooting to expose for proper skin tones is an idea that will never go out of style. and then you’ll have the freedom to play from there.
getting down to child’s level and using the environmental elements as your frame will help set the scene. although you may be confined to the outer edges of your sensor’s frame. Stepping back. but it is a dramatic way to capture their ever-changing features.Framing the frame of the camera’s viewfinder is a literal boundary. What you include and where the frame is placed is an integral part of the structure of your visual story. it won’t allow you scope to crop the image afterward. at the opposite extreme. own wo prepare 31 . but it really helps capture them in their own world. determining the canvas on which to create your image of light. there are levels to the frame that begin with the actual viewfinder’s borders and then go inward. fill the camera’s frame as tightly as possible with your child’s face. not only does your withdrawal give your child a break from your camera. and should be considered carefully. step back and use the doorway to the child’s room as a natural frame. doorway e Use the ural fram as a nat elps capture which h ld in their your chirld. you can find ways to highlight your subject with natural frames found in the environment. known as “a frame within a frame”.
2. 3. When we know our settings and learn how to be comfortable working with kids. to crafting painting-like visions of perfection. 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. We can see the lovely light without really worrying about the grain or light settings. we thoughtfully composed the photograph and then carefully exposed it.that myth of digital perfection again so you have all these ideas down. remember to focus on content as well as just the perfect photo. When did texture and detail become bad words? When film was the only option. but both were magical moments not to be missed. just like my dsLr. You may need to consult your camera manual if you’re unfamiliar with this. Define at least three things that you feel may be holding you back creatively in photography. somehow that film mindfulness is becoming lost in digital photography. take that pretty picture. as i have both my smartphone and dsLr with me most of the time. i couldn’t say that either is more convenient. 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. but then refer to the tips above to try some different approaches at each session that you do. The top shot is with my camera phone and the bottom with my DSLR. there are even cameras now that feature digital makeup. 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. i was just expecting less perfection from my camera phone. and we need to shift back. resulting in portraits so smooth and glassy that kids just look like dolls. it provides instant gratification. prepare 32 . but do you find something still holding you back? Maybe that myth of digital perfection has you too focused on getting a “perfect” portrait. i’ve taken some time to think about why i love that sub-medium of digital photography so much. i see the focus of digital photography tending to shift away from capturing the fleeting yet important moments that define our lives. While i’m not suggesting that you swap over to the auto setting. and loving the results. ? CONSIDER 1. Compile a list of ideas to try for your next photo-shoot from the ideas in this chapter. With the wave of smartphone popularity recently. we’ll get so much more out of our digital cameras than we ever imagined.
SMILE tips & tricks on Working with Kids .
some awareness of how to best deal with the more extreme moods will help make a shoot run much more smoothly. honesty. sometimes those personalities and moods are shown at the same time. and observation need to become the backbone of your practice. Respect. others are more comfortable working with teenagers. timing. keep smiling.Whether you want to capture just that one shot or to document an entire childhood. it will make the right kids happy and intrigue the ones with whom you’re having a hard time. though. While there are some universal truths to keep in mind about kids. you may go from speed bump to roadblock very fast. no matter what stage of life you like capturing best. here are tips to make all ages and temperaments easier to navigate. Like the old saying that a smile will confuse an approaching frown. the many stages that children go through as they grow up need to be understood and anticipated. patience. While of course we all have the ability to respond to children on an intuitive level. you’ll find that within the same home there can be very different personality types. sometimes at different times of the day. fun. in addition to the varied personality types. sMiLe 34 . if you fail to cater to specific personality types. perhaps the most fundamental tip. there are many facets of your own personality and skills you need to develop to work with kids of all ages. While some folks are naturally attuned to babies. is that whatever you do.
they could cuddle together in one baby rocker. and you’re completely bound to their time schedule. it is possible to capture their beautiful newness— after all. a grea sMiLe 35 . the r babies mfort are and co ount to getting paramt shot. 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. raphing n photiogsafety Whe . keeping the baby fed and warm will ensure they are as comfortable as possible for the shoot. While we all love the gorgeous skin of a newborn in just their diaper or even their birthday suit. 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.Babies these are tricky little people in so many ways. they really can’t escape your lens. 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. highlight just how small they are in the world. yet when you get to know their rhythms.
it will show in the images. remember that photography is not just about light and camera equipment. you don’t have to work that hard to make kids this age happy. this is not a time to be self-conscious. Being silly with the toddler set will get you far and you will be rewarded with delightful smiles. so earlier is often better. they’ll just love you more for it. because you’ll have made them laugh. tell them one while you shoot. Little children tend to fall apart around four in the afternoon. Who can be as fascinated by a rock or a leaf as a small child? to them. When kids love you and your camera. their confidence soars and they are most willing to participate in new adventures—such as the photography shoot you’ve planned. When children this age are having a great time. the kids of this age group will generally feed off your positive energy. the world is new and everything we take for granted is still wonderful. they also get tired and hungry. if you have a happy and genuine relationship. it is also a relationship between the subject and the photographer. and may just teach you a thing or two. they think wrong words are hilarious and for the most part are the easiest creatures on the planet to keep amused. Listen to them and their ideas—these tiny people are not yet jaded. Kids will not think you’re a fool when you act like one. think about the entertainers at a child’s birthday party: all they need to get their tiny audience excited is a smile. try to coordinate the timing of the shoot with the child’s happiest time of day if you can. so ensure that snack breaks are worked into long sessions—nothing brightly colored to stain faces and clothing. if all else fails. that will be what’s captured. either. and little kids love stories. be silly. if you stay upbeat and energetic. maybe some music.Little Kids Little kids love fun. and a simple statement that everyone’s going to have some fun. planning for their pattern of moods can change everything about which side of them you capture. this is the age of imagination. sMiLe 36 . Make a trip around the backyard a magical adventure to another land.
Follow their schedule and you’ll have happier subjects. and remember that goofy faces and sulkiness often mask insecurity. While they may not be completely grown up. T(w)eens don’t have to smile if they don’t want to. Begin with their idea and work with them to create the rest of the image. these young adults tend to come alive in the later part of the day. sMiLe 37 . Let them help tell their own story by choosing their own wardrobe and styling the shoot. Being relaxed and happy does not always mean big grins. Whether they are self-conscious or full of bravado. or prefer to hide behind a book. consider the time of day. you may be running the photography session and considering your subject to be a child.t(w)eens the older children get. the more self-aware they become in front of your camera. but they need to feel your respect. Getting them involved in the ideas for the shoot can be the key to their enjoyment of the process. Unlike many little kids who are up before the sun. these scenarios then will become the base plan for at least part of your shoot. tweens and teenagers are not little kids anymore. aim to treat them with the same equality as you do when photographing adults. their true self will shine with encouragement and reassurance. also. getting tweens and teens involved in the process is crucial to loosening them up. they may really want to share their love of horses.
the camera. Be patient and sensitive. you can capture a few images of the child without having to train the camera right on them. as a result. and the unknown can cause some anxiety for these shy types. as you both warm up to the session. making sure you get down to their level.shy Kids We’ve all met kids who are wary of new situations. this doesn’t make for an impossible photographic situation. this way. like you. gentle introducing and trust-gaining. 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. and the child remains wary and unresponsive. and is nothing to be feared. so consider taking this time to photograph some tender moments of the child with the parents. they hide behind the safety of their mother’s legs at the sight of a stranger. and before long you. focus your attention on the adults present. the child will see that the camera doesn’t make loud noises and big flashes while you’re preparing. sometimes the parent is needed to begin the session. they’ll warm up to the idea that you must be okay after all. and the camera will be getting along like old friends. if the child sees you interacting positively with their parents. While your camera should be there with you. sMiLe 38 . don’t point it at the child right away. as you would try with any skittish creature. sit with them for a while. 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. think of this stage as an exercise in necessary trust-building. even if the parents don’t plan to be part of the session. is unknown to them. try taking some shadow photos if you’re outside or reflections if you’re inside. your subject. Converse with them and follow their lead. it just requires some slow.
after all. the novelty will soon wear off. but when the kids are having fun. 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. but consider this time as more of an introduction to you and your camera while the child shows off for you. they actually need to wind down. they may not reward you with all the expressions you want. you can still be taking photos. and they’re perpetually plastered with ear-to-ear fake grins.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. photography will develop a happy reputation in their minds. these guys are so excited by new situations that they practically levitate with nervous energy. sMiLe 39 . so let these kids run off a bit of the excitement first. Let them perform for your camera. if you attempt to get started right away you’ll most probably be dragged off by the camera strap. Like any photo shoot with kids. you need to be ready for that perfect window of time between their excited start and crash of being done with it all. but start to act up as soon as you bring the camera out. this also goes for your own kids. and that’s the best time for you to try for the images you want. rather than requiring a warm-up period. who obviously know you.
the “absolutely not having it no Way you Can Make Me” Kids you’ll very likely know these kids. the negative emotions will be transferred onto the act of taking photographs for your kids. if the kids associate photography sessions with you being cross with them. they know what you want from them. Beat them at their own game and give them the illusion of control. i remember a lot of my family photo sessions being pretty stressful growing up—my father. “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. they’re going to avoid them as much as they can. if you get upset or angry. the resident photographer. as they’re usually your own kids on a power trip. say something like. and they’re not going to give it to you. photos sMiLe 40 . but the moral of the story is to remember to keep the mood light even when it’s frustrating for you. so it’s essential that things remain fun. if they’ds Ask thetmke photo a like to before or of you ou take their after y . and start plotting our way out of it. and they groan. on the sit-and-stay schedule. ask them if they’d like to take photos of you before or after you take their photos. often got into a bit of a yelling match with us when we weren’t exactly Contrary to what it may seem. There are days when she says “no” and I respect that. the camera comes out. 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. We’d see that tripod being set up outside our beach house for the annual summer family photo. 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. Gemma is not always up for having her photo taken.
are you shooting someone else’s kids? Maybe they’re better for you if their parents aren’t around. if they see you as just another grown-up who wants something from them. i get in there and diffuse the tension between the children and their grown-ups. and then we’re able to rejoin the parents for family shots too. after which your little subject can decide what they want from within that pile. so make sure you ask them to look for something that’s actually there... 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. Children know that fairies don’t live in your lens. you want kids to trust you. it makes the kids feel special.recognize this situation. then disappear from the scene. Making the kids feel treasured no matter what their age or personality type is paramount to getting the most special images. so like a little photography bomb-squad agent. 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.a dinosaur too! With a little blu-tack. 1/1000sec. and fun is the key. 70mm. the happy reaction when they find it will reward your lens with a genuine expression! With a little bit of re-usable adhesive. have the parents pull out a selection of clothing that they’d be happy for their child to wear. many things can become a lens ornament. but you can easily get one to balance on there. i’ve had many sessions where i sMiLe 41 . f11. it’s fun. and to be the kids’ ally. they and i as a team get the photos everyone wants. or even put a brightly colored hair scrunchie around the lens and ask them to tell you what color it is. try asking them to look in the lens to watch it blink. you’ll meet with great resistance. just about anything can become an easy and inexpensive lens ornament to get kids to look at your camera. ISO250. 5DMII. they may be acting up because they know just how important this session is to the grown-ups. your job is to be a kid.
she’ll stay still long enough to check it out and try to get it off. you can use shape recognition to entice them to look at the camera. or peeking over the top or around the side of your camera. they need to know where you want them to stand. • Need to keep a fast toddler still for a moment? try my sticker trick.• If the kids are really little. 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. 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. sMiLe 42 . Kids love to be told to go and stand on the ducky! Babies like to see faces. these spots are called “marks”. this easy photo tutorial demonstrates making different shapes to go around the lens out of colored cardboard. they come in all shapes. the point is to get the camera away from your face and click while you’re engaging your subject. if you hold your camera too far away. • Children are natural actors. so make sure to interact with them over or around your camera and not just from behind it. Keep a bunch of small stickers on hand (a good idea for a kid photographer anyway) for this one. Keep a bunch small stickers of hand to enticeon toddlers to st still for a pho ay to. in the film business. just like actors. so a simple game of peek-a-boo is usually the best trick. However. you can snap her great smile. and colors. 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. sizes. place a small sticker in the palm of the toddler’s hand.
• Being so visual.ll when Being do we children hown their they’re sns and poses directio of just told. • Even with direction. get them moving in place. children do well when they’re shown their directions and poses instead of just told. so visual. Confidence comes from knowing what’s required of them without surprises. twirling hair. move it. Bend it. kids can be stiff in front of the camera. 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 photography is a great way to relate to them when their verbal communication is still developing. tapping toes. Kids are very bendy. it will affect the shoot. sMiLe 43 . you can even make a game out of it. With the child’s permission. and make sure their hands are relaxed by giving them something to do. instead Let them decide how they want to pose. shake it. a thumb in the pocket instead of the entire hand is one that looks particularly adorable. take a portrait of their favorite security object and then show them its image on the LCd on the back of the camera. Let kids be involved in the process and share your shots with them on the LCD.• Kids are visual—they learn with images before they have language. such as “photographer says”. borrow their beloved toy as your assistant for a few shots. putting hand on hip. if the model has a sense of insecurity. you need to demonstrate what you want so that they don’t feel as though they’re being left to figure it out themselves.
• Kids of all ages like to answer questions. 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. sMiLe 44 . you can even answer your own questions with wildly wrong and silly answers to get some great laughs.Asking questions is a great way to get kids to relax and open up to you and it will show in their expressions. if your own kids are always in front of your lens. and let them become the one in charge of you as a model. take the time to ask your model some simple questions. and click the shutter while they’re thinking. • 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. if you’re shooting someone else’s family. and this is a great way to keep them still and engaged. give them the family point-and-shoot or even a disposable camera. An inexpensive point and shoot camera in their hands is your ticket to seeing life through their eyes. Your children may take an interest in photography themselves. you’ll have happier models if you get them involved.
one or two balloons: gorgeous. sMiLe 45 .• The same question would cause an older child to roll their eyes. the issue of props always comes into play. For example. the props need to enhance the subject. also.this is what i do best. 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. a bunch of balloons.” • When photographing children. and be true. it’s fair to trade children’s time in front of the camera for some sort of compensation. but it may end up giving you some great props for shots. enh t be the s no Above: Use props. i like to think of it in terms of a deal where both parties are happy and having fun. not be the subject. so let me show you and then you can show me what you’re best at. • One type of barter is the trade of sharing talents. you could say something like: “i take great photos. don’t over-use props. My advice on this is the same as my theme for the entire shoot: keep it simple and fun.. Left: Trade silly faces for smiles. 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. so you might ask them about their favorite music or books.” not only will they be excited to be the star at something. never forget about safety.. an old typewriter. • When the kids really don’t want to smile for you. 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. and three chairs at a tea-set table out in the forest: too much. although photographing should never become such a battle that one needs to go as far as resorting to bribery.
If you’re hurried. • Always keep smiling.” then you need to honor that and take just one more. or frustrated. if you say “Just one more shot. rushed. they will too. Children need to know that they can trust what you say if you want them to model for you again and again. OK. it’d better be one you can provide. sMiLe 46 . You decide. i’ll end with my two best and most important bits of advice for anyone who plans to photograph children. Maintain a level of trust and respect at all times. you’ll also know when you’ve exhausted your allowance of time with your subject. don’t make promises that you can’t keep. Know when your model is exhausted and make sure you respect their limits. you’ll just have to try another time. your child or subject will feed off those emotions. • Learn when to let it go. so sometimes the end of a shoot deserves a lollipop.• Be true to your word. if you smile and have fun. 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. if that photo is blurry or bad. and fun. angry. once you learn to be flexible. if you promise a treat at the end of the shoot. in control.
all of this took less than five minutes of our time. it now hangs as a canvas in our home. so i gave them a task. 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. sMiLe 47 . i made sure to meter the light in the scene. i took a few shots of them all. and my children were having a ball running around the tiny little alley. i noticed the beautiful light. they had fun. it’s not even in color. i asked them to take a portrait together and demonstrated how i wanted them to stand all holding hands. so we were all happy. and they certainly weren’t dressed in their best clothes. once.the real picture i took this photo of my children. But not only did it speak to many people who don’t know the children personally. When i had my camera set properly. and i got the shot i was after. photography with children should always be that way. i had the twins step off to either side of my eldest daughter. 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. no one’s looking at the camera. i got the shot. i then asked the twins to run in and give their sister a hug. i knew her wide-legged stance would make her more stable. and because i was ready. they were allowed to run about and be silly. and when i shared it online people loved it. i got one more shot after my son had run off. While i watched them play. they did. but they looked stiff. i had my camera with me. i think the best part was that someone in the alley told me that i was a fun mom. who i told to stand on either side of the little gutter. i’d just taken them out for hot chocolate and a coffee for me. My little boy was being a goofball and i saw that he still needed to run off some energy.
Identify the personality types or ages that you’re least comfortable working with. to capture tender tones for a sleeping baby. those emsubject will fe ur and have otions. they will too. If you ed off smile fun. 2. rushe child or frustrated. and lens ornaments! Always k If you’re eep smiling. Make a shopping list for stickers. or hurried. sMiLe 48 . Carefully move your crib to a south or north facing window which does not get direct sunlight. marks. yo d. 3.? CONSIDER 1. angry. and write down some ideas for how you can better work with them in the future. 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.
REFINE post-production. editing and equipment .
selecting. Use this chapter as a way to refine the process that you currently use. not the sharpness. When you’re a parent photographing your own children. your goal being to speed up the minor edits and allow time to really polish the most special shots. and sharing your images. 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. or both. but you’ll also need to take some time to refine your work in a more contemplative manner. agonizing over imperceptible differences while flipping back and forth between the photos enlarged to 100% in your photo-organizing software. one of the goals of shooting mindfully is that you end up with fewer photos. you will waste at least 45 minutes each time. reFine 50 . and it’s especially painful when you have an emotional attachment to the images. neither is it a primer on the basics of digital photography post-processing. the creation of the final photograph is only at the halfway mark. and trust me. you’ll want to create an easy post-processing routine. you certainly don’t have a lot of time to sit at your computer sorting through images hoping to find one that worked. if you photograph thoughtfully and avoid burst mode. but it is essential—and if you shoot thoughtfully and work methodically. Culling images is a beast of a task at the best of times. as you will with photos of your children. 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 need to review and question your own images.Just as this is not a photography 101 book. you’ll be able to do it all quickly and well. Your effort at getting a great photograph does not end when you hit the shutter button and capture the image in your camera. it is a task that can be enjoyed too. Especially with digital. but more images that you actually love. Left: Focus first on the moments you capture. printing. this sounds like a lot of work. you escape having to decide which of the seventeen identical portraits of your child is the one to keep and print. these days. reviewing. it’s up to you to refine your own work by organizing. but now falls to you and your computer. not dreaded and put off. editing. 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. 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.
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.” i realized then that my file storage was more than fine. yet simple electronic filing system for my images. that’s just another incarnation of the myth of digital perfection. With this system. efficient process for whenever you open an image. so i‘ve decided to let go of the anxiety over ensuring multiple backups of each digital file. but no longer worry about losing them all— to me. after the photographs are on the computer. reFine 51 . i replace the card in my camera and format it. so if you want to grow artistically or even turn your photography into a business. i detail my post-processing routine here—you might choose to use it as a run sheet for your own work. i can cross-reference by both subject and date. i recommend that you invest in the full version of adobe photoshop Cs™. edit your images via the same order of steps every time so you’ll develop a smooth. photoshop has a lot more tools for fine adjustments than Lightroom. 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. as only you know how you want your photographs to look. my mother handed me a scrapbook of baby memories and a brown paper bag of slides and prints and said. and the ability to work in layers in photoshop is worth the price difference alone. of course. being organized from the outset will save you hours of editing. one thing i learned from going through stacks and stacks of slides that my father shot of my childhood. the processing flows quickly and easily without having to swap between different programs for organization and editing. it’s no fun to have to organize a ton of images years later. i make sure that i transfer those photo files to the computer every night. i’m careful to maintain an orderly. When i turned 39. a great tool—once you understand the process of importing and exporting your image files. the creative edits and style is up to you. i never had thirteen back-up copies of every negative i ever took. having defined your own style. “i think these are all you. and i didn’t need the extra stress of further backing up. i take as much care as i can of my images. Lightroom™ has its limits. as a mother who takes images of her children nearly every day. or either. though.the first step in the process is off-loading the images from your card. With this in mind. i have them in folders organized by date-taken with keywords relating the subject’s name or what event it is.
With this second round of image cuts completed. i know i tend to keep more than i need. and the ones that are clearly not keepers get demoted all the way to no stars. With the star system to filter them when i’m reviewing later. this process takes no more than a few moments and i usually end up with quite a few. i find sorting the winning shots from the losers is easier when i employ the star system. this task would suck me into my computer for hours on end. it was taking me hours to cull a simple shoot.1. so i make sure to do it when i have a block of time set aside. and overall image content photo by photo. but also having a hard time parting with shots that were never going to be printed. Mark your favorites and then move to the next stage of your workflow. Edit for Favorites For me this is the hardest part of the editing process—if i let it. i won’t delete them—i have the hard drive space to store those files. that resolution reduced the anxiety i was feeling and allowed me to speed up the image-selection process. the ones that i doubt will make the cut are demoted to four stars. as a first step. so while i like things tidy. 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 second step takes a bit more time. 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 only my five-star rated images showing. at least it’s all tidy. expressions. the ones i’m not going to work on disappear. i start by going through all the images and giving the ones that i really like five stars. without close scrutiny. Back when i was new to the world of digital photography. i found myself not only taking too many photos. i do this on sight. and move on to the next stage of selection. i made a deal with myself to never actually delete a file unless it was absolutely trash. i’m not really a minimalist person by nature. similar to that in the Lightroom and adobe Bridge methods i use. reFine 52 . 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 rate it at three stars—i have a nice collection of three-star images filed away as ammunition. the concession i’ve made with the hoarder side of myself is that even though images may not get a star rating at all. by going with my gut reaction like this. if it’s a flawed but funny shot that i may want to someday use to embarrass my kids at their twentyfirst birthday celebration. as the images are re-rated with the filter set to show only five-star images. i look for focus.
curves. ensure the white balance is natural. but it was nothing that a selective color adjustment layer could not easily fix. Contrast. you can move on to the next step. all of this effort could go to waste if you’re not working on a calibrated monitor. colors 53 reFine . most images will need a little bit of adjusting in post-processing. there’s nothing as disheartening as editing what you feel is a wonderful photo and getting something dark and red back from the printer. i advise anyone serious about taking photos. 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. ion tool t A calibra re that ill ensunitor is w your mio g accurate n render and tones. The image on the left was too warm for my liking. Color. adjust the exposure. Brightness. 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.2. even if you’re just a parent wanting to create beautiful images of your children. and Tone Just like the darkroom or the one-hour lab of years past. Other simple adjustments like levels. so i make sure to get it as close to correct in-camera as i can. Contrast. you can only do your best editing if you start from the best image possible. even then. With the image open in your editing program. once you’re certain that you have a solid digital file edited to be true-to-life color and exposure. look to the histogram for confirmation of proper exposure. and Curves settings until you have a good base image. this is where you’ll be processing your work. however. and then double-check that there are no blown highlights or extreme color casts.
Edit for Framing and Image Content at this stage. on tight face shots. consider a tighter crop just above the wrist or elbow. refine your vision for the shot by perfecting composition and framing. reFine 54 . I deepened the shadows with a simple levels adjustment layer to add definition to the reflection. 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 I cropped the original to a square format leaving only the window. We don’t get a lot of second chances in either life or photography. but there are times when we miss that mark and need to refine our framing in post-production. if the lines of that object fail to direct the viewer’s gaze around the image. if only part of the hand made it into the original frame. scan the edges of your image for objects that are coming into the frame. so embrace this opportunity to make sure your image composition is working as well as it can. make sure it’s balanced so that the void actually enhances the person in your image. crop it out. if your image has a lot of negative space around your subject. take special care when cropping your portraits not to chop kids off at weird points. 3. the entire image will appear balanced.Here I really liked the reflection element in the image. your image will ideally be well composed in-camera.
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. then clean it first. if you’ve photographed a child with a severe birthmark or prominent mole. but hold back on the urge to over-process just because you can. don’t edit it out before asking their parents.4. but don’t smooth over freckles—leave your child subjects looking like real kids. 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). not dolls. then tidy it up or make it disappear altogether. your images of your own children are your call. if the mark is transient. Edit for Spots and Other Minor Corrections this is another chance to refine your image. 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. 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. such as an acne blemish or allergy rash. but nice change). like a snotty nose. My personal guideline is that if it’s cleanable first. anything that only surgery could remove i leave alone. others want to see the beautiful children just as they are. reFine 55 .
but the vision is all yours. Edit for Special Effects or Fine Tuning once the image has been edited to the bestlooking version of itself. i have my own collection of photoshop actions for sale to get people started. speed through this part by creating actions in photoshop of the editing techniques you like and use most often. action files can be double-clicked on to be immediately loaded into the action palette in photoshop. 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. if they offer them. this step could take you hours or just a few minutes. at some point in our digital photography career. then you can add on the final touches of your style. there really is no rule of thumb here for whether black and white is used. perhaps you’d like to share your images in black and white. you can even buy the actions from a photographer whose style you admire. depending on how much work you need to do to create your desired effect. once purchased and downloaded. actions are a set of editing steps recorded and saved to run together in photoshop when you press a button. or maybe you prefer the vintage feel of old analog film. reFine 56 spent an hour trying unsuccessfully to get color right on an image just to give up and turn it black and white! . or a tone effect.5. this is where you can set your style in processing. I created a preset for Lightroom to brighten the whole image and give the areas of highlight a warm feeling. your vision for your work needs to be thought out well enough that by this point you know what look you’re working towards. 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. they are loaded into an action palette in the program itself. play around with the action steps to refine their look even further. Top right: This image was fairly dull due to the rainy day lighting.
Look for any things that need cloning out or painting over.6. these time-consuming final touches only need to be done on your favorite shots that are going to be displayed or printed. Edit for Final Gallery or Collection not everything that you shoot and edit will end up in an album or on your blog. 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. but the best of the best shots can be given that last once-over. Something like that is work I would only do on images that were going to be printed.
it’s a time issue. i suggest you include prints in your pricing structure. if you’re mindful of your photography. it always seems that the first child gives rise to multiple volumes of baby albums. Print Make actual paper copies of the images you are creating—they’ll probably outlast your computer’s hard drive.com. like i am. gets a brown paper bag of slides. i think that is the one place in this ebook where i most need to take my own advice. if you are a parent. your client may really want to buy that disk of files. you’ll soon have a stunning collection to flip through. scrapbooker. but the quality of final images on archival paper from a plan tochildren If you raph hotog iness. schedule a print order once a month. you in ricing structu your p professional photography lab is worth the extra money. or designer. but the last child. but one easy-touse solution with good quality results that i’ve used for personal work is blurb. impress upon your clients that the prints you offer might be more expensive than those offered by the corner shop. soon you’ll have years of your life in images that you can sit on the couch and look through—no computer needed. if you do decide to offer a disk of images to your client. they will not have any reason to blame your skills as a photographer. as in my case. make an effort each month to drop copies of your favorite shots into a new folder labeled “Book”. if you plan to photograph children as a business. you may notice the number of printed images of each child is inversely related to their birth order. My children will know my father through printed photographs only. have those gorgeous images compiled and printed into an actual coffee table book. you can avoid the photography burn-out that happens and be sure of ending up with equal amounts of photographs for each child. there are many different options for making a book of your own photography. even if you just fill an album with 4" x 6" prints of your favorite shots. include a professionally printed set of proof prints if for no other reason than when the client inevitably does have inferior prints made. at the end of the year. 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. if you’re a planner. it isn’t a love issue. if you’re a parent of more than one child or even the fifth of a family of five kids. 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. or even your blog. reFine 58 .7. I suggest p as a bucslude prints inre.
but every individual needs to weigh it up and make the best decision based on your comfort level. i didn’t upload any images until early 2005. 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. and take care with your Facebook security settings and whom you add as a friend. i know i can access them from whenever. but once i got started. then that image doesn’t go online. Knowing before you begin will save you any disappointment. Furthermore. i’ll stop. wherever i am. set your Flickr stream to private. But that’s where i stop the digital perfection (archival) madness. 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. i do understand that it’s a genuine worry for some. and i even have a few photos on google +. they do have a use-by date of sorts. this is where i create what i think of as my little digital fire safe. and/or prints. Currently i have over 5. so i choose not to think about them.000 images on Flickr™. as their mother. Post and Share i have a blog. it will probably not be worth your time to do shoots where you will not have permission to share the final images. and as such receive fan email and comments. but Flickr is where i began my online photo sharing story in late 2004. i know i can’t rely on them being functional in the years to come. You can always choose to only share publicly. i am aware of the attention. they’ve even been recognized in public. there are also many people ranging from ignorant to dishonest who help themselves to online images for commercial purposes. due to the online popularity of my images on Flickr and my blog. Because of that. if my children ever request that i not share any more images of them. For a small yearly fee. must decide for yourself. consider watermarking your web images. if this is a big worry to you. on a different but related note. i’ve chosen to not post any images that could be deemed embarrassing or detrimental to them in the future. reFine 59 . Being so young. laptop. even if we were to lose the external hard drives. they’re hardly aware at all of the attention. password-protect your family blog. 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. as a parent. Issues of posting images of children online this is a very complex and sensitive issue. there are many people out in the world who look at all sorts of innocent images with nefarious thoughts. so it’s essential that you discuss this with parents of your models and get their written consent before you shoot. so i don’t bother with them myself. 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 never stopped.8. and my cease-anddesist order by email. but one that must be considered by anyone who is photographing children. i can’t control them. and because of that. my children have become semi-public figures. as a parent. While i store every digital image that i’ve ever taken on external hard drives in our home. most of them are set to private. any image that you post online has the potential to fall into the hands of someone else. however. if you’re considering photographing children professionally. images where the children can’t be identified. and from there you have essentially lost control (though not copyright). i have Facebook. in keeping with respect issues. 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. you’ll want to display your work. those people do get my attention. you. if you’re just starting out and building your portfolio by shooting for free. and for those i suggest implementing the many security options online. i find watermarks ugly and ineffective.
not everything should be shot at f/1. but most kids thrive on structure. While you might already be keeping a folder of your favorite images pulled from magazines featuring other photographers’ work. now look for settings. and keep growing by consistently pushing yourself to fix past mistakes. this process of scrutiny and evaluation is all part of learning how to see photographs. Write down what you’re inspired by. 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. but the way you communicate it can. if you’re working with family groups or more than one child. and even what your editing steps were. but always remember that children will need some direction. 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. Keep a journal to write what you think. study your images and learn from your own work. you need to look at the whole picture with a critical eye. recognize and break out of patterns that aren’t working for you. their anxiety and discomfort will show. as you look back at your work over time. hoping to fix it later in photoshop? reFine 60 . if your subject is children.refining your Work now that the practical post-photo session information has been covered. this is the practice of recognizing when you’re developing your style versus settling obliviously into a rut. 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. 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. 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. review and revise your work on a regular basis to escape becoming stuck in a pattern. it’s a sign you need to rethink your composition. try stepping back and being an observer as well. don’t forget to keep a collection of your own photographs. 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. don’t let it take over your images. the focus of your work needn’t change. have you shown their connection by having each subject touching. or do you see evidence of a tendency to underexpose.8 just because it looks cool to have a blurry background. While that’s sage advice. let’s talk about the other elements involved in refining your work. they may act as though they want to be the boss. 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. what you loved about the image.
then you’re ready to upgrade. and then list in detail the ways you think they would enhance your kid photography. want to try If you mething new. “error occurred between desk and chair. on a full-frame sensor dsLr that tends to be marketed to professionals. and only when you can no longer grow.8 or f/1.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 super sharp. ? CONSIDER 1.” i remember the saying. Make a list of the photography gear you covet most. 3. Review your post-processing system and think about where you can save time. the 50mm will be a true 50mm focal length. it is a lovely lens to have in your photography kit. 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. which means most of the lowerpriced models. “if only i had x or y. either way. the 50mm will take on a longer focal length due to the digital crop factor and therefore will actually approximate an 80mm lens. or not knowing my editing program well enough. but my own skills. if you have a kit lens on your dsLr and are frustrated with image quality. 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. look into buying a 50mm f/1. reFine 61 . technology is changing and improving all the time and new photography gear is exciting—but if you want to try something new and unfamiliar. these little lenses are relatively inexpensive.g a so sider rentin efore con b different lens you buy it. it may be my lack of planning for a shoot that’s to blame. it’s rarely the fact that i lack the camera model released five minutes ago. 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. 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. I get out my old Polaroid SX70 and carefully shoot film from The Impossible Project.” the majority of the time it isn’t the gear or lack of gear that’s holding me back. For something different. when it’s apparent that it’s your tools that are limiting you. Describe your artistic vision for your photographs.” and turn it back on myself to become: “error occurred between shutter and finger. 2.4 lens—the nifty fifty is something every kid shooter should have. something to note is that on a cropped digital sensor dsLr. Learn to work with what you have.
RESEARCH seek new inspiration & styles .
Just like when you take a deep breath. here we’ll discuss other broad genres of art and photography.It’s important to be familiar with what makes a photograph compelling to a viewer. influences are everywhere. these are pared down to a very simplified group of elements for a reason: this is not a photography theory textbook. Left: Not every client shot has to be a traditional portrait. The universal elements of great photography—technique. one just needs to learn how to see what it is that makes them compelling to us. and here we’ll look to theories on photography for that inspiration. these elements are essential to your images transcending pretty pictures and becoming fascinating and meaningful photographs. researCh 63 . anyone who wants to take better photographs of children can apply the various styles to their own practice. take a moment to stop and breathe in all the inspiration that’s out there. Look to these other types of photography for ways in which you can add interest to your own work. you will take it all in. light. but rather a book to inspire kid photographers. feeling relaxed and refocused after. composition. and subject matter—should not be discarded just because the subject happens to be a child. search beyond the local child photographer’s blog and dig deep into the history of the art form. I have used a number of new techniques here to produce a photograph that is nothing like my work to date. 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. By reducing these to the essential elements. In fact.
itional ad ok to trechniques Lo t ortrait e timeless p to creat of children images researCh 64 . 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. With its sharp directional light casting shadow on every wrinkle and blemish.traditional portrait photography Kid photography does not have to consist solely of candid shots. No fancy lights needed for a studio feel. the noble poses. When all these elements are right. depth. otherwise known as Rembrandt lighting. it isn’t always the most flattering light for adults. the portrait can go from flat and dull to mesmerizing. the dutch golden age painter favored side-lighting and a three-quarter view of the face. portrait painters such as rembrandt knew how to light their subjects long before there was a camera to record it all. and darkly elegant background give a grand sense of stillness to a traditional portrait. but the tiny features and smooth skin of children are perfectly suited to this approach. and a kid. The smaller features of a child’s face will not produce the harsh shadows found on an adult’s lit at the same angle. including the hallmark triangle of light under one eye. Known for his self-portrait work. and drama can all be enhanced by mastering the art of side light. 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. a window. the deeply shadowed face. subdued expression. Color. PROJECT IDEA Set up a home studio in your living room with a dining chair. Look to traditional portrait techniques to create timeless images of children. direct gaze.
researCh 65 . it could be as simple as making a meal. it is candid but stresses the objectivity and truthfulness you would expect to see in photojournalism. 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. documentary photography is event-oriented. the main element in this genre is the captured moment. it requires a lot of planning within the action. or as complex as documenting a child’s treatment and recovery from an illness. 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. this genre is not as random and candid as the street photography off-shoot we look at next. such as births and weddings.documentary photography documentary photography is a popular form of photography used to record significant and historical events. so you must have a purpose to capture the moment. Considered to have its start in the 1800s as photographic equipment and processes became more portable. Left: I was ready with a camera in hand the moment our son first learned to crawl. in an informal and unposed style. overwhelmingly real and almost ordinary in focus. documentary photography has gone from accurately describing unattainable places or environments to sharing space with fine art photography. I took that one from my vantage point in my hospital bed. your goal as a documentary photographer of children is to compile a story of the event and explore its many facets. PROJECT IDEA Birthday celebrations with style. It was an emotional moment as he had been delayed due to minor issues from birth.
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. it often concentrates on a single unplanned instant in a person’s life. since one of the points of this genre of photography is to not bring attention to the photographer.street photography street photography is a candid style of documentary photography that captures its subjects in a public environment. it is a reminder to keep your camera near you. including mobile devices. holding your camera away from your face—or even as low down as shooting from the hip—is key to this style. researCh 66 . it does need to be spontaneous. at all times. PROJECT IDEA neighborhood kids playing on the sidewalk. With a real height of popularity between the mid 1950s through the mid 1970s. it’s a fantastic way to photograph kids. such as the market. this style of photography has reinvented itself with the increased development of portable cameras. park. using the realistic and objective technique seen in straight. so consider anytime with your kids to be a possible right time for photography. it’s essential to capture your subjects completely unaware of your camera’s attention on them. Left: The body language of the girls and their juxtaposition to the long legged stranger is what makes this image. another element that defines this genre is being at the right place at the right time with your camera. unscripted photography. or even public events. if not on you.
colorful. images are bright. due to the light. they appear completely natural and spontaneous. and typically used for advertising. this unposed and joyful genre is a great way to capture the happy nature of children. While the images are actually taken during staged setups.Lifestyle photography another branch of documentary photography. PROJECT IDEA Beach or park portraits with action. often considered natural portraiture. KEy ELEmEnTS TO InCLUDE • Color • Golden backlight • Happy emotion and action • Convey a sense of joy and warmth Color. lifestyle photography captures and portrays real-life situations and subjects in their element. expressions and environment. researCh 67 . environment and light are all key elements of lifestyle shots. This unposed and joyful genre is a great way to capture the happy nature of children.
this form of photography can also be used to convey the photographer’s view on current world issues that affect children.Modern art photography Modern art photography often coincides with abstract photography. these photographs are thought-provoking and powerful. 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. With an excellent base image to start with. in the early 1900s. edward steichen. one of the founding fathers of modern art photography. 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. 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 . almost impossible to tell from a painting. employed photography to portray feelings instead of simply illustrating an object.
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 . 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. this can be an especially freeing genre to blend into your child photography style on occasion. it focuses on the client’s needs. background along the same lines as modern art photography. fashion photography is expressive and quirky. this genre highlights mood and styling. however. as it can be built around one object of clothing.Fashion photography PROJECT IDEA Fashion shoot with entire outfit from the thrift store. having started in the mid twentieth century. it can also involve a very complex image. with odd juxtapositions. whether it be playful or dramatic. it often relies on breaking basic rules of focus and exposure to add impact.
still Life & interiors photography Like paintings. it could even be the environment itself that’s the central feature—consider basing a photographic project around your child’s room. but I will never forget their importance for a brief time. tangible items in a significant environment. focusing on lighting and composition. and by their wildly different tastes in decorating. either natural or handmade. in making a true portrait collection of a child. different stages of a child’s life will be marked by different items that they are attached to. 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. this art form dates all the way back to the Middle ages. still life photography features commonplace objects. and presents meaningful. researCh 70 . PROJECT IDEA Record your child’s bedroom elements to define their current stage in life. it’s essential to remember these elements as a part of the whole. and represents them clearly.
Just as we do today with photography. but artists making themselves the main focal subject of their work became increasingly popular in the mid sixteenth century. get into these shots with your kids! researCh 71 .self-portrait photography self-portraits date back to the fifteenth century and albrecht dürer. artists have been using reflective materials to place themselves in the image. because you were always behind the camera instead of in front of the lens with them. 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. you don’t want your child to look back through their history of photographs and never see you. Mirrors are a common household item that provide a powerful tool for reflecting a moment with your child for the camera.
and carefully weigh up your location and the styling of the shoot. try the plastic diana lens for a lo-fi effect in-camera. distortion. square cropping • While the processing can be fun and unpredictable. how about posing your seven-year-old on a banana bike seat? or if you’re going for a sixties look. give your contemporary child photography a true vintage feel. Consider a square crop to suggest a few of the medium-format toy cameras such as the holga. such as the KEy ELEmEnTS TO InCLUDE • Use post-processing techniques to replicate the lo-fi effects: vignette. darkly vignetted edges. have your teenager sport a hairstyle from that era and perhaps just a smidge of the iconic makeup. relax into the strength of composition to make your shot interesting researCh 72 .toy Camera photography toy cameras are inexpensive film cameras made almost entirely out of plastic. Play with focus and blur to suggest the plastic lenses of old toy film cameras. and unnatural distortion. you can even get vintage toy lenses for your dsLr. then tie it all together with black-and-white postprocessing. rely on your knowledge of proper exposure and sense of composition to make the image. if you want to replicate film photography. 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. and became popular in the 1960s. 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. grain. if you’re thinking 1970s. the lo-fi lens and cheap construction create unusual optical effects like light leaks. you must start by forgetting that the LCd on the back of your camera even exists.
however. your fancy digital camera needn’t sit gathering dust. 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. this is becoming the new way we tend to document our children’s history through photography. it’s a cross between toy camera photography’s interesting effects and documentary photography’s moment-based feel. elements that add to the image.phone-tography phone-tography is such a new genre that we’re making history as we speak. PROJECT IDEA Just one shot a day. 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. and some interesting processing to follow up with. KEy ELEmEnTS TO InCLUDE • Focusing on great composition and capturing those special moments With moments and light as the only focus. it doesn’t have to be one or the other. I can create magical vignettes of my children’s daily life activities. • Leaving proper exposure to either your aperture priority or shutter priority so that you can relax and enjoy being spontaneous researCh 73 . relax. your mission here is to take your dsLr. the emergence of dsLrs and ever-more sophisticated software to edit images has pushed the realm of kid photography into a fantasy genre. and just focus on composition. in having our fancy smart phones with us all the time. Simply take a photo with your DSLR of your child every day for the year. 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.
i want to encourage a return to the essentials of a good photograph straight from the camera. Journal your ideas for translating your new inspiration into a child photography shoot. 2. take lessons from these other genres. researCh 74 Keep a journal or start a pinterest (www. Find the most compelling genre of photography listed above and research it fully. similarly. use the outlines of the key elements of interest. as any art form does.pinterest. this is not meant to suggest people shouldn’t play and have fun with their child photography! Quite the opposite. take you f . com) board of images that inspire you. soft-focus. and there are boundaries of safety and ageappropriateness to be considered. 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. the best place to start is with a well-made image and let your own personal vision take you from there. when group f/64 re-embraced straight. 3. and rewrite them for your own story. and get into the practice of identifying the elements you find most compelling. the many different genres highlighted here point out that an image doesn’t have to look like everything else to be interesting. filter-heavy images.? CONSIDER 1. ace to start The best plell-made is with a w let your image and nal vision own persorom there. unmanipulated photography at a time when the pictorialists were dominating with their fanciful. photography. when seemingly every start-up child portrait photographer relies on the same set of vintage actions and texture overlays to make their photographs interesting. but that’s where you can stretch your creative muscles. sees changes and backlashes to current trends as a part of the journey of moving forward. a famous example of this in photography took place in the early twentieth century. not everything will be a fit. Sometimes the image will not need anything more than an interesting angle to tell a story. Find one photographer from your selected genre and write down what words come to your mind as you look at their work.
photo setups you can try to help push your own boundaries PUSH .
. open-shade rut. There’s undoubtedly a lot to manage when photographing your own children.it is there that you will capture the beautiful moments. operating by rote is just when easy quickly changes to boring. these tricks are not meant to change your style for good.There are many times I set out to photograph my kids with the best of artistic intentions. push yourself to take photos that are not your normal light or pose. and all I accomplish is more of the same underwhelming images. the goals are fairly detailed. it’s very likely a sign that it’s time to shake things up. We may not be out photographing in a war zone. When you feel the desire for more from your images. but the technical instructions are kept to the bare minimum in order to stimulate your creativity in how you choose to interpret them. i suggest that the ones which make you feel uncomfortable are the ones you really should grapple with—when you’re stuck.. and endgoal comfort zone. they’re merely the prompt you need to try something completely new in terms of how you approach photographing kids. However.8. it’s often easier to be free when constrained by a goal and some limits. it’s in times of stress that we think most creatively. these tasks may feel awkward to you. here. our minds sharpen and focus when we’re forced to problem-solve. push. When you’re given a creative task. 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. Whether it is for yourself or for a client. pUsh 76 . environment. but as child photographers we must have the skills to think quickly on our feet—we’re often managing challenging subjects. let alone portraits commissioned by a client. photographing outside of our comfort zone trains our mind to be a better observer. some more so than others. the only thing that jolts me out of creative torpor is purposefully extending myself beyond my equipment. 24-70mm f2. in this chapter. and builds our confidence so that we can incorporate new ideas on the fly. we’ll look at seven different photography exercises designed to break you out of your iso 250.
like this one of my son with his cucumbers from lunch held up as eyes. but also very few attempts at each of those twelve shots. here comes the challenge. i know i make images like that all the time. pull your twelve favorite shots and edit them simply so as not to detract from the photography. display the images as a grid or as an old film strip. InSTRUCTIOnS take twelve images of objects. try to limit yourself not only to twelve final images. translate at least twelve of the words on your list into photographs. just jot down whatever comes to mind. now.1. as a parent. When your flow of words starts to trickle off. think about the framing. Portray a Child … Without Featuring the Child i see so many mugshots of children that say nothing about the child themselves. in fact. so the point of this first exercise is to get you to really think about what is the essence of an engaging portrait. to complete this exercise. 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. places. stop writing and see how many you’ve ended up with. the goal is to use your camera to capture these twelve facets of your child’s personality. 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. You can even show nothing of the child. it’s not hard to take photographs of our little one’s adorable face. pUsh 77 . don’t over-analyze. and exposure carefully as you’re shooting so you can get these twelve images in as few attempts as possible. You can start this project with the obvious shot of your child somehow obscuring his face. think about your child and begin by writing a list of words that describe your subject right now. your brief: to tell their story in twelve images without once picturing their face. camera settings. Looking back on your child’s visible story. you’ll see nothing that speaks of their obsession with the color green or their ever-present soft-toy sidekick. 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. It is very fitting for the word “Silly” that is on his list. or even abstract ideas and colors that represent your child. but those other elements of his childhood will be long forgotten. though. your son will grow up and still have his brown eyes.
yashica-Mat. shoot carefully. reference the old 120 medium-format square film frames from gorgeous cameras such as the hasselblad. 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. as with the first exercise. maintaining the composition you planned for the final square image. InSTRUCTIOnS plan your session around twelve square images. but an entire shoot. there’s another striking option that has served myriad photographers well over the years: square. When you have your final files. 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). By limiting yourself in terms of both image quantity and square frame constraints. the goal of this exercise is to plan for not just one frame in the square format. 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. you may shoot an additional twelve images (equal to another roll of 120 film) if you need more frames to complete your session. try thinking beyond that familiar format. mindful of proper exposure so that you avoid needing to take many images beyond the twelve that you’ll edit. the compositional rules remain the same for any format. you’ll be forced to consider your photograph carefully as you take it. Think Inside the Square While your dsLr or 35mm sLr takes rectangular photographs. since you’ll be seeing the usual rectangle through the viewfinder of your dsLr as you shoot. remember to consider the space that will be lost in the rectangular image frame as you shoot your images. pUsh 78 .2. and rolleiflex by cropping an entire session of images into squares in your post-processing program. 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. 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. add an additional twelve frames as if you were shooting an additional roll.
and even add some extra grain with a filter in photoshop. so raise the iso. like these images shot in a hotel with sun protection glazing on the windows. pUsh 79 . Low light situations. process your final image into black and white. prepare to photograph inside where the light will be less intense. is a great time to embrace the grain. Meter your scene and then. and can actually add character to your images. with your camera set to Manual. Raising the ISO allowed me to capture the shots without flash and the resulting noise added some texture to the images. which will result in more digital noise. real life has texture. purposefully underexpose the image by a stop and then pull it back to proper exposure in post-processing. in your photo-editing software. but it may really challenge your digital photo perfection oCd. these are kids you’re photographing. although digital images have similarity to film in terms of pixels on the sensor being the digital equivalent of silver particles on film negatives. 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. to unify the noise and incorporate it into the character of the image.3. and often were gritty and dirty just like childhood can be. change the settings so that you’re underexposing the image just a smidge—clearly not a technical term.8 at 1/200 sec.8 at 1/400 sec depending on the look you’re going for. set your iso to at least 800. then set your camera to either f/4 at 1/200 sec or f/2. 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. InSTRUCTIOnS you don’t need to do too much work for this one. Children’s features blend together and even their hair is often less like strands than sheets of plastic. 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. 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. film images of ages past had a lot more grain to them. For example. not dolls that you’re painting. counter the darkness a bit by raising the exposure. turn off your in-camera noise reduction. real life has freckles and depth.
this will open up a whole new range of looks in your imagery.InSTRUCTIOnS Using a tripod will allow you to capture the motion of the child without blurring the entire image with camera shake. Kids are so fast. Capture the chaos and blur of the arsenic hour. which lets the camera record the movement. the goal is to really play around with this idea of representing the speed and blur of childhood. With the camera set to record at a slow shutter speed. there’s something very poignant about the way childhood flees in the blink of an eye. but do you always need to catch them? perhaps not every photo needs to be perfectly sharp and still. with a still camera and a long exposure. one of the ways to achieve this is with a long exposure. in your photo-processing software. perhaps moving it around a bit to soften the effect. but the task is to at least begin the experiments with a shutter speed slower than you’re comfortable with. you’ll never catch them with slow speeds. or illuminate a portrait of your child by painting the light on them with a torch or lamplight during a long exposure. and experiment with going slower from there. set your camera to shutter priority and pick a slow shutter speed—try 1/30 at first. so those qualities should be celebrated. that tornado of activity before dinner and bedtime. think about twilight in the backyard or dinnertime in your home. Children are so full of energy that they’re nearly always on the go. 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. that’s doubtless true. so think about how you can express that— consider showing the motion instead of freezing it. play with the contrast levels to give definition to the blurry subject. so a darker environment will really shine in a setup like this. 4. spinning and dancing and doing whatever they do. pUsh 80 . press the release and let your child free in the frame. the longer your camera’s shutter is open. 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. play with that blurry and dreamy quality. shine the light on your subject. if you’re not comfortable with full manual mode. this is a great exercise for late in the day. School mornings are crazy in our house. While the shutter is open. the more the ambient light will be captured as well. add illumination to your subjects by painting them with the light from a flashlight or lamp.
Let Them Cry never to be confused with “make them cry. why not capture that moment? Childhood is full of irrational emotional outbursts. you may be tempted to fix their ponytail or change their outfits to match. the first step is to have your camera out and ready to go at all times. not hide away. then look to the background— unless it’s integral to the story (a broken toy. keep the focus on the subject’s face and simplify anything else. but he sure needed a good cry. but resist this in favor of showing the beauty in the sticky chaos. InSTRUCTIOnS there’s no real way to plan for this exercise. Let them get messy and record the real side of childhood. for example. but the fact that children are emotional beings is something to celebrate. as the situations that arise to cause the outburst usually mean the subject won’t be overly keen on moving to a better location. and these really should be shown as well as the smiles. so de-clutter the background and ensure good exposure and lighting. I can’t even recall the drama of that particular day. Oh. to make it beautiful. the tear-stained cheeks need to be the clear and purposeful subject. but it certainly was beautiful to behold. you may just have to zoom in close. or an overturned glass of milk). Left: Evidence of the bad fall was still on my son’s face even hours after a return from the doctor. merely letting off emotional steam or frustration. the trick to working with the messes of childhood. I documented his first major “owie” but not right away. 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. is a simple backdrop. 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. you don’t need to take a string of images and you certainly shouldn’t let your photography come before safety.5. pUsh 81 . When the moment arises. He did not need stitches. the troubles witnessed in the Time Out Spot. make sure your child is fine before thinking about recording the fuss.
if you’d like to think in terms of 35mm professional film. exposure. and wait until those 36 frames are on your computer to see what you’ve come up with. pUsh 82 . Limiting the number of frames that you can shoot for each subject forces you to think carefully about the framing. once you’ve uploaded the images to your computer. focus. limitations can be surprisingly freeing to the creative soul. But as we saw earlier. and is even part of other assignments here. so when you’re photographing your kids around the house. you’re less likely to waste the resource. Limit Your Frames While this may seem like such a simple task.InSTRUCTIOnS simply give yourself an image number limit. While you’re shooting those 36 frames. carefully review your framing and exposure before you press the button. the point of this exercise is not to get 36 perfect images. 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. don’t delete any shots that you take in-camera. but 36 consecutive images that have been thoughtfully taken. see if there are any patterns you could work to improve on. it’s the one that many digital photographers find the hardest. Let this be a real film-inspired exercise. if they’re a mistake. this is a task that everyone should try. Getting the exposure correct before disturbing my daughter’s shower was essential to making sure frames and time weren’t wasted. then 36 frames is one roll. your motto here is to shoot digital as though each frame costs you money to develop. and storytelling. framing. and storytelling aspects that make up your image. in fact. When you have a limited quantity of something. 6. Two of only three shots taken. take a look with a critical eye at the 36 images as a whole in your photo-organizing software. it just means you’re down a frame. review them for exposure. compared to a folder containing hundreds. don’t even look at your LCd between shots.
Which of these assignments seems the hardest for you to do? Do that one first. ? CONSIDER 1. or take one portrait of your child that summarizes the entire project. with the story illustrations as your end goal. avoid taking too many images. Costume the story. then together you can illustrate that story with photographs. think less is more. the key is to make all the elements of your image be purposeful choices. well. Just have fun with your child and the story you’re working with. even better. your goal here is to recreate a story or. you shouldn’t need to take hundreds of photos merely to get one.7. Which of these assignments is your immediate favorite? Do that one last. 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. pUsh 83 . and let the imaginations of both you and your child take over. let your child help to make one up. then add an extra element of playtime. 3. fantasy side of childhood. or create something abstract and odd. nor overuse props. you can create a series of images to illustrate the different parts of the story. or start small. you won’t need to smooth these images into satinlike oblivion. pay attention to the rules of good exposure and compelling composition. decide on the story you’d both like to tell through photographs and prepare your ideas for the images on paper. Just put to use all the skills you’ve learned about thoughtful photography. that’s up to you and your child. and the rest. Be grand. think snippets of a story or the cover of a book of fairytales when you’re working on this. 2. 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. You do not need a full set or many props. Be literal. set up your images from your notes. InSTRUCTIOnS With your child.
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!
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.
When she’s not roaming the globe she calls Wellington. and a tamron 17–50mm 2. Her work is clean. oh. . design magazines. i had so much fun with that. showing the progress of my bedroom in my new-to-me house. Ruby. What was the last photo that you took? With my dsLr. where she lives with her family and the cutest little dog around. Where do you get your inspiration? everywhere! Movies. LooK 88 peta Mazey This professional children’s photographer has an amazing ability to portray the world of kids beautifully. after a while other people started asking me to photograph their kids and families. You can find her work on: Flickr. New Zealand home. but are super-slow and not really very sLr-like at all). which should be in my camera bag but aren’t. and by the time i was out of university i had a fully formed business and a good little photography kit (a Canon 20d. blogs (though not really photography blogs—there are very few photo blogs i keep track of). 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. a 50mm 1. though. in fact. somewhere else in the house is a Canon 5d with a Canon 24–70mm 2.8 L lens attached and somewhere different again is a Canon eos 3 with a 50mm 1. it was a great way to learn because there was no pressure and i could take the time to explore what worked for me. and a few rolls of color film are in the fridge. Her images have the ability to make any viewer smile with their lovely light and quirky sense of humor. bright. We had so much fun shooting together that we ended up taking photographs most days. She takes photos of adorable kiddos and happy families as well as shooting campaigns for her commercial and editorial clients. 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. that’s one of the coolest things about working with kids—often the best shots come entirely from them and their personality. a pile of batteries. inspiration for me is a total mix of all that stuff and the subjects themselves. was with my iphone.8. Peta counts herself pretty lucky to have a job that takes her around the world shooting photographs and meeting awesome people. My journey into photography has taught me that you don’t need the best equipment to get to learn. and a wedding invitation in it. Where’s your camera bag right now. nature. or even their own ideas they’ve put into the shots. 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. music. and endlessly playful. 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. i think some photos of needlework that i’m cataloging for a client. 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. 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. i was studying graphic design at university at the time and nannying for one of the cutest little girls ever.What is your photography background? i started taking photos using the still feature on my parent’s video camera about six years ago. so i got a point-and-shoot (one of those ones that look like mini sLrs.8 back then). paintings. the last photo i took.8.
even simply thinking through the light in relation to the subject can take a photo from a snapshot to something else. What one tip would you have for people to make their images of children more memorable? get on their level. although that helps—i mean see into their world. or think. 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. don’t forget about the charm of a simple. i do like to consciously think through how to best harness the scene to make an image that makes the viewer react. but the ones you’ll appreciate down the track are the ones where you were guided by them. and some are concepts that are interrupted by chance. even though i want the end result of a photo to look natural and spontaneous. laugh. Whether i’m shooting daily life or concept shots. some are chance from start to finish. chances are the shoot will go great. most of the best photographs are orchestrated in some way. or if i want them looking faraway and thoughtful i’ll give them something to think about. even if i’ve had the end result in my head for a while. some photos are concept from start to finish. My brain will go on a roll until i get to an idea of how i could best portray that in an image. or it could literally happen in twenty seconds. if they feel good. well-executed portrait either! LooK 89 . 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. 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. i try to make it seem spur-of-the-moment and fun for them. i’ll nudge them down a path i have in mind. if the child will take direction. this process might happen over a week. 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. some days nothing seems to go right. and up to a certain age they’re free of the selfconsciousness that often holds adults back. if they’re tired and hungry and miserable. but the days where everything does come together make up for those crazy days a hundred-fold. i can’t say there aren’t times where i question myself for choosing to work predominantly with children.What drives you to keep photographing kids? they’re challenging and fun and honest. though. if i want them laughing i’ll joke around with them or tickle them to get a giggle. i don’t mean just crouch down and get on a low angle. but i won’t force it.
i could tell you about the joy of first being allowed to use my father’s old pentax sLr. nothing. 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.. Currently living in Conwy. i loved that box. and i did try not to do it but. there’s a piece or two from a brightly colored plastic tea set that i loved to play with on the windowsill. Christine gill Christine’s images of her son and daughter are always so moving. and colors all working with her subject—all you need is that one shot. i did feel ever-so-slightly guilty. i shudder to think how long my friends had to sit through “oh. all sorts of animals. i can remember so vividly how much i loved pickpicking the wallpaper off little bit by little bit. no more.What’s your photography background? What got me interested in photography in the first place were simply photographs. they tell a universal story of childhood.” My family had this large cream plastic cube with photos displayed on the outside of it. little shred by little shred.co. nature.uk and on Flickr LooK 90 . Great Britain.. it always made my mother so cross. light. My photography background is viewing photographs and being in love with them. and this is the hornbill at the bird gardens. North Wales with her three kids and an American expat husband. she runs her own studio. i can remember some of the pictures very clearly that were taken during my own childhood. and this is me eating sandwiches at the beach. She loves the outdoors. exposing in places the bare walls below and in other places the wallpaper from long ago that was never removed. “We’ve only just put that wallpaper up!” she’d say. Christine can tell a whole story in one image with her use of framing. With their emotive lighting and composition. and—ha ha—there’s a funny story about that. even though i haven’t seen them for years. children. She loves to take pictures of the things she loves.. round me at the age of two or three standing by my bedroom windowsill. open it up and there were hundreds more inside. and the wallpaper below the windowsill is almost all picked off. the one that sticks in my mind the most is of a small. the ring binder album with orangey pictures of my older sisters with their bellbottoms and pageboy haircuts. and her own family. Christine was born and raised in South Wales. just wallpapered over. 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. i could tell you that i tried photography while doing an art course at college. growing things. You can find her work online at rebeccahelen. and the old albums as well: my parents’ wedding album with the scratchy silver cover and the pretty lacy protective paper between each photograph.. let me tell you. ahh.
and i dumped it there when we got in. just in case i’ve gotten it wrong.8). four years old). one of my very favorite things to witness and photograph is the connection between children and nature. and those are good. because children are and should be smiling and happy and bouncy. try my best to see things as they do. happy.Where’s your camera bag right now. inside the bag is my camera (a nikon d200.8. a spare camera battery. i guess i would say my biggest inspiration for taking pictures of children is simply children. When i’ve taken a picture that i think preserves those feelings. along with a roll of toilet tissue. it really made an impression on me. fascinated children. conflicted children. like roald dahl. sad children. but whenever i look at that picture it rises back up in me. so they can look back and know how something felt—that makes me happy. but just in case i don’t. but continue to carry around. happy children. they feel the unfairness of the world more starkly than we do. i can pretty much remember what it was like. pretty young. i don’t feel i have come close yet. i think it’s important to capture not only happy smiles but everyday moments as well. Where do you get your inspiration? i don’t know how old i was at the time. ever. and what’s inside it? it’s on my bed. but you can just see that his arms are resting behind his head. as i got older i really wanted to be able to take a picture like that. she wouldn’t hold it still enough. but i remember seeing the cover of the U2 album War. the boy’s eyes and his cut lip and messy hair—they tell a story all by themselves. they have deep thoughts. 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. bouncy stuff of childhood. a bandana. But they’re not only that. roald dahl once said most grownups have completely forgotten what it’s like to be a child between the age of five and ten. rather than focusing on the ladybird itself. laughing children. the feeling of “oh. We’ve just returned from a day out at the lake. What was the last photo that you took? it’s a picture of a ladybird on my daughter’s arm. surprised children. they’re people. it had a picture of a small boy on the cover. to take a portrait that’s more than a record of how a child looked at a particular time. inevitably there will be sadnesses and frustrations. LooK 91 . i should have taken a picture of her enjoyment of it. to take a picture like that!” so far from the smiling. so it’s a blurry picture of a ladybird on my daughter’s arm. But he was able to remember exactly what it was like. tamron 17–50mm 2. naughty children. i feel that. and that was how he was able to write his books for children. a few lenses (sigma 70–300mm. frustrated children. they’re complicated and unique. and the old plastic fantastic nikkor 50mm 1. and an assortment of scratched-up filters that i never use. i want to immerse myself in the world of the child. his face mostly.
. “oh. 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. but i do like to keep a good life record for them. “don’t eat the cat food. i love the portraits too. 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. but it’s important that it be said anyway. where the face says something very important. but no photograph was taken. this was the time that.” there’ll be memories in there that they wish they had pictures to go with. 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. though. totally engrossed. the sun was streaming through the window and it felt warm on me and picked out the bright orange tones of the carpet. Memories are very important to me. reds and blues.What drives you to keep photographing kids? My earliest memory. i love that my father decided to take that picture before telling me to not tip juice on the floor. i want my kids to have pictures where they’ll go. i would love to have it be a real picture that i could hold. you don’t even need to know what that thing is. i think. there is. i can remember the feel of the grains and the colors. sometimes there can be so much selfexpression in a single look. a picture of a two-year-old me happily making a trail of orange juice on the floor. 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. Like aerosmith. i don’t wanna miss a thing! LooK 92 . it’s a beautiful picture in my head.. yes.
Just a few shots—i want the shot to be natural. this is rarely possible. Well. it comes down to when the light is pretty. but it’s what i like best. i upload the pictures to iphoto. then i do that with the Channel Mixer. being engrossed in a computer game. which is especially nice for when i’m doing a set of pictures that i want to have the same tone and brightness. to experiment. playing. and i’ll miss some of that carefree spontaneity. 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. the main tools that i use in photoshop are Curves. but i think it does. i like to process the pictures straight away. i think we remember those little things more than we remember birthdays or big special occasions. i have no idea why that would make a difference. but i very rarely use it. Usually. anyway. Maybe the feeling of the moment actually influences the way i process the pictures. which i often do. 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. With the light being just perfect. and Unsharp Mask. or whatever it is that they like to do. these days. if i want to convert something to black and white. sometimes i’ll notice a particularly beautiful stream of light coming into the room and look around for a child to put in it. i let my daughter or whoever else i’m shooting choose her own poses. when the real person shines through. so i’ve been trying to play around more. but when it is.Could you describe your process for a photo from idea to final image? i very rarely stage a shot. the sorts of colors and tones that i bring out. LooK 93 . 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. gaussian Blur. Be mindful of the little things. there are looks that you know are put on for the camera. and if i stay clicking for too long a performance is what it will turn into. i do. i do own an external flash (nikon sB 600). bringing the opacity of the layer to about fifteen percent and then upping the contrast. then my camera is with me. it’s my daughter. there’s something about still being in the same feeling. My favorite time to shoot is when someone is just doing their own thing. i’ve been feeling for the last few months that i’ve been a bit stuck in a rut just clicking on the actions. My son. Mostly we’ll chat. now a teenager. i’m not sure. and i’ll catch some of those natural expressions. but i love the expressions that come between the poses. For the last week i’ve been adding a black-and-white layer to my color images. dancing to music. Usually though. i’ve made up a few simple actions for myself so that i can do this quite quickly now. the photo shoot doesn’t last more than a few minutes. i quite like the results i’ve been getting with that. rather than a performance. if we’re going on an outing. reading. has very sadly developed an aversion to the camera. usually. the best memories happen in everyday life.
LooK 94 . the curves of a table lamp. music. everything was so interesting. It’s not the case. light. and smiles so i can hold on to them forever. because i love the silly things they do and always wonder what they think. but the styling of the clothes as well. break old habits. Where’s your camera bag right now. whether it is with my dsLr or my mobile phone. and i wanted to get one last shot before we moved. and art—especially mixed media and abstract. as their parent. What was the last photo you took? i try to take at least one photo every day. Fashion is an inspiration for many. i find it entertaining to look at those images and remember those moments. travel. texture. i feel i’m still finding my own photographic style. 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. and what’s inside it? We recently moved. i am also inspired by fashion. But really the reason i got into photography was because of my children. i remember standing at the top and trying to remember everything about that experience. and the buckles are broken. texture and shapes also inspire me. but i just want to capture their beautiful eyes. i took a photo of my two-year-old helping me pack. the roughness of a sidewalk. design. a lot of times. The change in her work is visible and her love for photographing children has continued to grow.Where do you get your inspiration? Most of my inspiration comes from my kids. i loved the natural light that we had at my old house. you will see the change in your work. so who knows where my camera bag is? that bag is in a really bad state. Currently i have an old speed light. i have a picture hanging on our wall that i took of the floor of the eiffel tower. Anyone can do it if they have the desire to do so. My children inspire me. although i would be lying if i said i didn’t get inspiration from other photographers. You can view Meredith’s work on her MUM Photography Flickr photostream. the softness of a baby blanket. 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. a couple of kit lenses. capturing their “adult” mannerisms. a spare camera battery. i think to myself that they’re adults in little bodies. 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. i am biased. but mostly i’m inspired by children’s fashion. If you take the ideas on board and begin to put them to use. color. and a expodisc white balance filter. i also think they’re just beautiful. they all inspire me. even the crisscross design of the metal floor. and the commitment to follow through and keep trying the new things. i look at them for not only ways to shoot my own kids. so commercial photography helps me define this. skin. it came with my current camera. so they must have some secret. With my dsLr. and learn from new sources of inspiration.
it’s just a matter of really seeing what the world is showing you and connecting with those details visually. and i was not only falling in love with her. however. i knew i needed to really learn how my camera worked. i’ve always been a fan of photography. Looking back. i found through photography i was really connecting with my baby. i think as my interest grew. the theory behind photography. i have a list of things i know i need to work on. but i look to them and study their work to improve my storytelling. 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. LooK 95 . if i want to convey life through my work. from technical to editing. because the different colors of those objects are so vibrant and my eye is drawn to them. i was pleased with the outcome to a point. Light is another aspect that i look to. Looking back at that sense of observation now. all in all. as i kept taking pictures. Most importantly. especially of children. i remember being a child. it had been a long time since i had a hobby. always aware of how sunlight changed throughout the day and seasons.i always found myself leaning towards black-andwhite photography. i’ve realized that nothing is ever perfect in life. i no longer compare my work to other photographers. i don’t think i’ll ever be 100% happy with my work. inspiration is absolutely everywhere. than the perfect image is nonexistent. yet as i study more and more. and as a creative person i needed a creative outlet. but also the new medium that i was using to capture my little girl. sometimes i find myself taking a close-up picture of a group of rocks. which keeps me focused on practicing and perfecting my images. My journey has been something that i never expected. but never really thought of it as something i could do. and has blossomed over time. color is all around—i get excited to see what it looks like in an image. it’s something i use towards photography to help communicate my story i’m trying to tell. Whether it’s the color of bright children’s clothing or the deep red of a beetroot. i saw how big a world the photography community was and started looking and comparing works of photographers that i admired. i’m increasingly inspired by color. and what i could do as an artist.
the camera and children go hand in hand. BEF OR E O BEF RE O BEF RE LooK 96 . Kids are fascinating beings and a lot of us connect with them on so many levels. Confidence is a big aspect that grows over time. and ideally causing the same emotional experience with your audience. i say hope. When i want to plan a time to take pictures for the yearly Christmas card. and although there are some planned shots i do get. to me. every day. truly. and through that i hope to come up with my own style or voice. i think there’s a natural tendency to be drawn to photographing children. When i do look at other photographers. 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. Capturing their early quirks and discoveries before life gets a little more complicated is what i love to do. i get closer and closer to obtaining my own definition. Maybe it’s their innocence or not-so-innocence that reminds us of when we were that age. however. it’s an art form. and there’s just something about a great portrait of a child that always makes me stop and feel. you realize that even those photographers feel that they need to refine their work. i tend to study their style. i can plan all i want. they don’t sit still. there always seems to be an overwhelmingly stressful feeling of rushing and getting the shoot over with. and there is self-assurance that starts to resonate in your own work. the best ones always end up being the spontaneous ones. all children are beautiful. and i look back at my older photos and reflect that i’ve come a long way in two years. and how they use light and depth of field. as you compare more. i believe the photography means connecting with the person or object you’re photographing. it’s truly a technical and emotional progression. the best part of photography is that you visibly see your progression. it’s not just about taking pictures. and initially we all look at other photographers and have this dream of being as good as them someday. their editing. because i feel i’m still searching for those things. it never really goes as planned. i take note of all the things i like. composition. the negative comparisons become positive studying. overcoming this comes with confidence as a shooter. i guess the hardest thing i find is patience. but taking pictures of kids has to be one of the hardest genres ever. and with practice i’ve learned to let go and go with the flow. i spoke earlier of comparing photos to other photographers. and you have to deal with temperaments. What one thing do you find the hardest when photographing children? some people may argue with this point of view.What has driven you to pick children as your subject? as a parent. it’s a natural partnership. i call it the “compare” phase of the journey. practice is the magic piece to the puzzle. it’s non-stop and can be often chaotic. there’s a definite negative connotation that comes along with the word “compare”. and there’s some level of intimidation that goes along with that.
Where’s your camera bag right now.8. the 50mm 1. Where do you get your inspiration? i get almost all of my photography inspiration from films. inside i have the Canon 7d with the 24mm 1. seeing where they set their light sources. and i want to know more about it. His love for film inspires me. how they play their backgrounds. LooK 97 .ryan Marshall Photographing children is not just the domain of female professional photographers and mothers with cameras. i never turn down the chance to talk some shop. seeing how much you can paint a picture with light is just fascinating to me. 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. and hear how someone else might approach the same light. i’m always hitting pause when i watch a movie at home and studying the composition of a shot. What’s your photography background? i am a self-taught photographer in the sense that i never received any formal training. Learning about photography is my favorite part about photography. 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. but i have had many teachers along the way. and my favorite video lens the tokina 11–16mm 2. I have had the pleasure of working with him on a speaking engagement and look forward to every post he shares. i also carry around the usual number of backup batteries and cards. the 85mm 1. 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. Light is such an emotionbuilder. and I really enjoy looking at the photos he shares knowing that they really were just the moment as he saw it.8.2. It was my father who was always behind the family camera capturing the moments as we lived them. 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.4 (which stays on my camera most of the time).
the drive is to freeze them in time. memorable? the less they notice you. i have to give them What one tip would you have for people something to do. hold that picture up. it’s usually a situation that i see take shape. i want the kids to look back. and not just see their growth physically. i have this snapshot my mother took of me as a kid: i’m just standing in this pool. they will get older. even if you just sneak a shot of them lacing up a favorite pair of shoes. and will try to not interfere with the moment. the second i try to direct them to stay engaged in whatever activity they were doing. but the expression on my face was somehow adult that it was a little window into my personality.What drives you to keep photographing kids? i almost exclusively photograph my own children and. and then i sneak off. Could you describe your process for a photo from idea to final image? if it is a photo of the kids. it’s a bit like magic. get the camera. but also see their spirits and personalities taking shape. so they have a collection of their memories. it’s over. don’t forget to shoot their happy memories too. When you shoot that. LooK 98 . even if it’s as simple as filling to make their images of children more up a watering can with water. so there is a ton of stealth to most of the shots i get. well. the more genuine the air is when your finger hits that shutter. and say. your kids don’t have to be forced to smile in every photo for them to remember they were happy kids. if i’m just after a portrait. and the better the picture will be. ‘i loved those shoes’. waiting my turn to go. the things they fall in love with are wonderful and usually pure fantasy.
his crazy disruption could be seen as ruining the shot. but also create the powerful images you never knew you couldn’t live without. As my flash lit up the scene. so I decided to capture an image of her standing on the coffee table just before she was told to get down. It is an image I took on the same day that we had our professional family portrait taken. my niece. When I look back at our professional portrait. when I look up at the photograph I took that day. To some. What I want you to take away from this book is that child photography is more than tack sharp eyes and big smiles. The littlest member of our big family. my nephew Ian sits quietly for the camera and Kellan’s ever present pile of stuffed animal security objects are nowhere to be seen. but this is what has made the shot so memorable and special. I did not have my camera out while the hired photographer was working. #dpskids . I can tell that they are in the ‘sweater and pants combination’ we as a family wore on that important portrait day. It is your turn to begin now. but later that night I wanted to take a few shots of my niece and nephew. it revealed her older brother in the background. Being present and prepared is what will give you the confidence to get the pretty portraits that you want.remember One photo in particular has hung framed on a wall in every home I have lived in since 1997. Even in black and white. haphazardly standing on his head on the couch. it is made of memories and true personality. However. always seemed to take center stage. 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.
com facebook: 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.racheldevine.com blog: www.com/sesameellis twitter: @sesameellis Tweet about it Sign Up twitter. Subscribe to our Weekly Newsletter Each Thursday I email a free newsletter to over half a million of our readers. great resources and equipment for photographers and shows off some great photography. I trust that you’ve found it helpful in becoming a better photographer. It contains links to the latest tutorials on the site. In this section of the site members share what they’re learning. We’d love for you to join us – simply visit our forum area and look for the join now link.SHARE THE LOvE Thanks for buying a copy of dPS’s latest photography resource. 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. ask and answer questions and have a lot of fun with their camera.com/digitalps facebook. To get this free weekly newsletter sign up here: 2. key discussions in our forums. 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. There are areas for all kinds of photography.com/ kidsphotos Con neCt With raCheL you can connect with rachel on Facebook. There are three main ways that I’d like to invite you to do this: 1. 3. twitter or by visiting her blog or website: website: www. post their best photos.sesameellis.com/digitalps happy snapping! Darren Rowse . Become a Forum Member Over 190. reviews.000 of the readers at dPS have joined our free forum/community area. 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. 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.
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