Pregnancy and Newborn Photography

Lesson 13 of 37

Clothing Options and Metering

 

Pregnancy and Newborn Photography

Lesson 13 of 37

Clothing Options and Metering

 

Lesson Info

Clothing Options and Metering

where elise we're starting with one so I guess we're starting with um gent gent jeans who's which one is the genes jen jen yeah we can start with it we may add a shrug to it but we can start with it I cannot change the top I'm sorry it's a little too can we put the ruffled mama top on her and can I explain why I'm doing that you want to be my example jen jen is eight months and so she brought on time thiss little thing she brought a jean skirt which I like because it's below the belly we're not gonna worry about stretch marks bless your heart for bearing your belly I thank you I know it's a big deal we will make your belly look amazing don't re about stretch marks those at your war wounds is a very important here's here's what I don't like about this top I did design the top so I like the top and it's beautiful but I don't think it I designed this top for bigger women I designed some of the things that I designed is not for every woman and that's important to say when you're buying clo...

thing when I'm buying an outfit if I'm buying an outfit I'm not necessarily buying it for every pregnant woman I'm gonna photograph when I'm designing clothing I'm not designing it for every woman there are certain outfits that I have that will work for any size in any body type this is not one of them this is more for a smaller tested woman but god bless them they're going to come in very handy we just don't want to show so much of them so I'm going to give her I think the ruffled mama tops we think we're going to put on and the reason I like this top is because it's going to bring the girls in a little bit seymour and what's just try and see how it looks then we can add an optional shrug so you're going to come back um and then what we're going to dio which by the way I know we're not using my fan but we do want to have that handy so natalie she's like we're isn't my time natalie is seven in the half month am I saying that your name right okay can we show them your shoes I know you walk a little differently and then then you did but let's look at the shoes isn't that fun and so I love when women just pull these things out of the bag there like I've got my andy's oh and I've got these shoes I'm like this is where I talk about girl being a woman I feel right next to next to her like a girl because I would never wear their shoes but I've always wanted to wear shoes like that but I feel like you just have to be an amazing woman to wear shoes like that so your right now my amazing woman so what she is wearing just going in she is wearing new underwear and this is a sheer gown so it is going to catch the light so if we turn sideways you can go ahead and drop and I'll just kind of lets just talk about bodies before I shoot so I think it's important you're gonna come over natalie to could we put a shotgun natalie so I picked this gown because it's it's sheer it's it flows and I think it will flatter a more modest woman I don't know if she's modest or not are you you know what that means she's not stay team for the next segment because when they are we'll tell you but when they're like I don't know I'm like we have potential look for those cues if you're wondering how to find out if your woman is modest that was the example just now and so here we can put a shrug and the reason why I added this shrug wass what happens when I add the shrug what's the situation here let's talk about the elephant in the room her boobs are justus vegas her belly now that's a great thing her baby will be very blessed and so we want that right many of us are jealous of that um but I need to focus on her belly right now now if she said and I love my boobs let's show them we could do that right but I think you want to focus on your belly yeah yeah do you think okay so by doing that we put the shrug on and then and then it takes the emphasis off the arms I do not like the back of my arms to you you're okay with it you modest you're not modest way couldn't make this moves in belly just getting okay so she's she's good that she's comfortable you're comfortable in your skin good I want women that are comfortable in their skin but not everybody here like you too I'm not comfortable in my skin so I bowed down to you two I do not like the back of my arm it's now one of the things that you want to be careful in is she has a very thin arm but we want to be careful that if it's too close to the body it's gonna look bigger than it is and so we want to just pull keep your hand there pull the arm away from the body but I want to keep her shoulders down she's so tiny I want to kind of lift her up and really get her belly out and we're going to kind of angle and position her in different ways to really show show the belly this mama here if we just put our hands underneath our belly I don't know left the gown go and we just put our hands here I want to stand hauling your posture and now what I would change here is by bending a leg because I don't want the cartoon character effect and the cartoon character effect is just like the stick with a bump right so I want movement and shape so when you bend when you bend the leg we're bending are we bending crossed over a little bit more see how it it adds just a little bit of a difference you can relax you're balancing on those shoes aren't you watch these hands and just adjusting the shape so these are the things we're gonna talk about we're going to talk about transitional posing the hair I would normally blow your hair with a fan and I'm not doing a fan in this segment so this is going to be a challenge for me I almost feel like we should bring it and have it ready and I may just pop the hair for a minute and I can go in instruction later so I'm going to start with you because you have part of your own clothes so I want to explain how I would get some movement that gives you time to get comfortable in your shoes she's gonna do soon movement all right so come sit down and jen we're going to start with you now we are starting with natural light seattle light I love seattle light when I'm cozy in my bed and I don't have to do a photo shoot I think it's beautiful light on def I was outside I would like the light as well so I'm going in and this is what I tell women I'm like hi nice to meet you I'm going to get very up close and personal with you and I will be invading your personal space so if you know I'm in the personal space right if she wass anywhere else but here she would not want anybody doing this right even if she's modest you're like people please back up I have a job to do my job is to get in there and take amazing pictures of her so I do have to say I'm rolling up my sleeves hair is usually up it's kind of bugging me and stan but I'll get over and and we're just going to go in I'm going to direct you I do wanna watch the hair I think I may just do an opening shot blown your hair my opening shot is usually just hands on the belly we're going we're going to always just bend the like just get that foot a little bit closer just sitting your seat a little bit and just bend we're going to just have hands on the belly a little bit closer what am I doing right now modeling right you've got a model it because if you're not feeling it they're not going to feel it so I'm modeling so I'm saying I'm saying this is what I'm going to dio and we're gonna have a reflector appear we're gonna put a fan behind me that's for the staff behind me if they're listening and and I'm going to direct you that very first shot we're gonna move that chair is you just looking down to your belly will you just take one step back and the reason I'm having her look down to her belly my opening shot anyone know why that is come on ashley you're killing me you know why is it to make her more comfortable thank you to make her more comfortable to take the emphasis off of her staring you you're staring at me let me do a test shot and I'll say testing just like I do with the newborn I like to tell people I'm testing several different doesn't have to freak out so I say testing all the time testing testing doormat just testing you stay there like you still testing and so um I'm going to shoot natural light we're going to reflect the light back in I want to talk for two minutes about mean a ring because we missed that yesterday the question yesterday was how are you mean a ring and I went right over and we're talking about focusing points and then like at midnight last night I was lying but I went meandering and I was like facebooking john but clearly he was sleeping saying john and I were mental meet oring were mental metering I don't know if you knew that but that's what we're doing I'm going to talk about meandering in I could spend a day on it when I first started I was black and white film and I I had no idea what I was doing I and my hands lotta me's books my college books I knew exposure I knew the big three I didn't understand it I know we didn't know what I was doing I bought a light meter went to the camera store asked the guys of the camera counter who are very few good any camera store and you asked me to help you with the light meter they're usually pretty good give me give me a five minute tutorial on how to use my psychotic light meter and I use this iconic light meter for I seriously think you can ask my husband maybe like six straight years of me going hold it meaner okay sent me camera hold it meter can you move okay I got to meet her again wait we're going here you're going in the ground I gotta meet her again what happens when you meet her over and over and over again for six years starts to settle in your brain and you start to understand light even though I went to school and took lighting workshops and what wasn't clicking in my brain and then all of a sudden when I went digital it was a whole string of nightmares for me I'd go out on the beach and I blow everything out and go in the dark I'd lose it I blew out my highlights lost my detail I was a hot mess back to my meter we go so now I'm back on the beach everywhere we go for digital I think I meet her digital for two years before I finally put my meter down and it's been collecting dust in my closet ever since and I continually forget when I goto workshops things like I didn't pack my meter because I forget that there's so many beginning people what happens when you start to understand exposure you start cutting out your variables john and I came in there he says what aperture do you want to shoot aperture is one of my three variables and I say well I'm more comfortable shooting at a three point five open into two point eight if I have teo I'm going to stay for pregnancy I usually um at five six six three uh because I'm shooting the woman I need her it properly covered from head to toe so women I met six three seven one in my studio and so I'll say to john I need this aperture I have him here I don't have him at the studio I set my own things at the studio when I'm in studio meant one sixty one sixty what has happened it eliminates two of my three variables I said I could go through something so in studio lighting because I control the lighting and I'm a fast shooter I don't go less than one sixty for me if I go less than what I'm sorry shutter thank you I just flipped didn't I just thought you guys were still with me thank you I might shut her because I'm a fast mover if I'm in a hundred if there was one hundred said to john I caught a couple soft images because I'm going up down and I'm moving I could get into the whole law of the shutter speed the reciprocal value of your lens and I'll say that for another time but me personally I like one sixty one of my my seven one around twenty forty seventy in studio because I control the lighting I keep my s o the same as my shutter yesterday we did one hundred one hundred in my studio at home I do in sixty one sixty there it leaves one variable what is it my aperture right let's say I want to shoot it six three and I take a picture at one sixty one sixty six point three there's not enough light what do I do I'm in a studio turn of flights because I want to hold that aperture right very simple when it's natural light and we come in here and I say john I want to shoot at five six and I'm gonna take a picture without a reflector and I met one sixty five six thirty two hundred look what I have now I'm going to say john's going to say do you still want to keep it up five six I still do right now let's bring in a reflector let's bring in a fan and let's shoot it again and see if I can keep that aperture if you are a newbie if you're new and it's okay if you're new so we all start somewhere get a light meter get a light meter take a lighting workshop understand it learn it it's okay and you do it over and over and over again and so one day you're like I got it and you start men don't you just start meandering if I'm on location sometimes I may zoom up to my subjects face outside and look at you know put it on auto and look at the number and then go back and manually change it right so you can play with the in camera meet a ring that I know many people don't do that that's fine so go back in again john uh should I might have to put my hair up for the fan segment um so john come on in looking her already okay now I have not changed anything um look up a little bit more jenna I like you looking at me with the hair so look at me with their way back and forth between pictures so she closed her eyes in it so go can we go back to the picture before okay so here's staying at five six and at thirty two hundred and there's more light than the one before yes and I haven't changed every allowed to even go back one more no okay there's her no reflector no fan now we add the fan and the reflector we get more light and then we went one more where she closed her eyes and I bumped it up to four thousand I esso and I felt like there was a little too bright right so all I need aged was the reflector what does that mean you're in control so if you need help you can go and meet her in your camera put it on auto see what the cameras doing but you need to understand that if you're outside the background was probably going to be brighter than her skin tone you to compensate for that you need to adjust and then studio lighting know thatyou have control I could spend a whole damn lighting we don't have that kind of time but I wanted to address the reason why I'm not showing you meet ary is because we we've both have come from a similar school of thought thank the lord and he's a new yorker and a virgo match made in heaven works and I know that I'm usually not that lucky my assistance on ly know that from me working with them and me training them and I have never had an assistant that's come in knowing that this is rare this is rare so you kind of have to know it I can't take john home I still will continue train my assistance and they've all learned a lot actually want to say something real quick I don't know if anybody else says this question online but when you're meeting ring are you spot me tearing or how are you muttering I spent a whole day on the final day of me during your time spot metering but I mean there is you know a baby versus a pregnant woman I don't have time I don't have time don't time to go over all of that but I think you're just safe I think you're safe would spot me entering right now I'm really focused on this right here right this is what I'm focused on and I'm not gonna lose her belly because my aperture I am not shooting a pregnant woman in two point eight let's make that clear I will never photograph a woman less than five point six unless I'm zooming in on the belly and um outside then I may open up

Class Description

Ready to explore the art of photographing mothers and babies? Join Ana Brandt for a comprehensive class on everything you need to know about pregnancy and newborn portraiture.

During live photo shoots, Ana will show you how to work with pregnant moms, babies and toddlers, and new families. You’ll learn how to wrap babies and how to work with a variety of props — from buckets to fabrics. Ana will also cover essential techniques for safely posing and photographing babies and toddlers, including how to identify when you need an assistant.

Ana will walk you through integrating pregnancy and newborn services into your existing photography business. You’ll learn how to market to new moms and create pricing packages that appeal to both your clients and your bottom line. The skills you learn in this course will give you the confidence and skill you need to give new families photos they’ll cherish for a lifetime.  

Reviews

Mindy St Onge
 

I cant believe I got this on sale! So happy with this purchase. The one thing I feel I would have changed is I feel she rushed through the newborn sessions really quickly and spent ALOT of time on maternity. I would have liked to see a lot more of the newborn posing and info versus a dozen maternity. But all in all its full of a lot of great info and I love that its not voice over....it is true time so I can see how she is interacting with the clients. Thankyou Anna I love love love your work always!!

Kate Marsh
 

I loved this class! I learnt SO much and I have actually gained confidence with my work from watching Anna. She is a great teacher and I absolutely love her work. This is definitely the best class I have purchased on Creative Live. Thank you! :)