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Capture Motion in a Wide Open Field

Lesson 26 from: Children and Family Photography

Tamara Lackey

Capture Motion in a Wide Open Field

Lesson 26 from: Children and Family Photography

Tamara Lackey

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Lesson Info

26. Capture Motion in a Wide Open Field


Class Trailer

Day 1


Simple Posing: Young Girl


Simple Posing:Young Boy


Group Posing: Two Girls


Backlit Shots: One Girl


Shooting in the Shade


Using the Rule of Thirds


Review of Selected Images


Working with Self Consciousness


Training to Photograph Authentically


Talking Through Self Consciousness with Subject


ProFoto Strobes: 2 Light Sources with Pre-Teen Model


Stylize and Prep for a Shoot


Simple Family Poses


Use Props and Backdrops During Family Posing


Family of 5 Indoor Couch Scene


Natural Light and Strobes


Image Review of Family Photos


Use the Right Light for the Right Occasion


Ice Light Demo


Constant Lights Demo


Speedlight Demo


TTL Demo


Reflector Demo


Day 2


Pose Children in a field


Build on your shots


Capture Motion in a Wide Open Field


Capture Splashing in a Lake


Photograph Movement with Fast Moving Subjects


Top Tips: #1 Simplify The Shot


Top Tips: #2 Small Posing Shifts for Maximum Effects


Top Tips: #3 Direct The Feel & Energy


Top Tips: #4 Be the Destination


Top Tips: #5 Mix it Up. Vary Everything


Top Tips Q&A


Family poses in a field


Posing: Family of 5


Dads and Daughter Family Shoot in Field


Posing: Parent/Child Pairings


Why Tamara Was Drawn to Family Photography: Beautiful Together


Adoption Interview with Vicki Taufer


Lackey Family Adoption Experience: FAQs


Day 3


Tamara's Gear: Cameras


Tamara's Gear: Lenses


Tamara's Gear: Accessories


Mylio Demo


Digital Album Design


Sales Prep Process


Photo Review With Client


Selected Images and how to sell them


Closing out the Sale


Professional Photography Pricing


Start Your Business


How to Market Yourself


How to Stay Inspired


Photoshoot Recap


Tamara's Top Tips Recap


Tamara's Tools Recap


The Importance of Family Photography


Lesson Info

Capture Motion in a Wide Open Field

All right, capturing motion this's going tohave again, we're going to talk about the build what you do and don't use I'm going to be a photographing I think it first we've got a little girl where she's swinging through the air and you can see similar to tether all the shots that are coming out on dh then we're gonna have running through a field kids running through a field with him without a flash. I tend to never shoot running with a flash because it's cumbersome, but I'm going to show what you can do and then what you might get and how you can correct accordingly. And, uh, and lastly, the other thing is the light is really dropping now I think this is around I want to say seven thirty p m or so on dh so the light is dropping a lot and to see that too, all right, we're going to do a little bit of fashion moving action shooting, which means that I want to keep a few technical considerations in mind. One of the biggest ones, of course, is how fast my shutter speed is. I want it so I nee...

d to either have additive light, which is to be there on and off camera flash that I add into the scene, it could be strobes, it could be I wouldn't really is constance out here or it could be even a nice light that is moving with the kids or some sort of continuous video light, so in this case, I'm going to try some just as is, and then I'm gonna adan probably some continuous light and ask danielle if she'll move along with the scene on dh we're just going toe take into account a couple considerations if the kids are zooming around a lot, I want to make sure I'm either on a tripod or stabilized myself. If I am moving, teo, I have to be even more cautious, stabilizing the equipment and using a really not really a fast lens about a faster focus lens. So in this case of abuse in the twenty four, seventy two eight lens, all right, one moment case, I heard you're ready to move, okay has me jump into this? Just a thought. I try to build some of this in to a lot of the shoots I do because again, I think it's moving the energy around and that's how that really feeds expression, but the shots that I mean, the goal of this isn't necessarily tio have of the image they're going put over the fireplace it's, so have fun and make sure the kids are having fun and be able to show them these fun things as you're going oh have you guys introduce yourselves to the camera at what's your name miss life counting give the whole name right now with your home so we're going to go do some shooting you ready all right who wants to go first me oh my goodness how about we have you both run together come here you start the unions start between thank you so much all right just a perfect that's what I'm wearing all right you turn in between the trees start in the middle and I have you run towards me there's a can you say are decorations if you have a subject that is always a mental keller as cross still ends in this case I'm gonna have them running towards the lens and I'm gonna have them physically moved now going over towards me but over me are you guys ready? Well what you do is run towards me as fast as you can and then I'm gonna be laying on the ground so you're going to do when you get to me is jump over me can you do it all right I want to make sure my eye so is kicked up my shutter speed is kicked up I'm probably going to be about f four I'm going to go in a burst mode you know what I mean by all that kid's not relevant I I am planning to shoot with a hint a half stop underexposed knowing I'm gonna brighten up the scene later but that gives me what I want from a speed perspective what is the other thing I wanted to think about telling you guys oh yes run really, really fast okay ready and tried to die flight high not yet keep it high from a lighting perspective I wanted more natural light on the junior there now but I mean optimally I want to be like words brighter you know it's actually little darker than you think I'm in a two thousand five so it's pretty dark and any increase shutter speed which means that you don't want to add a flash I could throw a flash on no photographs with this flash I put on the robes flash bender too which allows you teo that's a flash in a situation where you can't easily do that like having a wall or ceiling or something like that it gives you the same capabilities. So in this case these two boys every here waiting for the photographs were taken and it takes it didn't go off okay what's that what's going on flash under two thousand. All right? The product is not called the flash bender two thousand I just feel like that should be the product title but that's not it so everything is perfect everything is off everything is cool when you're part of a team all right I know underneath the ice light danielle as much as I love watching you run you two are gonna run towards me and you're going to not forget to jump all over me ok back up a little bit get really close together really hey put your arms around each other and you see that works very affectionate match you down all right jump up to get a ride towards me let's do it I want to go excellent jumping there night an important note by the way about running towards the camera running across the camera when you have the opportunity you want to showcase and you won't have a lot of fun you're going to get a lot easier of a time tracking focus on a subject going across then towards so if you find that it's an either or situation and the whole goal like here is to just move the energy to just get him playful to get them re invigorated to start shooting again that's a strong consideration is just think about that because it's easier to to do that it's the same thing usually to a kid unless you want them to jump over at the end on by the way that's that's something that they usually love to do that could be a really fun way to boost things up but keep going yes tomorrow question from debbie martinique did you say if you're using high speed sync I am yes and then with the with the pro photo strobes as well, high speed think and the advantage of that and the advantage of that the advantage of using high speed sync is that you don't have a basically a cap on your shutter speed. You could increase your shutter speed to the level you want, which helps you gather action faster. A lot of times you can be when you're using any sort of flashing strobe system. If you're not an ailing the high speed sync option you can cap out in terms of how far how fast you can make your shudder go. You guys experienced that before, a lot of times people don't know that there's a fix for that and using high speed sing allows you teo shoot fast action and be able to really get that shutter speed up there as but then but also have the strobe or the flash work with you. In addition to doing that, three other big advantage to using high speed sync has nothing to do with motion. Nothing to do with fast moving subjects. What that is is if you want to be in a really sunny situation, I think we showed a little bit this yesterday in the urban or talked about it at the end of the day yesterday if you're going to be in a situation where it's a bright, sunny day but you want to shoot really really wide open shall it up the field you're going to need to compensate for all the light that's flooding into the camera when you're shooting at a one eight for instance by boosting your shutter speed you're going to have to have a very high shutter speed but if you want to do that and have a phil light with a stroke or a flash you're gonna have to boost up your shutter speaking out to make it go really fast to control the light situation on dh you have all the ability to do that creatively when you're shooting with high speed sync all right, that makes sense was it awesome everything is awesome and all you're gonna dio is run this way and then run this way okay and then I'm going to run with you and it's going to be oh baby perfect the perfect example of having a flash lighting in the area where it's now later look at that that is what you're going to get if you're not considering the shift and so I'm going to disrobe disrobed the flash under two thousand let's do it again and hey let's do this one too that was a good start but you're down for the count come back come back e I saw the holding wait you have a video wait here we go one to come back come back right at me like that you need to say I couldn't get him to stay with me here right my eyes ready? Yes go back there and come back towards me. Eddie here radio okay that's a great shot I like it it's beautiful it's beautiful. I just never been a better shot than that. The next batter ok, you know we're going to hear wow, you are sweating so so technically speaking what you're doing is in the situations when you have a subject that is not going to stay still berg and one of things is to just run with and keep going with them and I'll probably do something like eight or ten shots to get the one where I've got him with me you know and and literally had the one and then the other one on the ground but out of that set that's what I'm looking for on dh that's and it's playful and he's having a great time and and I get the grabs that I want yes kanna tamara I just wanted to chime in for for kevin who's from expo imaging and rogue who is watching? Yes. The kevin says it is the flash vendor to large eye fashion writer too. Thanks for tuning in kevin that cavity people consider changing the name to the flash under two thousand I just think it's a great tool, by the way thank you um okay so uh all right so the other thing we've got our next subject this is it would be a perfect example of boosting the shutter speed the light is shifting you're going to see how because you're on the move its manual what you get how you correct for it and then what you get my goodness ok all you're gonna dio has put your arms out and run at me like you're going to give me a hug okay so you started there I'm gonna go back there and you just follow me or or or you could be like you're in airplane which do you like better you like being airplane ah hugging airplane can you be hugging everything okay here we go one can we take a moment not technically to say how also his dorky kids I love that we get to be with these children all the time if your shooter I love this all right sorry charming back in forget for kevin you just change your name but he's got a new product who says so? The flash vendor two thousand will be out in a few centuries I see what he did there clever beatty of life I love it all right well I can just hope let me flip and go back the other way they wait and wait and let it hereby d'oh d'oh wait let's go bad over time go with the light flipping flying hugging airplane plane got a bug on you on him okay, ready go go ahead that we're going to go in the water and we're gonna do something again motion this'll be more emotion but you see them saying so the way there's the way the direction they're moving in shooting with the late will make a difference but just keep going because to them it's all a game and you don't want interrupt the game for the best lighting yes you don't even you don't even have it up to your face you're just running with it down how do you I mean make sure that it's but you're getting something eso there's actually a whole kind of really positive shot I can't find one there might ok, so a couple things one when you're actually working with the subject and you want to keep the camera on your face and you saw yesterday that we had that little boy who his response was I just post his picture to facebook today I just that smile is so melty but he only gave it to me when I moved the camera way he'd be like this awesome, eh? So that is really a common thing is that if you want to have that interaction you've got a really practice holding the camera from your face and then you can use it in all kinds of situations like, for instance this but one of the things to consider if I'm going to photograph you right now and I've got the camera right here. If I set everything up and move away from the camera, I can continue to click, especially if I go back and forth to make sure your eyes keep going back to the lens to see them saying so in that regard and that's actually route relatively simple, we just make sure we set it up, keep it steady, make sure you have a a fast enough shutter speed so that when the little jostles don't affect things, I wouldn't do that at one fortieth, for instance, but you could do that way, and then the second component of that is when you're on the move and you're physically doing this and I actually again, I do this in my workshops, we sit in a group in a field and run it, practice it and it's the first time around, and you're like, I suck, I can't do this horrible, but the second, the third, the fourth. Okay, I see what I'm doing so is a combination of several factors, but one of them is making sure you're separating your subject enough from the backdrop because I'm shooting all manual, but from a focus perspective, it's auto focus. And so I know that if you're right there and I'm going to click on you on dh, it doesn't click right away it means it's hunting for the object behind you and the objects far behind you I can tell right away I'm not getting my focus because it's going on you know? But if you're right in front of me it clicks right away and there's nothing around you I'm gonna get you get you get you I'm saying as long as my shutter speed is fast, my aperture is extended with enough of a field of focus so like a four, four, five, five and the probably the most significant part of that is I am making sure I'm steady so I've got to study if you see me when I'm running and stuff like that, I'm not doing this, you know? And if I am it's just being goofy, I'm not getting any shots at work, but I want a shot that works it's like this and of course when all was said and then you saw those shots that is not how to deliver them that is their smack dab in the middle, the frame I'm going to recompose three quarter shot and then hand over an image I like if you, uh I have a shot right on my website so tomorrow lackey don't if I show it here today at all. If you go to tamerlan key dot com the galleries, one of the first five shots will see on my children's family and children's one is exactly that kind of shot where I'm holding away about recompose it to what I want. I kept it center focus because it works. It's, a little kid running through a field on dh it's exactly that technique I'm showing you a nation a little bit. I don't know if I pull it tomorrow just to further this line. Joe and bridget had asked about what type of auto focus you're using then. So are you doing continuous a servo? One shot, but one of the different things you using that s o ninety percent of time I'm doing single shot focus the red dots in the middle of the frame. I'm focusing and re composing on simply because that's what I'm used to, we're talking about back button focus. I am just so used to this and navigating this it's a second nature, but in a situation where I've got that going on, especially have got multiple kids or multiple puppies or whatever the case may be and it's a lot easier to switch to a continuous focus mode where I'm gonna let the camera pick it for me, because the predictive technology is going to be better than I am. Yeah, and then one more are you using image stabilization on your lens? Yes, the vibration reduction great and a note about vibration reduction a lot of people don't know this when this is actually pretty relevant information I use vibration reduction every time I'm shooting because I'm moving a lot of physically moving a lot and mostly off the tripod the only time I'm on a tripod as if I'm doing travel shots in a night night scene, for instance, or a large group in a darker location those would be the only times I'm on a tripod and not because I don't think a tripod is incredible for being able to stabilize your shots but because I can't stay behind to try that's just knowing yourself and shooting you're the way you are. But that being said, if you have set vibration reduction or image stabilization nikon vibration reduction and candice image stabilization what is what is so use what they call it it's within their camera yeah, they don't have their lenses don't have the stabilization and see it settled in the camera okay, but with the vibration reduction because that's pretty much you know algorithm of sorts that's that's going on like a microchip in there when you put it on a tripod and you keep the vibration reduction on, you can actually have issues because the camera is the lens is expecting some movement and by now, having no movement and the vibration reduction working, you can actually have harm made to your images. So you want to make sure you shut that off if you are on a tripod or ahmadabad that's very, very steady. Yes, people have asked about whether you use a tripod. So you answered a question out knowing it on just nancy hayes, and was asking about the image stabilization and do all lenses have it, and I don't know we've always have it now, and I also think the quality of the lens usually has. You have more options there, but I'm fairly sure not only has this habit, they don't, you do it. Can I have the answer? I don't even past you.

Class Materials

Free Downloads

Children and Family Photography Syllabus
Adoption Myths and FAQs
Tamara Lackey Photographing Eyes in Portraits

Ratings and Reviews

a Creativelive Student

Thank yo Tamara Lackey and Creative Live for such an amazing course. Every tool that is needed to maintain a successful business is in this course. Tamara's appreciation for love and family are so apparent in her style of interaction with people and methods of photographing them. In this class she shares everything from the basics of connecting with your clients to the importance of in person sales sessions and how to do them without being uncomfortable. I love Tamara's energy and sense of humor. She really emphasizes how important it is to be self confident and love what you do. This class is amazing. I can barely sit still through a movie these days, but I was entranced through 3 consecutive days of highly valuable information. I am thankful to have this class in my CL library. I am sure I will refer to it often.


Thank you! Thank you for bringing Tamara back to Creative Live! She is one of my favorite teachers! She has a bubbly effervescence as she teaches. I like her teaching style and never tire of her message in photography. Tamara has a way of working with her models/ clients that makes you want to just jump through the screen to participate in the process! Her portrait stories share her zest for life. She has great business ideas as well as for life and family. A truly balanced instructor for the beginning photog as well as a seasoned professional. Refreshing concepts about how to deal with challenging situations with lighting, posing, and interaction with her families. It's hard to pick a favorite section - the entire class was just great! A wonderful resource for your library to refer back to time and again. Keep up the great work Tamara. You inspire me to get out and shoot!


What can I say- it's Tamara Lackey, so of course it was AMAZING! I learned so much, about relationships, self awareness, lighting, portraiture, posing, gear, marketing, products, I could just go on and on. Tamara has an incredible ability to truly connect with her clients (and her students)- and she taught us how to do it! I admire Tamara on so many levels and I appreciate how much of herself and her own business practices she was willing to share. Her new organization Beautiful Together is inspiring. I will be watching this course over and over. Thank you Tamara Lackey and thank you CreativeLive.

Student Work