Top Tips: #4 Be the Destination
The other one I had mentioned earlier, it was being the destination. Yes, I do the shot me remember couldn't tell if I had it. So this is an image I took recently where I could not get this boy to see stop in any way. You saw a little bit of that with max really fun and so cute and full of life and also on the go thiss little boy was the same way, and so I finally stopped trying to chase him, which, again, is most of what I try to do now is more be the destination on dh make it so there is a point of him coming towards me on this is in a little field in the arboretum, just kind of where a little walkway is, and it is shot where he's center composed, and a lot of the times I will shoot where I'm just getting the moment, and I'll recompose later, in this case, I actually love the center composition, and I thought it was strong and striking, and I kept it one of my favorite parts of the image besides his expression. Is that light shaft coming in front a lot of times, putting the lens hood...
to protect against it, but in this case, to me, it just had this whole feel of his running through the light which kind of match the speed of who he is but one of my favorite shots that I took gosh, I mean, this is like forty five years ago now him running into the gamma, getting as close as he can before he knocks me down. It's a split second, I get before you both go over this's the same thing shot with a thirty five they're racing in, we both go over uh out on a trail. I was not going to get her stopped imposed and and I saw the question actually came in on my twitter someone asked me on twitter, I believe what was what do you do when you can't get them to stop and pose that's ah lot of what I do deal with and this is the idea that's why you're the destination? I'm just going to run with her she's running towards me, I'm running backwards with the camera away from my face like I just showed you on going to get clicks as we go and pernicious was shot with a nikon d seven fifty on dh that what that allowed me to dio also is when we stopped, not when we're shooting, when we stopped switch to a live mode and one of the things that's really cool about the nine hundred seven fifty is the swivel lcd in the back so I could swivel out the thing and actually see from alive you while I was getting clicks we're holding it down here versus just make my best educated guess on dh then pull some that worked s o the night condi said if he has a great camera for that if you really wanna practice holding it away from yourself and getting some cool shots I wouldn't do with motion but when you're in a solid position being a swivel that lcd out and see what you're getting is really nice um again racing in a circle in a cul de sac during fall she's looking up at me and and I'm holding the camera down here I've got her attention on did I get this kind of different look? We're not right on right directly at camera on and shifting around a little bit be the destination this's a beat shoot I did recently where they were just going toe throw themselves at me and hurtle themselves at me as fast as they could I was the destination this warm them up, it got them interested got them excited and then I took my next shot which one of my favorite images I've ever photographed which is this one which I love to me this was you know I started out by being the destination I'm still the destination for her like she she's right there I'm shooting with the phil flash which is why I'm being but the shoot against the sun but still get some catch light in her eyes and he's being ninja warrior jumper going back and forth I try to get them all to jump at the same time in this first shot and then after a few those I give up on that andi I just haven't got at different times and you end up being this really cool layered composition where every kid is being exactly who they are on mom and dad it was hanging so I love that yes came in from susan says oh wow I'm loving this I can see doing this with anyone not just children you're amazing thank you tamara do you use these be the destination techniques or would you suggest those if it was not just children? Very much depends on the personality of the purse I'm photographing s o I think we're going to see it this afternoon we're photographing a mom and her teen daughter I had them basically head towards me, but they had these really cool shoes on we didn't really slowly but it absolutely had couples photographed couples where you're the destination for the most part with adults you don't have to try so hard as you do with toddlers you know it's like everyone's well when I photograph adults like wow, you're just going to do that I didn't really expect that with tom there's you're pulling out all the stops there is there is a behind the scenes shoot I did with nikon that you guys could google if you wanted teo was nikon behind the scenes probably not gonna be on the scene camera lackey toddlers andi it's all about working with very very spirited toddlers who were nowhere close to get a stop for anything on dh what you can pull out of that it's just like a three minute clip showing what you could pull out of that when you cannot stop them enough to get their attention which is a lot of experience I have with others talking about flow and connection with the kids in general are you a t beginning of a shoot? Are you working with them individually like trying to get them to warm up to you and then bring in the whole family and are you starting with family and both? So I usually always start by throwing the whole family together in a pile and clicking and then I'll pull out and do the subgroups and get to know them all individually and by the time it was really is the whole thing by the time we're done with the shoot I'm really like miss you gotta mean it really is genuine but I start by just because every once in a while when they are completely fresh. Those are great shots, most the time when they're warmed up, and you've gotten to know everybody. You're getting the best shots, but you never know all the time. So I definitely want to get to know them all, because I have to respond them all differently. We talked about self consciousness. Being very self conscious for one individual does not manifest the same as it does for another individual, and you have been able to tap into what makes them both comfortable the same time.
The best family portraits are those that capture the true spirit and personalities of their subjects. In Children and Family Photography, Tamara Lackey will teach you how to photograph individual children, sibling groups, and complete families in an authentic and exciting new way.
Tamara is a celebrated family and lifestyle photographer. In this class, she’ll teach you how to beautifully light, naturally pose, and creatively photograph children and their families. You’ll learn about:
Through instruction and demonstration shoots, Tamara will share her top tips on posing and lighting and she’ll teach you how to get everyone into a great group shot. You’ll also learn about what goes into her sales sessions and how she handles prints and portrait albums.Whether you are a parent who wants to take better photographs for the family album or an experienced photographer hoping to expand into the family photography business – this class will equip you with the insights and skills you need to produce photographs that feel natural and look great.
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