Photographing Kids: Part 1


Children's Portrait Photography


Lesson Info

Photographing Kids: Part 1

This all started because when craig and I first started talking about what would be um the whole question was what is your dream kind of situation and I was sitting there thinking well, I would be really cool if we could embed a microphone inside a human head and get it and get a live transmission of what they're feeling and thinking and all sort stuff andi and the idea of all from there I you know I went and had multiple conversations about what we could dio and we realized that tohave a live shoot where all I do is showcase interaction um is going to be kind of a time suck it's going to be you know, two hours a session and we want to show multiple personalities and multiple ages and all that sort of thing and what you have to be convey some that same stuff about like ok when you see this this is what's happening when you see this this is what's happening on dh that's how we evolved to this idea of doing the shoot so we went out as a film crew and photographed um four children um back...

to back and um what I'm going to do here is attempt because I haven't even seen I saw a little bit of the verse section and I've seen none of this footage either so I'm watching this completely live as well um and I mean I lived it but I'm not quite sure what we could expect, eh? So we're going to show first off, I think just the would do a little interesting where we are, what we're doing, as you might be able to see it's about, um it was in the thirties, temperature wise and freezing rain, and quite a lot of it would come, and it would like just be drilling for awhile, and then I would, like, shoot down and we did a lot of this outside, so, um, this is the point of this was to say, we're going to take what we get and we're going to shoot it no matter what. Um and, uh, yeah, well, I'm kind of nervous about this so let's just see how it goes, okay? Because we didn't want to do the time suck of showing a video go on and on and on what we did is we had these pieces nico edited these pieces down so that each shoot is about ten to twelve minutes, and so if there's parts, that seems like it's kind of a little slower moving, I'm going to speak to them versus take on the challenge of fast forwarding anything and hopefully that you guys will from that, all right, here goes nothing, okay, literally nothing bainbridge island at katie braises in laws home and we're going to be photographing a variety of children and katie's family and dealing with some weather issues but hopefully not too many issues and we'll walk up to this pumpkin patch there are four pumpkins on the porch and go inside we're here on a bridge okay after preface is that the first mom was danielle danielle arkham who's very sweet and awesome but I met her I was like daniel whether is I just like no my larkin no lark up so that's why I said it's my very good friend very dear and remaining little jacks jax is um you're forty four eighteen twenty seven, twenty seven years old forty nine jax is ridiculously stylish you want you want to throw this away and so we have a couple things here that we're gonna go in and if this seems like it's a very jump around situation it's because it totally um what we found like right in the beginning within the first a few seconds is that jax was freezing but completely freezing and I talked earlier about how when you have this overriding sensitivity come into play it kind of is like a blanket on everything else so if you're trying to pull out these emotions you're combating the major need the major things air usually the physical basics I'm cold I'm hungry I'm tired I'm paying just crawford and mike didn't so way have this big blanket of coal old on him and we're trying to combat that and get him to be able to look outside of that a little bit. And then because we had very little time to film this and edit it, we're gonna be kind of jumping two spots. He's. Not sure this is the part of the film that I would say we're going to just posit because I spent the next five minutes just getting really quietly come to with him. Wait. I see something in your hand for a second. This finger. I see this finger. I see this finger. Could I see this finger? Which fingers was mama's finger? Is there any chance it is there any chance that mr jacks is feeling kind of cold? Maybe a little. Are you cold and kind of uncomfortable? Do you want to? You want your vest? Is this wet? Whoa, jackson, I'm thirty five ready checks. Are you ready? Are you gonna be ready to go inside the car? Yeah. Ok. So all I'm doing right now is getting him comfortable with me and what we're doing. So now we're not even bothering doing that because I need were trying to basically get past this override of he is really, really cold and we're jumping a little bit for time's sake, but those moments were jumping I'm just literally sitting on the ground and I'm saying to him, miss your fingers and your toes I want to know you, I'm interested in you, I know there's a lot of sensory stuff coming in, but I just want to kind of softly talk and not worry about it unless something amazing happens right out of the gate. A lot of the time I don't start with shooting, I start with like, hello you because I just met him like we walked the camera rolled, y said, and this is jack's, so I know nothing up to this point other than I'm pretty sure he's freezing and I want him to feel more comfortable with me and I want him to sense that I care about that. So for the effort of managing little bit of time, I think we're about probably about fifteen minutes in already that we've been we've been meeting with jackson talking and just slowly getting to know each other now what no, you get you're doing ok. The other thing is you see right now I got my first smile, right? I'm changed my lands, I'm sitting there and talking and I have a feeling because it took me that long to get it that if I immediately witch you have been like, whoa, what's this so just let it happen and I had enough confidence that that wasn't the only smile I'm gonna get rock, you get their act, okay ah ah that's the that's the straight out of camera shot we have from like that experience that's in a super fast hurry um, and then just coming in and making more about him and his smile and his laugh and trying to control a little bit of that cold on a blue cast because it's so cold outside, ready, ready you're not gonna do it this time ready and what I don't want to do, what I don't want to do is just shoot, shoot, shoot, shoot, shoot, shoot, shoot! You know? So even though we're getting some things that are coming up and then our fun, I want to be able to kind of keep it here as we're talking, you're not gonna do it, and I'm I'm changing my settings because I just got a shot and I'm thinking I wanted teo open up. I found that I thought was a little tight on him shooting it like we don't have the metadata on these we do we maybe we'll be able to upload from the metadata later, but I think I'm shooting at something like two o with this point and I was like okay he's doing a lot of movement I'm pretty close and I opened it up to two a pretty sure I'm doing that that part from memory and right there I am holding the camera okay because we're here so if I'm opening up basically um yes go ahead oh, I have a question but go okay I'm basically making my aperture smaller which of course is raising my f stop so that I want to be able to get a little bit more and focus if I'm trying to do this at one eight I'm done I can't do that so I want to make sure that I have a little bit more room so that if I'm a little off if she moves or I move um I can still get him and focus and get things captured um but I'm fairly well framed I kind of know that I've got a fairly good shot I've got good space around me just in case something crazy happens on deacon crop re crop and make that a better shot but I feel really comfortable that I've got a clean shot how long did it take you to get comfortable like I think if I were to be like it would be like a shot of the floor of the feeling like like a lot of things happened you learn to get better at that yeah, okay here's one things most of us are shooting very wide open all very shallow depth of field, which means that you've got a real small room that you can get it right and get it in focus I'm going to be leading towards a little bit more of an extended field of sharpness because I want a little bit more comfort that I've got my shot for me an extended field of comfort of field of sharpness means a couple things one I'm shooting with the thirty five one four right now um which actually shipped to me by borrow lenses hey, thank you helped me not bring so much urine, but I'm shooting with thirty five one four and when you've got a wider angle lens, you actually have more chance of getting things in focus versus a longer focal length where mohr things fall out of focus. Okay, so just from the basic technical settings, I know that since I'm shooting with like my millimeters aaron but it's twenty four millimeter a thirty five millimetre I'm pretty good there that I'm going to have a better shot of getting things that are captured in focus and things on different planes being maurine the same line of focus we're floating a little bit of technicals, but I think it's relevant here on dh then yes and full frame or cropped yeah, I'm shooting full frame, right three yes the worst thing I've been doing has having a crop sensor and a long focal length and trying to be right there that's that's really tricky so I'm shooting with a wide angle lens with a bit more of a smaller aperture which of course is the higher f stop and I'm shooting with a just giving myself a little bit more distance and I've already composed a shot and I'm moving it away and being really congress into the fact that I'm somewhat a tripod you know so I'm not doing this I mean later I'll do that for fun but in this instance where I know I want to get the shot I know where he is everything's fairly controlled in a lot of respects you know if you got a little bit here and a little bit there I'm fine if he goes here toe there I'm not that makes sense it's magic it's magic because everybody wanted no magic no you're shooting on manual or aperture e shoot everything manual I cannot shoot aperture priority and I should I don't know I just don't know what to do on the presets or the party modes but every time I leave it up to the camera I don't love what it does for the shot so yeah I use everything kind of constantly every time you see me dialing my exposure I think you just saw some of it there I'll go back and show a little bit so I'm see what I'm doing right here I know I'm going to switch get me navigating this all right? So I was like, what? I just did that so I'm here shooting or not good that and talking to him so I'm keeping the focus hold on back there um and as I'm doing that I'm resetting hold on I think I went too fast on dh okay, so I'm shooting right here I've got it everything's done I know I'm going to move the camera way from my body so I reset my settings so that I have a more extended field of sharpness and I know and I'm gonna have it center composed you're not good do it out and I put it like there and I go see my camera was here when I sent the settings member really aunt I'm going in and I'm double checking you're ok and I'm getting this that was lex and if you see this shot if you look at it really really closely do you see how he's actually a little bit soft and I actually have more focus here but when I go in I edit I softened down here I added these in four seconds but my client gets this this is going to be a little more sharpened up and this is gonna be a little softer and I'm in an acceptable range that I'm feeling comfortable I wantto watch a little bit is when he goes like this way have this so we're gonna wear no I and what I'm about to do right now is as we're talking, I'm thinking about how attractively and my posing that because that shot I just took, you know, and I'm catching that I'm catching that because, you know, he's a little taller than his cuban he's adorable, but that there's still some of these rules that bambi, you know, we were just talking about with, you know, posing rules, I still want him to be attracted, you know, captured more attractively, so I'm giving them a little bit of hints on posing and trying to do it in a way that's fun and keeping the spirit going, like when he pulls back just the same thing of you if you're gonna lead a little bit bored because I think it's super, super common, especially when you're kind of giggling and being silly has to go back, okay, ready now you talk about it, you got it and they're doing a lot of, uh, you'll see I'll be doing a lot of rain wiping you want to get I just really borrow borrow lenses is going to notice that I don't have len sit out in the rain with their borrowed leads sorry josh questions speed yes do you have a minimum that use because kids moved so much I don't ever get below one hundred ok like I mean with a with a child that's moving yeah that's just my little safety point on you unfortunately start getting shutter speed up too much and then you start having additional issues but I keep it probably about I think right there I was probably at something like one sixty or something that sounds about right. Yeah uh and if you think about the fact that shutter speed of course is how quickly your shutter clicks um and it's going to go super super fast you know or it's going to go a little bit slower and the lower your shutter speed of your dipping below one hundred or even around one hundred stuff you've just got a lot more chance for that for a movement. Okay, go in the bar half do you want to go to show me where to go? Okay, so we're cutting a little bit here, but mostly what you're finding is remember that was fifteen minutes to give the point where we saw any sort of engagement from him. I say his first smile that was anything besides this that expression because he was just like a numbing out a little bit, you know, on dh most kids this age would have been a lot more like no way am I out here it's ferguson it's cold this is im going out so you know he's a pretty you could tell even that experience I have from him is like this you can tell he's a pretty affable kid because he's combatting a lot of cold and he's still kind of there as opposed to just breaking down and melting I mean when I say call those gold so I'm trying to ask him I'm trying to change the scene up a little bit no I'm gonna get him no I'm not gonna get him to see this is this someone you take a good shot okay can you see that all of it you see the shot in there um uh well more to kill for it there it is okay so this is the shot I'm obviously way away from me I'm just putting it towards him I've got enough that I know my focus is sharp I know he's sharp and I'm thinking to myself if I get enough here that I want for expression I could do something fun with it make this like a ten by twenty it's a really narrow image I come in I don't mind that he's so chopped off is this something I would print you know and make a composition when no could I sell this to mom yes you know it's soft it's sweet we could do a lot with the cropping right here do whatever you want mom's love eyelashes and that's kind of, you know, kind of cast out expressions gives a really soft, warm feel to it on dh that was a matter of, you know, just kind of worried a little voting it out a little bit, starting to write a little bit. I put the sweat of your good idea. Yaks I think part of his, uh, experiences having is really feeling the cold. Yes. Hold on one second. Jack's jobs, huh? Uh, hold on. It's that's the shot. We're getting right there. What? I'm getting him to turn back and look at me five I see you later. You gonna are you are you are you going in this? Actually looking jax you see mommy coming? What? You come up behind and getting a little okay, did you see that? You see he's a little numbed out, but what I said, you see mommy coming? We had this micro expression, you see how he had a little bit of a relief on his face. See that right there what you come up behind and getting a little like just the fact that mommy was coming you could tell he's none doubt he's cold he's freezing, but that's a good thing so when people ask me, do you bring what do you do about mom's trying to hover in the shot or this or that I'm saying ah lot of times when mom comes in the shots and I can pull her in basically leveraging this wonderful warm you know touchstone that they have that they've known their whole life or most of it at least and they feel like you know they can really trust and and she's going to come in and she and I have this really friendly warm relationship so now I'm basically picking back up what they have he comes in you know again it's a microsecond you know you just sees her for a second but where I'm standing I can see that kind of you know and that's like oh thank god it's her and so I'm going to say yeah I want her to come over I want to go ahead and use some of that right now because he's a little shaky in these environment what you come up behind and getting a little snuggle you put that on one of these cool things we could do is let some pretty cool backlighting okay so now we're in the barns a boat we're in the barn it is really rough lighting in the barn I don't know how much you can tell that it's crazy I was at thirty two hundred I so um which means of course that I've got a that's a shocker for you uh yeah. Uh and we're dealing in the further back you go the more you have hardly anything you've got these little pocket windows that were getting little patches of light, but for most part it was really dark and so what I want to do is bring him in because there's some semblance it's pretty windy out there too is a semblance that we're gonna go inside and get warm although it's freezing in there too. So we're going in there and I need a lot of light, so normally when I'm this close to a subject I'm on the lighter back drop, the white or the lighter reflector sighed the white or the muslin way a lot of us were having problems pronouncing that correctly um, I'm I'm on the lighter side the reflector because this silver so sharp and it's just going to be this harsh blast of light however, in this situation, the whites doing nothing it's that dark in there so I'm using the silver and I know the shot I'm going to get is going to be too harsh of lighting and it's, but I also know I could go into posts and clean up the apache shadows that I want to get because of that hey kid, you want to see the chickens look over here, jax do you see what's going on here? You see that look look really closely who is that? And the big thing here is every time I move into a new situation I need to give the subjects in which he is the kids especially a chance to see where we are and what we're doing you can't move location are russians they can't but I would suggest you don't rapidly move locations and expect immediately start shooting you know it's kind of like imagine walking through a dark house every time you open a new door you okay what's in here what's in here I wasn't here so I build in little pockets of time every time we're going to a new section even if I'm changing the backdrop you know, in my studio I'm like what do you think that one check it up I know looks exactly the same as the other one just a different color is that your favorite? Um just give them a chance to feel little bit more comfortable in their environment is that jax can you touch it and when I when I see right here when I see that light bouncing back somebody was talking with stimuli about all the input because akin he's also got two cameras that producer me this I mean there's a lot going on but you can see right there you see his face one if you can see right here I know I'm already going to get this underneath other underneath might take the shot and there's nothing I can really do in this environment to better like that as opposed to coming out with a ton of shots or throwing on phil flash. And I don't want to do that. I want this to be very kind of like, what can you do with what you got right there? And that was me obviously setting up for the shot, and I get this. So this is the shot I have at, like, I want to say, this is thirty, two hundred, maybe like, a one eight, maybe maybe a tuo. I'm not sure exactly. You see some focus in here, but it drops off really fast. Um, and, uh, is there a way to quickly looked at the metadata by chance that you know no, okay, what? We'll shows in that later. Um, but what I don't like is this and this in terms of lighting, but the reflector does allow me to pull in some catch lights into his eyes. Obviously, this is crazy. Blown out back here. I don't care terribly because I could do things like this, um, with the sole intention of thinking, um, that I could make this into something fun. Um so like and I'll do that when I'm taking shots like this where I know that I've got something blown out or this crazy negative space so I did the best I'll present it to the clients and say when to be kind of fun to play off his expression of like, what are you doing you know and do some kind of fun things with it look at her she's like oh me let me get exactly right all rights are moving on to the shoot we moved into the very back of the room um did that hard thing makes sense to you okay, you guys just like this too much to learn from her movement yeah, you're like a two year old this all the time going on the post lunch coma you know what they're like this uh having shot a lot of editorial photography because yeah, and also, you know, I think that there's a lot of merging a designer photography right now and a lot more of our clients are kind of having a certain level of x expectation that weaken design as well not just holiday cards but you know, kind of additional things and albums and books and whatever the case maybe so I want to show them ideas for that like okay, maybe this image to you maybe this image to you might look kind of glad and, you know, mostly mom will say, ok, cut it, make it a close up and go in and this and that and I'm sick, but think about this something she could do and you have having at on sales that way. Can I ask you one more technical question about what she's like, oh, hey, sorry. Um victoria in montreal is also asking where do you set your focus point when you're shooting with the camera to the side and money trails wants to know if you're using back button focus? I don't use back, but focus I d'oh o every single time I'm actively focusing, I focus on the eyes senator, senator, focus on the eyes and then recompose, so use the centre auto focus and then recomposed if I'm doing something like I'm out here again. That's what I tried to make sure that my depth, the fields a bit more extended ah, deeper depth of field, I have to use the right terminology for that because sometimes a deeper depth of field s so I can have more of a chance of getting something and focus. So if I got this shot and the focus is more like here and I wanted to be here it's not going to be a dramatic thing, you know that I have enough room to play with that all I can do is do some pinpoint sharpened in the face, a little bit of softened post, and it looks like everything was perfectly focused. Good. I'm totally okay with acknowledging that if I'm shooting that way, I'm gonna have a little bit of kind of correct for some of the shots that really come out. Well, are you zooming in on the back camera? Just are you checking your quality right then and there, huh that much? Not that much. Uh, I mean, I am I mean, I do checks like you'll see that, but I don't look at the screen a lot because I feel like I feel like I'm pretty good in terms of where my exposures are because keeping my when I first started shooting, I did do a lot of really kind of exact exposures and readings and also stuff, and now I feel like usual when you hear it's this and usually when you hear it's this man like, you know, I kind of know that this should be good not to say they don't get surprised that was whore. Well, let me get exactly right, okay, so here were in the very back this is this is something that I think is important to share because two things one let me do this because I'm sure daniel's watching and she's like did you have to start with that okay we're going to the very back of the room and we've got it set up so that we've got this little papa light coming in she was sharing how she's pregnant and it's that that that kind of middle ground where like you know I don't have your remember like you're newly pregnant but not enough that like everybody knows it and you're like tell people I am pregnant that's how I'm feeling and and I'm thinking back here that jax is just really really called and he's gonna do break we're gonna have to take a break we've been doing this for about twenty something probably twenty five thirty minutes actually thirty yeah but from women when we met him all thirty minutes of shooting outside in the really really cold miserable weather on dh we're pushing it because normally if I'm at home and there's a shoot I have an opportunity to reschedule the next day I just do that um this we wanted to you know, kind of save no matter what happens a tte this point I'm ready to take jack's inside and give him a little break and let him get warm and let him feel his fingers again and they were going to a little bit more shooting but before we do that I'm back here in this situation and I have mom sitting here and jack's was just on his lap her lap and he got down because he's getting answered he wants to go and in this sort of situation jax is done but I still have a subject in front of me she's still there she still has a cool light on her and I am a big believer that most moms don't get photographed enough they're the ones doing the picture taking and if I take a great photograph of mom she might say, oh, we don't need it but I'm ready buddies with dad and he's gonna have to buy it because I just told him that like, don't you love your wife so I've got a right uh and have you lean forward a little bit the waist and we're still doing the post she's like, oh um and then we go to this so this is the attic camera shot I have I've got a reflector hereabouts in some light back and I've got light coming in from that window I'm just gonna do a little bit of ah just a pop up a little softening a little light but barely kind of anything to that shot I just wanna bring a little bit more lighted okay? So by a little side note again I don't know exposure looks like your screen but if it's not also it's not right okay, so now we're in a different area we went inside, he warmed up his fingers started working again he had a chance to rest he had a cookie um and we just gave him little break so now we're coming outside he's still holding the cookie and but he's in a totally different mood it's totally different can you talk about transitions between places? I mean, are you tryingto look like you know exactly where you're going or are you just saying, hey, let's go somewhere else and you're like looking around where's our next stop I'm not trying to look like I know where I'm going in fact, um I think that would actually to me be a little bit of a negative because it means that I've got this all planned out and I want them to realise we're experiencing this together, you know, how do you talk that through? Like, how do you decide? Okay let's go from the barn to the porch to the swing to the whatever well case it with this this child with jack's my impression of him is that his personality again? I think he's more interactive and fun and easy going, and I think what we're seeing in the beginning is a classic case of the one who just needs to be warmed up but it's to the end degree because he literally needs teo so I think that's the impression I'm getting of him right away I don't think he's going to be a difficult child to work with at all and and so because of that, I feel like I could just say let's, go to the bar and let's go here and I'm just look around and see where is the light? What looks like a good composition what looks like a background and that's it that's what I'm looking for in terms of if he were more of the spirited child with a lot of sensitivities going on, I would say, you know what? In about five minutes we're gonna head over to that barn, you know, about four minutes we'll be making our way to the bar in just a couple more minutes because I want to get a lot of time to plan it out and know it's coming and not be so freaked out by the transition can I eat that? And if you saw right there I just checked my exposure to see that I just glanced back female city but it's not like I don't study it, I just you know, okay, yeah, that looks right um and then I'm playing with him about his cookie, so another thing if this is like the perfect photograph I wanted with the cookie adam's hands I want chocolate off his face and all that stuff and so I'm figuring out kind of ways to do that without upsetting him cause I have the feeling that if I take the cook you and say can you take that inside and take it away he's going to be like, mourning the loss of his cookie? I could eat the cook it I can eat this so that's him right there that's out of camera as and I'm pretty sure I'm holding the camera away from me right there wasn't it? Yes, um and then I'm just gonna go in and, um, make it more about him a little bit of camera till kind of fun spirited? Yeah, it's so delicious. Look, you want to see this camaro quick and I make sure the whole time he knows I still on that he's getting the cookie back, remember, turned off I get, um chuck's, let me see if I can't get a little bit cooking up here. Ready? Well, um whoa, hold okay too, right too. Unless somebody tells me differently, I'm pretty sure we're too. Can I eat that cookie again? I can again. I don't want to say put the cookie way or mom, take the cookie away or finish that up I want him to have that because he's love and that and that's fun so now we're just playing with the cooking and my hands are washed I wash my hands of time georgia shoot. Okay that's gonna be delicious. What do you want it back? You d'oh? You sure I can't eat it all so nice and so mom's right here, right and again I don't mind mom being here at all. I like her around. Okay. Have you ever asked today like you asked him to say, hey, be great if you are you're over my shoulder or because a lot of times I have seen the parents move and then the kids head moves ok, I'll definitely say especially if they're doing things like, um calling your name from a different location yeah, say that's fabulous. I love that you're doing that. Can you do that right next to me? Yeah, yeah, yeah, no, I'll do that for sure. Um, but this oh, that was from before I forgot to show it. That was earlier when I was pulling a cookie away and he's wiping. You see, it's got a little chocolate on him. You know, I'll either link forward, wipe that off roaders take it on post unless you keep it. If mom thinks it's adorable, you want to see this camaro quick, look at this my cell on died back out by her not alright hold on bringing it forward wow I can't believe it was the first technical difficulty we had that's amazing it's gonna be delicious right? So fast forwarding I'm eating is cookie and he's laughing okay back on that's for you calm or can know I can't you got a lot of cooking in your mouth go did you know there's a little boy behind you look he's on my little boy hey, can I should question jax I can ask you right now right now I could ask it I can ask you a question now ee ee ee that's like a growl yeah you lay down so did we get that? Yeah that was for earlier so that was to be taken to cook you back and forth and you see how wide open that shot I'm eating this cookie I'm really close to him I'm shooting very wide angle I'm still thinking about the way I want this composed and how what what? I want the shot what? I don't want the shot um but uh yeah that's the going back and forth in the growling and and in this sort of shot whether he's looking at me or not, I don't get it all right no okay, so I'm tempting here to get him to lay down to do kind of a calm different kind of shot and he's not interested at all so I'm not gonna push it and I just kind of move on so I don't I never have like a set shot list ever you know I know I know certain things might work it might work but there's enough things that we can try they don't have to get completely lost in like you must lay down and smile I see what you're doing I'm onto you okay? This is a perfect example of letting the child misbehave or sitting in a chair and he thought it was hilarious that he kicked me and hurt me and it did hurt he's call out of power so we let it go because he's like that I should be s o twelve fifty I said you have got a lot of food in your mouth to chew chew chew his foot get ready kick me oh yeah I need some too damn it or just adjusting the posing as we go. Okay, here we go and, uh him wiping the chocolate off here's another thing if something is hilarious, like two, three times at this age it could be hilarious like three or more times you can just keep going uh delicious, I tell you, you look delicious, you d'oh you're davis's! Yeah okay, we give a little bit this to the fence. Okay? A little bit to the fence. Tell me if you hear it. Okay. All right. Said this boy, we've been shooting for probably close to an hour and total, um, and he's. And where he's kind of, you know, we did this. We did this. I feel like I got a lot of great shots and we're going to be winding down a little bit. And so what to do? One kind of a shot of him. Just a different kind of composition and have him just took a little bit off before I get him and mommy together. And then and then we're gonna be done. So over here is I think I mentioned earlier how this one child showed me how he didn't really wanna engage and he was kind of shutting off. And this is going to be a perfect sample. You hear the fence? Say, do you hear? You want your key back now? You know, that's? Not yet yours. You want it to see his stamping? Is that it's? A very intense face right there. Love it? Mm mm. So that's like a shot. I get that a camera when he looks up and ready to be this and again, I want to use these as leading lines just from a composition perspective of what kind of come into him a little bit. So I'm leading really into those lines just so I can pull that into my shot and have that be the foreground leading. And now this is the point where he starts rejecting me. He's done with me and he's done with this interaction. And the cookie thing is not funny anymore. She turns away that no, no washes. This is conflict avoidance. Just so he does that that's a really cool big guy. All right, so he's done with me. He's like, no, no, no, not interested. If this were a guy, we're going on a date, you just not be calling anymore. So now at the point where when I wind up, I went end things. I want to get the shots of him, his mom together, and I'm gonna let him completely be with her and let them just interact with each other in exchange, because then he could because he's more comfortable with her and were winding up. Ready. Okay, so well, and, member, he rejected you. Like, when you've got, like, two shots, like in the very beginning, yeah. Um like if you had he had warmed up to you he smiled for a few pictures you have like three or four shots and then he's like nope we're done it was like that kind of thing that I would sit all right let's take a break and I want it disappeared for a while yeah because the trick is it feels like the stimulus is too much and it coming on too strong and I'm coming on too strong then just sitting there not saying anything and looking at him isn't the same as physically removing myself or visually removing myself and that's what I'll do sometimes say I'm just a little walk you know or something I mean that's not very common especially at the beginning usually that's the effect of we've been going for too long I've been on for too long you know before how were we were gonna play with him a little bit e I think now is the o I mean did you favor before you waste all your strength try this way yes and then here were and oh god, I'm getting her wine that um I took that shot and I thought I wanted them in a better lighting situation so I'm checking the lighting with my hands to see how evenly exposed the light is coming in and you could do me a favor before you waste all your strength try it this way yes and then here and then when he comes back and then right way get good and again so she's great like she's on its nose which do she's give the posing and I don't need him to look at me perfectly I've got a lot of great shots of him perfect you know I want to show this gorgeous oh soak your very good mar yeah spiderweb where wow you're smart kid I didn't see that I love one of you guys just baste baste hee hee hee uh bailey was no one two o so I'm digging myself he's kind of done we're winding down we got a lot of shots I don't really need anything more the last thing I'm thinking is it be fun to get a shot of just saying yeah just mommy's face holding it like that I love that feeling where you can really focus get in give mommy right give mommy a hug give you great you're good you're good like you yeah yeah yeah uh I don't know about this the challenge for me to listen all that myself on video wow. Okay, good. That was jax in the beginning remember how quiet it was started? Okay, we're here. Yeah, I was my very dear friend who's thinking about running a market basically just some image and we're gonna show you what we were starting with there was no engagement and it was it wasn't like he was mad or angry or didn't want to be there. I thought, this is terrible. He was just overstimulated, crazy. It was just too much coming at him way were in this little vein where he was going to just stay inside. Jax is ridiculous. Okay, good, all right, that was jack.

Class Description

Celebrated children's photographer Tamara Lackey leads a special worldwide workshop on the magic, art, and business of child portrait photography. Take a live, front-row seat with Tamara as she works with a wide range of kids. You'll watch as she works to put them at ease, gets them laughing, and coaxes out their natural personality for fun poses and great family portraits. More importantly, you'll be part of an ongoing weekend conversation with fellow photographers around the world about how to grow your own successful portrait photography business, while balancing personal and professional lives.