Shoot: Pepper


Children's Portrait Photography


Lesson Info

Shoot: Pepper

What do you think you want to sit on the ground or I'll let you run this see if she would sense it in the ground should sit on this and we've got a couple of how old are you? Ten what kind of dollars that she looks just like you she just got different color hair right yeah does it hurt glasses not yours, huh they match yeah with this is that ok? Yeah that's okay where'd you get those shoes from crocks do you like the color yellow because you have a lot of yellow on yeah, I like the color yellow too. Is that your favorite color who's your favorite color freaking out you're a great all right let me ask you a question could you put the dollar lap yeah and when you want to snuggle your doll up like it's like your little baby when that be fun and they make in front what do we even know that her doll's name know what's your doll's name cokey that's a cool name where'd you get that name from where do you think of it? She came with the name honor yeah that's good and I would want to know a lit...

tle bit more about the awesome hairdo she's got because that is where did you get your hair done season your shot stay doing no pressure yeah, ok, good, but let's look at this okay? All right I'd get some great white seamless it looks very good and I would say that one little thing is that maybe think about moving you shot over a little bit more so she's more in the one third of the section okay and then we'll have you come jump back in in two seconds already sorry up alright okay uh how are you you didn't get what was your dollies name donkey well that's a cool name so what's your favorite part of the dolly it says on the back okay so katie asked you where you get your head up I don't care where was it done and your hair also I think your ex nanny is that right that did you hear what's wrong, huh? Wow that's quite cold so I'm gonna take a few pictures of you okay are you gonna get a dolly cuddles fear no foe you're looking great today take one more I said you know how to play the game simon says simon says touch your nose you're going to touch your nose what if simon says put both hands on your head yeah simon says touch your toes and your toes good texture dollies here give you dolly cuddles yeah, but season a shattered getting pepper you know you're our model rights we have to look at the back of camera and see how we're doing um good okay, so let's look at the show this um I think I like how you're shooting a little bit wider and giving us more space I think that's fantastic that you could do a lot with that. You know, um one great thing to think about if you're shooting on a white seamus background or any kind of background like that is if you are if shooting in a way that there's something that you want o express later and show a little bit more of you can always crop the shot and then use the free transformed told photoshopped and pull out the left side or pull out the right side and completely recompose okay and kind of change the look of it um again I see a little bit of shadowing right here what she's sitting when we have her stand move around a little bit and that's reflector okay, get jimmy questions where you're going, huh? No, go bit and then okay, see what happens? Okay, did you wanna stand up for me? Pepper so what I'm gonna get you to do first is the star john you know how to do that? Give me a best star jump let's start you don't start jumping jump like a staff call the star gia yeah, adorable start okay, you gotta do jumping jack okay, your best jumping jack only to jump the pious you can ready okay. That's not working. Okay? You know, I think you get you hit on goldman. What are you shooting? Which motor you shooting in manual manual? Yeah, you just accidentally perfect. That happens a lot. So there's no heart. So I guess I'm used there's no half press focus on attachment should be his notice. Stone ever dio yeah. Okay. Are you ready for a big jump? Go, john. Perfect. Okay, so what do your settings? What do you shooting at? Uh, three point two. Twenty yet I, uh, think it's six. Forty and one one, two. Fifty. Okay, one over one. Twenty five. Yeah. Okay, so the big thing I would say right here is you want to see your feet, you know, for the full shot on and if you're shooting with a what do you shoot with a fifty? Yeah, I would physically back up, you know, and then be able to just got to keep that connection going with her back up and get that a little bit wider framed because I think that would be an interesting horizontal. Where she center center composed. Do you think so? Okay, let's, try that. So did tim or those okay, just it on urgent lap one more, uh, mr candy a lot you know two things when I would either back up maura with switch lenses I don't have like a twenty four or twenty four seventy okay, so you have back up and let's have pepper back at pepper you're too good you need to come back here a little bit diggle ish all right, let's, try this. Okay, now when I just backed her up what did I do? By the way, do you see what I just did with the lighting moved across it and it caused a bit of a shadow when really good trick when you have subjects for standing is to think about their height and go ahead and account for that much difference between their height and the backdrop to eliminate the shadow. So I went like this I created more of a shot I could do one of two things I could move her forward, which is what I'd probably do and then throw on a lens that has, you know that a wider lens so I could come in a little closer or if I'm gonna back her up I need to control that shadows that before we went to break I put that rim light over here and I went ahead and erase the shadow I could do that by pointing a light right at the back drop um skimming it across and controlling for any shadow that just created okay, so, um that's just that whole idea about keeping your subject that far fewer backdrop is a fabulous one, all right? And then they do. I wouldn't normally also move this back, but I don't want to mess up our camera who's back there. Um so can I scoot you back? Can I pick you up like this by the elbows? Okay, ready? One, two, three let's, do it again. You're ready? Possible pictures let's do the star job, which I just learned about staja jimmy, jump with you. Yeah, you did it all for yourself, okay? And I get to sprint and circles big circles. You know, I spent perfect head look so cool when you do that. It's very good. I would have to see her like a beach or in the water with hair going like that. All right, let's, put the camera on the side. Can we go look at this? Yeah. Okay. So fucking look at this in the camera. The big thing, if we're gonna have a shot like that where we want to jumping, you're spinning or such it's really cool to be able to kind of lengthen that that makes for a really fun panoramic shot where she's in the middle and we've got some a little bit room on top in the bottom so we could do a lot with it. Because you get a great shot like that. Cut off at the knees or the ankles, or this or that. You want to avoid anything. We're cutting off anybody at the joints, so they're cut off at the wrists and knees, elbows, the one of these called ankles. Um, the neck, those air, really awkward spots for any sort of crop to be happening in camera.

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.