Shoot: Reilly

 

Children's Portrait Photography

 

Lesson Info

Shoot: Reilly

If you're okay now, we're now on whisper mode way are back and if you are joining us from last time we had a lighting setup where we were setting up the lights in a very quick hurry and we didn't have them properly set up and we were also dealing with a lot of competing lights, which means that we have all the video lights on to be able to broadcast this, but we're getting a lot of shadowing and it was messing with our color about so we weren't able to capture like a white sea must we're capturing a gray and we ended up taking a half hour and we fixed everything, so now we can show you more real time what we're talking about so I don't know if you got a chance to show that shot this is we have also decided to untether so it could be a little bit more nimble with the children and running toe less technical issues, so if you can see, we're gonna basically shows some of these shots to the camera that we're getting. This is a shot we just got a camera after we have cleaned up and set up th...

e backdrop and if you can see we have a really nice white exposure, we have it very evenly lit we've got good catch lights um and we are, as they say, back in business I don't think anybody says that do that. Okay, so we're gonna come over here and meet riley. Hello was the height of the internet? Yeah, maybe later. Um, we have a new set up and I'm gonna walk you through it a little bit because it was what we were going for before, but we're having some issues. We switched our light over to a c stand so that we can better control it and make sure we can navigate it correctly. We have a scrim on the front we have a for you see this bounce that basically we have a nice little diffuse cover so that we don't have the lights just leering at our subjects and we turned off the extra lights. May the light here light here and a light here that was causing a lot of issues and lighting is basically subdued subtraction and addition, and so we need to subtract some lights is that we'd have a nice clean space from which to work. So we set up this hair light it's the bruce storms select light. It works just like the two t five it's the tv three so we have three continuous daylight source, uh, lights I want to see if you get a shot of this real quick basically here you have three lights in there that you can also take some honor takes up off based on what you want and we haven't set up as a little hair light so we can have this little angel this darling right here to show to the internet so I'm gonna, um, start by getting a couple quick shots of riley this portion of the program is a lot more about lighting and technical, so we're gonna do less interaction some interaction but were mostly focused on how do we show you the lighting situation? I'm going to do a couple quick shots of miss o'reilly and they were gonna have jesse step up and do some and we're just gonna have him shoot how you normally would and I'm going to make little kind of adjustments like what if you try this or maybe think about this or we might just say, oh my god, you're brilliant finish the class either way um and were to go down the line and have everybody take turns shooting and we can show their images to the camera so you can see what they're getting and the difference between that and what they could maybe get if they do a couple little adjustments so let's start a little bit here with just again were mostly looking at lighting set up oh my goodness you are fresh like it do you like the camera? You think it's fun it's not fun you don't like it at all are you sure? Yeah. All right let me show you right at the camera with this nice balanced light where we don't have any extra light source is messing it up um what we could get where we can have a subject really well exposed I'm gonna have our move a couple different spots in the backdrop so you can really see how when she shifts around a studio I don't have to constantly re expose every time like crazy I'm gonna do little shifts mostly with my shutter speed so I'm gonna keep my eyes so pretty constant I'm sure the next question is what are my settings? My settings are six forty I so one one twenty fifth shutter speed and three point five aperture so I'm gonna shift mostly just my my shutter speed because I've got a set light I'm pretty controlled I went ahead and shut some of the blinds down that the light was coming in because that was kind of messing with us a little bit and I had my exposure I had my aperture three five and I can stay there with one subject easily that's no problem whatsoever so when I don't want to change a little something if she's turning a bit away from a light more than I want oh I'm going to do is adjust my shutter speeds either bring in more light or takes him right away isn't this boring? You want you want to shoot me? Are you? Um, so look, treat time, who's that. And are you gorgeous? Yeah. Uh, okay. So this is her in a nice horizontal showing somewhere back trap. And then I'm gonna move her around a little bit so we could see what she's like in other situations. So you can see a little bit more of that space around or how we keep it white. Give me a favor. Can you see this guy? Does he have a star on his belly is yes. Speech? No, you don't think. Is this in each? Come here for a second. This is this is your chair. Come sit on it. Come sit here, it's. Not a bag. It's a share. You I'm gonna show you you on it. Don't even lift you up to it. Or can you do it yourself? All right, let me see. Let me see you do it yourself. That's. What you're telling me when you see it? Are you gonna do it yourself? Well, that's, the way you sit on it. Okay, this is great. You see how she turned away from the main light her faces into the film light. Most of lights behind her and the quick thing I'm gonna do is run over here look at her and see do I have cash lights and when I see as I have a catch light in her left eye but not her right eye so I'm gonna grab the reflector and I'm not gonna make a big deal out of it I'm just gonna bounce the light back up so let me show you right as is before I grab a reflector what kind of shot I got it's very good you gotta come see this camera internet man that's the shot I have without the reflector um and this is that same shot with a little bit light and actually you just hold a camera to her face you can see how easily that makes such a difference we've got both catch lights and she is also you're not the kick reflector too are you and then it's ah show the without the reflector and with the reflector we've got cat sites in both eyes it's evenly lit we've got a white seamus baccarat drowned versus a gracie must background and she's awesome yeah okay so this I'm finding that pretty much wherever she goes I've got it quite well controlled that was for no lighting purpose that was just to get her to do a little wind in her hair how many people are behind me you see one or a whole bunch you only see my only have eyes for mommy oh that's so cute all right, so this is a little bit more wide it's a bit more wide of the shot and again we still have a nice even lighting I still the white sim's background and this is all I have set up that's it and so I'm not constantly re meeting everywhere she goes I'm just adjusting my shutter speed and making sure I have enough fill in her face and I want this catch lights and I can keep going like this date all right jesse and debra okay, I don't know where this all day long stuff I'm okay how are you gonna be shy with me, huh? I like your dress colors where where is the pink show me the thing yeah what's your favorite color so where's the blue on it okay are you a little freaked out by all these people and lights and stuff? No, I am and who's your favorite person in this room right now. No man. Oh, yeah. And who? Where's alicia who's alicia ha ha are going at it she's a friend of your mom? He or she is your friend looking not so bad though thank you sure what we're gonna try to do is have every one of the audience members come in and do a little action do some shooting and then say what you get what do you think you know we might make a little bit different can you see that look like fun um a couple quick notes I would just say first dial jessie's interaction is very cute and very sweet I would say this the shot taken god I would love to see a little less headroom on the compass you got now you really got it who's who's holding it pull it pull you could get it from good uh you got it don't fall you want to do it again all right hang on just a second okay I bet you can't get it from me try winning meers at you you're winning is I think I'm winning she's got confidence I love it all right let's see some were thinking um little tight here like it's just it's an awkward pose I don't like I don't like how it's all just kind of her leaning back it's a little awkward um like your expression yeah looking at mommy okay so how do I change from what we're doing here to something else okay so the one thing I would say is if you while you're in this situation think about varying your composition but with this interactions I'm limited to like chest up you and your little snuggle break point to give her a little snout give mommy a hug cook it on the hook for so do your mike, right? Yes. Okay, so, um that the thing I would suggest about this is considered varying your composition a little bit. So if you're right here and you gave this great expressions it's wonderful to get like a tight close up and see your laughing face and then then pull back and do something where she sank the reflector back so that it's not in the shot, right? So then she's kind of maybe she's leaning forward with our legs kind of this way and that and she's a small part of a wide frame and then switched and then switched to ah vertical or maybe she's looking out at some negative space a little bit because you could stay right here another one seamless you could have five very different looks. Yeah that's actually pretty cool so show that so on the shot that just who's showing right now, it's really cute and she is in motion. I if I'm looking at that from the purposes of maybe a prick critique or something, I'm going to say I want to see your fingers in there, I want to see the rest of her and I would say that same thing just do me a favor and don't use, so don't shoot so close, you know, kind of pull out a little bit composed by pulling out a little bit because one of the number one things I see with a lot of shots yeah that's closer but give me space in the bomb and around because if somebody thinks that's an amazing shot I want that as a sixteen by twenty and that's the only space I have you're gonna need room to crop in and if you're already a tightness khun b I'd rather shoot with more room and come in versus go so tight that I lose options fun same thing that I would like them so let's look at that because that's a good shot to show on this shot that hopefully you khun sea of jessie's it's a really cute movement she's doing something really silly and fun I would love for that shot to be shot from the angle of your up a little bit higher and you jump up because her feet are really close to camera that looks a little distorted and it looks like her lower half is much bigger than her upper half and if you jump up and changed the angle now you equalize you know I mean you equalize that and it's a lot less distorted right like that I bet that except for now we have to see we have shop let's let's show that now we have because you held up like this and we have shadows where be right around here go down okay where name it tell me showing right here you see all the shadowing huh that's all shadowing because now think about it there's some of that light going down and if she's blocking that light then you need to either correct by pushing her over our moving yourself ever or use the weight for it use the just to bring the light in here yeah just the three of us yeah the fill light the whole point of fill light is to eliminate the shadows and even the shot that's your butt you're sitting right there and you look just fine ok I'll push it back over for you so wait can I try something because it just something okay so if you're looking at her as is and you're looking at jesse say hello jesse I'm going to beat you again you're gonna be yeah all right so if you look at her face just as is do you see how there is looking straight on her face there's a little bit more she's evenly lit enough but it's a little bit dark over here and a little bit just a little bit and I want to feel that in if I use this this light it's really gonna be sharp so what do youse this soft light and I'm not just fill that in so this is what no reflector whatsoever you looking at her face and this is filling in the shadows you know maybe get comfortable either doing that on your own or using a stand or whatever it may be and if you're gonna be doing that make sure you shoot more wide more a wider focal left thin you back up twenty four so I went back up just by this here I get what you're going to back up yeah but you may sacrifice a little bit of focus you see them saying four we're here let's show the shot so I could tell you what I'm talking about so let's show the shot you are the teacher um two camera what I'm saying if you look at this shot what I mean by I want to see a wider focal length what I mean by that is we still have dressed cut off and we have area cut off and if we're going to play with focus but I hold a camera way and we're going to be that close there's more of a chance that things will be out of focus on dso if we step back and we then especially with a seamless you can go ahead and open your aperture or you can go to a smaller aperture and get mohr and focus then you can crap to exactly the composition is you want let's do a couple more and then let who's the next katie yeah okay that's cute okay that's blocking like they're bringing it in they go yeah what is that see how you were not? No. You wanna what? What is she saying? All right, cool, let's. Look, pick one of those to look at while next person cues up. And why don't we get another? We'll let rather take a little break up. Might have come in in a second, exiting a little break and grab our next child. So thank you. She likes you. She likes you. I saw you know what she did. I thought she did a great job. Really? Um okay, so with that shot that what shot? Looking right now, uh, you have a great expression, but I think you were holding the camera away and she was looking at you, which sometimes could be really cool. And sometimes with this kind of a shot like that, you see what I would want her right in the lens. Because it's so cute, you know? So okay, when I'm doing it off, I'm afraid to put it in front of my face because I don't want to break that. That can actually. Well, but if you if you keep missing it, okay, yeah, just keep mixing it because I mean, you're doing great stuff there, I would just love to see her looking right at you on that one.

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.

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