Introduction To Lessons 25-37
Miss tamerlan tamara come on out. Thank you. How are you doing this teleprompter for him? Not at all not at all and just get it done. You know what? Speaking of getting it done, I'm gonna get out your way wow, I just I'm just gonna get it done I'm just get it done. I did not hear all right, take it away. Okay, um I think what I am getting done but this is a pretty loose format this morning and on purpose what we want to do is basically show you kind of a whole bunch of different ways to shoot in different ideas you can have we are on the roof again but we're doing a whole different set up this time on the roof it is a whole different temperature it's very cold and we may get rain so we're gonna play that by ear and see how we do right now is quite foggy and um or I guess it's cloudy depends on how you look at it um and what we're going to shoot against the sun if it comes out and we're gonna kick off right away with our first model, bring around here and just start to get a little bit ...
creative, I did have two or three questions that came in repeatedly rest shared with me as well as messages I got on twitter one of the questions was when I use the reflector and I'm asking people to come in and help can I use a reflector on my own? Yes and I have most of my career and still do often on shoots in fact, the very first workshop I did hear a creative live contemporary children's photography I used it solely by myself the whole time I'm gonna kick off by showing you how you can use it on your own uh but then giving you the idea that you can step back and enlist help it doesn't have to be a paid assistant um but it could be just simply anybody who's there with the human you're shooting and most of the time I think one hundred percent of time my kids do not show up to shoots alone so they always come with people who can carry things so that works out really well. The other question I had is I was kind of calling for lenses and asking for lenses and how do I usually manage that on a shoot? Um I have a few different lens bags and backpacks and such right now I have the gun find bag with me um what I like about this is I can carry a number of lenses in this lens bag very easily and quickly swap them out but what they do the technology with these these arm things with the shoulder strap but it really does lighten the load considerably and that's what I care about because I like to move around quite a lot and have it be very free moving and both my laptop bag in my lens bag and I have a laptop combination linds bag has that ability to be able to carry a lot of stuff and it feels light on me so that's one thing I'll do a lot too, but most the time I find a place to stay I settled down I put the bag to the side and then it just swap out and go or I have two cameras on me if you notice that first shoot we did, I shot um exclusively with the ninety, eight hundred the second life shoot we did yesterday I shot exclusively with an icon dif four I'm going back to nyu conti hundred and one nice tip that I that I can offer you is tohave to camera bodies on you. I'm not going to do that here because we're doing the live tether and that's be insane but you have to camera bodies on you, and that way you can quickly switch between workhorse lands that might like my twenty four to seventy two eight and a prime lens if you wanna have that on either thirty five or the eighty five of the one oh five I I use those really frequently on and that allows you to very quickly get the shot interchangeably what you want to do if you're doing that is set up your custom functions so that you're capturing a similar look in both cameras so it's not strikingly different when you download the images and you mix them together. The other consideration of course is to make sure that your filed naming sequence isn't overlapping so that when you go to download the images you have two files that are called the same thing and they try to override each other um in the nikon cameras at least what you could do is, uh, change the preview so I have a couple letters and I put t l p for tomorrow lak e r t a l um for my full tell peter mackie photography or tamara adriana lackey um and that way the files don't have the same names when I down them download them and they don't overwrite which is another nice tool for postproduction. Um the third thing to consider is your date time stamp because if you could just sort by chronological order to very quickly moved through your files that'll help you a lot in post so just some considerations went out shooting when grabbing lenses when using the reflector russ were there any other pressing ones that we wanted to cover right when we got into it I think the kids running around and the doing the reflected by yourself were kind the two biggest issues that were out there, yes. So kids, kids running around how to photograph kids, fill graphs, way will be doing that as well. We will. We had a lot of kids running around in the park scene, but we'll do that up here as well. Again, I'll do you make them jump into cart wheels and spin and whatever we need to show how we capture children in motion. And I believe one of the audience members had a quick question to you, asking me a question joined just yesterday. My question, woz, when you're talking to kids, yes, you're using cynical sentences and you two you're talking about settings where it came from using cynical, like, you know, something that make sense to us. It's funny. Yeah, but I don't know, I couldn't understand what the kids getting bad. The funny state man's like like, oh, your knickers? Yeah, okay. Like leader all rolling out here. Literally almost laughing. All the parents were laughing the audience. Everybody was laughing. But I was not sure of the kids were getting and I was like, how are they responding to that? Yes okay so what what I believe you're asking me is when I'm saying things that are funny to adults yes but the assumption is the children aren't getting this joke you know what are they thinking and why is it that it works with them if they're not understanding that yes okay that's a wonderful question part of what I'm going for what I'm photographing kids from an interaction perspective I had a chance to watch the live broadcast back yesterday the shoot on the roof um and I was amazed at the fact that I never stopped talking I was watching and saying shut up for a second but the reason that works if you remember one of my keynote slides I prominently wrote what matters is how they look looking back at you I'm not running video I'm not doing fusion work in this if I were I would be eliminating audio um what I'm doing is simply thinking what captures can I get and what expressions can I listen and what words do I need to use to you t get that when I am saying things that seem kind of like why would they even get what I'm saying? The reason for that is it doesn't even matter what the words are it's the fact that I'm saying something off and curious like that makes them curious they're trying to figure out what I'm saying or it's so overtly gobbledygook to them like when I say things like what would make sure have a heavy foreground and set my settings my ass don't have exposure and we'll do it down obama want to make sure there's no speculate highlights what they're hearing as well and it just it's funny it's goofy like I'm using nonsense language and so though you're getting it, but they are just, um so what we're gonna try this morning is a whole different interaction technique just to see a little bit of a difference um and I don't know what that is yet, but I'm going to do it. Yeah, usually when we interact with little kids babble, we've used the baby talk our stuff, and that doesn't go kowtow and that hasn't book that doesn't work, they don't respond to it, and I was surprised that they're responding to other stuff that about e, x, e f and speculators and why was not I was but the last? How are they responding to it when they don't respond to the coochie coos that honey well, okay, so think about it anything in your world as it doesn't matter what age you are, anything in your world that is different captures your attention, it's striking its curious it's unusual it's weird, I'm going to pay a little more attention to that it's going to distract me if you go around your whole life and you are a two foot child and everyone, what comes up to you and says, oh, don't you look pretty? You look handsome in your suit. That's normal. So if you were to say, I really like what you've done right here with your fashionable outfit, you really brought something forward in the tone and and then that's, different and weird. So it works that way.
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Children are not professional models, nor even enthusiastic about posing. While children are inherently beautiful, they aren’t naturals at sitting still. This creates a hurdle for photographers attempting to capture the personalities of younger, restless subjects. However, it’s not impossible to get a child to pose for the camera — you just have to speak their language.
After more than ten years of shooting, celebrated children's photographer Tamara Lackey has developed a language for effectively communicating with her younger clients. In this 3-day course, you will learn Tamara’s 10-point system designed to secure gorgeous, expressive images — including her formula for building to “the final shot.”
By the end of this workshop, you’ll be armed with a toolkit of tried-and-true methods easily adaptable to your own style of shooting, transforming your children’s photography practice into a seamless workflow.