Children's Posing Guide

Lesson 25 of 37

IntroductionShoot: Rooftop with Destyn and Ursula

 

Children's Posing Guide

Lesson 25 of 37

IntroductionShoot: Rooftop with Destyn and Ursula

 

Lesson Info

IntroductionShoot: Rooftop with Destyn and Ursula

Hello am I getting this right desk in d s t y n tamara nice to officially meet you on the roof are you frozen a little a little bit okay come on in we're gonna go where dok so first of all have you done anything like this before uh sort of but not like this yeah yeah no you've been photographed yeah you've been photographed and you've done posing ok um what we're going to do today is we're going to just play with this we're going to just black these people out there they're they're dead to us not literally don't dead us right we don't even notice them we're gonna be over here making something cool happened do you feel how do you feel I feel I feel awesome yeah oh good so like it's exciting and fun and good I love it all right so we're gonna say good bye to this I'm gonna come over in no we're not before we become dead do you uh testing can you tell us how old you are? I am eleven excellent very much excited have you it's funny because you asked that a lot I don't ever think about that ...

people at home want to know I just think here's a human you're eleven that puts you in fifth grade sixth grade six okay got it alright eleven year old let's go I don't know why I'm talking to that I'm miked up all right. We're going to come over here and we're gonna do is just play with this look a little bit I'm envisioning for I just as a mom I'm thinking I want to cover you up so we're gonna come in here and we're gonna try literally doing that these on sandbags yeah yeah all right so we're gonna try something like this um this is not exactly one of things I'm doing I'm working with a curtain every time and I work with curtains a lot um one of things I'm thinking of is this edge and the c minor I don't want it I'm gonna roll it out because I think it looks teo boring all right, here we go it looks to standard and what I'm going for is a little bit more of a just taking a complete without the weights you know this is gonna go I'm rolling it up a little bit so we could just have a little bit of, um a more flowy look my intention here is to photograph this at an extraordinarily shallot up the field like a one to the reason for that is these curtains look a little bit, you know, out of box curtains um and what I want is to make them look a little bit more like a flowy out of field ish sort of thing that makes sense all right, so um I love your hair like this um and then what? The other thing I'm thinking about what I'm rapping these around her is what did I say? What avoid a lot of the time with any sort of posing symmetry especially but it's overly symmetrical becomes suddenly quite predictable and so I'm gonna make sure that one of the curtains air here and one of the curtains air up here and so it's not exactly like tied together and even though you don't know what I'm doing I'm gonna be shooting kind of this way on an angle and I'm just gonna look in your eyes and I'm gonna have a reflector that I'm holding up we're going to see how we do this all right let's grab the reflector um for the sake of this production where you grab me the uh the eighty five one two one four if I went for him in a shoot at once one four there we go okay, so um what what is the other thing I said about reflect reflectors and shooting on the beach for instance I would never want to do because it's crazy windy and you're going to try to get the whole time but I'm gonna do it I'm gonna do it because it's been requested for the people I'll do it for the people person of the people I am I love you for it sometimes confused as a people um all right there we go all right, so you're doing beautifully I'm gonna hold this one of my favorite ways to hold this is simply like this this requires a significant amount of yoga um but that is an easy way to do it. This becomes a lot easier to do when you're squatted squat down are sitting but for these sake I'm gonna go right here does that does that blast you out a little bit? How about this? Okay, so if you remember yesterday we talked about reflecting light and one of the things we said oh, gosh, this lights shifting big time um what are the things we said we were talking about? Reflecting light was that you want teo not blind your subject and an easy way to do that with fill light when you're using the sharper side of the reflector is to skim the light across their face, not directly blasted at them. So it's not an all or nothing it's not I make her not be able to see or I just don't use it at all. I can go up just a little bit and have it skim over keep in mind the direction the light's coming from will create shadows on on the other side so what I don't want to do is skim it so it's coming down and creating more under eye shadows because it's really coming with children to get under eye shadows because that's the softest most delicate part of the skin is underneath the ice all right so I could do something like this skim hold this and actually achieve awesomeness we're ready for that all right so I've got catch lights I've got I don't mind the curtains doing that ignore that and then exactly as you are turned your body towards the people that don't exist over there yet and then even more like it's gonna be you're gonna be kind of like this of this like what yeah exactly there and then I'm gonna wrap this like that I'm shooting at a one two are you freezing a see you shivering and I'm rhonda there we go combatting this a little bit oh my gosh I feel like the karate kid ready hold on that's a little unstable um let me try this will you grab my twenty four seventy back what I'm doing right now is making the decision that because I'm combating the wind and holding the reflector and point us off for the people I also know that it's really easy to get unintentional blur with a heavier lens andi I'm significantly more likely to get unintentional blur with my eighty five lens that I love the chris screen look clean look then my twenty four seventy which is a little bit more of a raucous lens I could move it around and not have a much fuller the west wants to know why you're using the gold side as opposed to the reverse it happens to be the only reflector up you okay summer one were here I would choose it I typically use the silver side um but since this is what I get is what we're doing all right so I'm not gonna be shooting with the two eight simply for the purposes of be able to hold the reflector and doing this are the one two excuse me I'm gonna be doing the two eight you by the way it okay let's get back in position girl yes they're they're good beautiful looks really beautiful all that love it that you were shivering oh hey yeah uh oh is that too shiny idea no no all right let's try that again uh let me go back and let you see what we're getting if I hold it up can you start to see it there? I know there's a little bit delay on it okay, so um do me a favor come all the way down? We're gonna be this easier for both of us swat all the way down in front of that curtain could scoot back a little bit oh, there we go completely that way if you notice I'm stabilizing myself similar to a tripod and I'm gonna hold this a lot easier in the wind if there were no win it was a temperate day I would not have me having an issue all right, there we go you feeling better and now course I'd like my eighty five one four back alright, good. Now I want to get more of what I want um you know what do you do what you're doing and come about um a foot out yes, the other thing and the other reason this is really a helpful x exercise is to show you that member I said over and over again don't say married to a shot I have a vision in my head of what I want with her wrapped up in that curtain I'm not gonna be able to achieve it with these conditions I could try for it later but instead of trying over and over and straining her I'm gonna try something else and then we could even go back to it. All right, so you're doing great for the freezing this uh, lovely beautiful origin your favor with thea we used this is this me? Yes. This happens in my long digital tail just like that I I love where the curtains are swinging beautiful so pretty you look so good you pulled a chair up in front of you and then hold on to it how you do that hold onto it and holding just the tips and you see your fingers hasn't be very lucid you're holding on to it? Yeah so good and then look over them for a second and they come back to be right look back at them for second alright stay with just that yeah I got back to be is it so weird that they're staring right at you alright beautiful stay right there please. All right, good. How are you doing? You're doing well all right so you know exactly as you are I'm gonna try something come sit right here. Yep. Thank you and then do me a favor and follow along with me. Um I'm actually going to show you a gorgeous idea I have for you that I think you look so lovely and they just tweak you you know, kind making it work but see this how this is sitting so we've got your right leg out like this see your left legs up like this oh, you got the skinny jeans on already up girl like there and then we have this elbow right here soc huh? And that's just gonna rest over here and then I'm gonna tweak you a little bit but this hand resting right there yeah. Oh, I love okay, so they're like these shoes awesome. All right, here we go just like that and then what I'm gonna do is kind of go with this multi color look behind her because I like that and then shoot a little bit wide across nice, very nice. And it holding the reflector. How are you focusing? Our using back button are in this case. I'm using front the regular focus and that I'm holding out the auto focus lock and then re composing. So I'm setting my focus with a single shot focus like I said it, I like it. I move it single lacking lord alright. Can you still see me? Beautiful. Do you see how the reflector like look out it's gone and then from here the difference can you see her face it's a big difference. Beautiful. Just I'm gonna pretty much disappear into this wall. Ah, lovely. And somebody grab me my thirty five and if I hit play, you guys can see it. It's been told me. I'm shooting this at a two too, by the way, for an aperture. Um one two thousand. Wow, son. All right, you're doing great. Stay exactly as you are by and grab my thirty five one four. Oh, yeah. Do you keep that? And then I remember how we're going to like this, but you're gonna have a looser fingers so I can then do extremely delicate adjusting by just kind of patiently waiting with her. And saying let's try this see how these fingers are like pad of my finger to my face and then they're curled in a little bit yeah and then these air down so you have this one is like at my mouth that's what my pinkies like my chin yeah now right and then out and down just a little bit at faces out chin and then down yes oh my goodness do not ever move that again like tonight when you go to sleep what you be holding that uh is a brilliant thank you very much beautiful yes, I love I love so much all right, we're gonna back up is that too sure but I don't have you guys could see how the light just popped incredibly can you see that they're all right. Everything about you is fantastic now what only to do is close your eyes and envision four puppies right in front of you dancing now bring it back to me do you see them? They durable do you like poppies tell me you're not like horribly allergic I just scared to, uh lovely oh, I love that. All right, so, uh this is what I'm doing. I'm getting that kind of flowy curtains look, I've got my sharp focus point good let's try one more thing with that um let's try you flat on your bellies yep, very good and then um I have this right here there's another thing in terms of reflector one thing aiken dio is simply have it right out of frame I don't have the tested it all but I'm getting a whole bunch of balance that's similar to if she were laying on ah ah white seamless in the sunshine I get the same sort of effect if I were to take it away can you see that? Are we on this camera that we look at her face real quick if we look at her face this is it without anything and it's a simply reflector throne and fun that's all I've got I'd want adjust it a little bit so we have the under eye shadows managed but with with it again I'm not even touching it this is just turn in front and without an incredible difference alright, so all I'm doing here with this elaborate use of reflector is laying it on my thighs is with wind that's how easily I can use the reflector all right? And then now I'm gonna love my eighty five back if we would just get the bag right here I'll make it easier for you guys and just grab it and out um for the eighty five and if it seems like I do a lot of lens changes when I'm looking at a child and I'm seeing a scene I immediately comptel um I think it wasn't thirty five back everything's changed. Um, I can immediately tell that the same shot with my and remember I said earlier the twenty four, seventy two eight is my workhorse I wanted on every shoot I do. I love it, but it's not my optimal favorite lens in terms of the christmas in the quality of the image I'll get, um, so if I have a shot like this and I know what I want to go in close on her, um I I want to switch the eighty five because it'll be that much of a better shot of cables. Brian, everybody line producer for today. He's doing an amazing job. Amazing, jack. Okay, I love how do you shoot your hands were doing? Actually, I love that change nothing about that. But do me a favor, it's. Kind of see how your right like this kick your arms like that? Yeah, and then you're gonna lean forward and then your legs um, go ahead and kick him up yet, but to the side. All right, so the reason I'm asking her to do the side for this pose is that this is kicking them straight up. I'm gonna be shooting pretty straight straight tour um, if I don't have that, it looks like there's feet sticking out of the back her head and so I want to pick to the side and then I'm gonna shoot it a little bit of an angle to help create that look altogether for there we go, beauteous. Oh, so good. All right, I'm back in a half to two. She is nailing expression. I'm not even doing anything. Just look at her. You're blinking now, it's that sudden light, isn't it beautiful? I love that. You want to see how you're looking? You look good, dad. You all right? Let's, bring mama in here. Radio a couple with mama. All right, will you stand up? I think the wind has calmed a little bit, so I want all this hair. You guys have great hair. Can you take this out without? I don't want to pull your hair. Do you think you could do that? By the way, if you just know it? If you didn't notice that what I just did is I just told the subject to you to take her home own hair out or I have mom take her out. If she were too and I wouldn't take her hair out, I would make an enemy, but if mom's the enemy it's fine with me, I'm still in good graces so I avoid the hair pulling at all costs all right? You two look lovely together let's try can we take this up for just a second? Um she's got a gorgeous boy broach of a butterfly on but again I think that in an image it could be very distracting and I want the focus to be on their faces and their relationship so I'm gonna ask for the jewellery to be taken off your rings a great yes we're gonna have you move forward do you mind if I mingle touching now ok it's it's lovely touches caring, thoughtful we had this whole conversation the other day about like when you touch subjects they might feel like it's creepy so I'm gonna start out by saying this is not creepy all right, here we go lovely and then we're going to try something like this um let's say you're completely in your completely in we'll try that. Oh, wow. I like this chin up just a little bit. All right, look at his hair. You're doing a hair commercial. Wow. And then this is the details part. I'm gonna like tuck the scarf and I'm gonna make sure the collars down and make sure the hairs I'm I'm I know also that I should move fairly quickly because just because the winds not going crazy now doesn't mean it won't come back in eight seconds a bit because of the height. I want to move this up a little bit. Yes, just because one of my least favorite things is to a beautiful shot and then have the top of some sort of background sticking out their head. Good. Are we all, um, tethered up? All right. Oh, you guys look good. Eso for this at do you wanna have somebody come help with reflectors? I could dance around a little bit more. Did you guys get how it worked? I gave enough yet. You see how literally just dropping it on the ground in front of them gives you the benefit? We're definitely doing a light reflector and a softness going. Keep your eyes closed for just a second. Yep. Um, what I'm seeing right here when I'm double checking the details is two things. One I don't mind this curtain flowing, but I've got a big break right here, and I want to fix that real quick. So I'm going to move this over and then re drop a sandbag. If you guys don't own sandbags, they're extraordinarily useful there. Like the duct tape of weight. You can use them everywhere. That analogy makes sense the duct tape away, okay? Um so you can use them everywhere for a whole bunch of different things I'm going to make sure I don't have one of the edges of the curtain coming right out of the middle their head so I'm gonna just a little bit um and then the last thing I'm gonna do is look for body language so even though the outfits look great and you guys look great um I would love your fingers just right here just just gently class do you feel that? Yeah, good. And then that is it. Oh, you guys seriously you guys you guys all right? This is it. I am now going to be shooting because I've got this wall behind me. I'm going to adjust my iife stop to about three two if this wall we're not behind me, I would be stepping back and keeping my, um apertura pretty shallow. What did you see that all right, I just put on the lens hood because I had some lens uh, glare that I didn't want. Lens flare lens glare beautiful. Okay, do me. Okay, I love that look, do me a favor without changing yourself destined glance up your mom, just look at her yep, and then say, um just like and then glanced out destined and say my progeny and I'm back in may beautiful kitchen out just a little bit and then down yet because we have the scarf right here. I want a little bit of a gap yet lovely. And then okay, this is gonna be tricky. Ready? I want you to hop like listen the whole thing. First I want you to hug tight and then go back for just two seconds and then go right back into position. Can you do it? Alright. Ready one down? Not yet. Alright, go alright, come back. Oh, wow! Nailed it. We're going to your guys. Beautiful contestants mom what's your name? Ursula. Okay. Thank you. Are said to me they're lick your lips? Yes, and then pull your hair in a little bit. Yeah, like that. Oh, try that. Just keep your fingers right on there yet. And then, um destined. Go ahead and put your arms complete around mom's waste yet there and then lean that shoulder and justin. And then, um the the hand we're gonna keep it exactly as you had are slow but it's maybe a little farther back there, butoh oh, and the curtains are going crazy. I love it. Oh, gorgeous. Thank you. Thank you very much that was beautiful, alright, give yourselves a break

Class Description

TO RSVP FOR TAMARA'S NEW CLASS, Capturing Authentic Children Portraits, CLICK HERE!

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.

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