Children's Posing Guide

Lesson 12 of 37

Shoot: Bedroom with Baby Desmond

 

Children's Posing Guide

Lesson 12 of 37

Shoot: Bedroom with Baby Desmond

 

Lesson Info

Shoot: Bedroom with Baby Desmond

Hello do you want to introduce yourself to the internet no okay um tell me desmond desmond hello does how are you how do you feel about just being grabbed by a random person is that okay with you yes come here let's go see this already I'm in and I'm gonna try really hard not to trip on these all these cords um let's come over here desmond let's get you all situated all about goose nous msm nika I'm wondering how that light is going to affect him one of the things I noticed a lot with babies can you tell me your name? Can you tell me your name? Ellie okay, so alien desmond this is really true to form right? We're going we're going to take a photograph of them together. Um I love your glasses and you love these little land creatures I don't know what his heart um we're gonna start out with the two of them and try to figure something out. All right? Let's just go. All right? Can I also have and this would be something of a do on every shoot in a client's home can I have a human nearby in...

case we have a tumble? Um okay hello. All right, so we're trying this list live tethered thing let's tell me if it's working it's where gang this is so exciting it's working ahh all right, so we're going to try a couple of some things I have to be aware that in this shooting situation anywhere I go I'm going to create a harsh shadow so I have to make sure that I'm constantly moving out of scene and I'm not creating that shadow uh excuse me could I get your booty right here please let me try I'll lift yet ready? I love you good and here right ready can you screwed your lady legs like this like this? I'm gonna bring him in ready? All right, now we're going to start like this and I want you to do something do me a favor don't squeeze we want to keep him alive so let me grab these real quick and I'm gonna throw these at you okay? When you catch them okay all we're going to dio and by the way I forgot to say I didn't have you know I want him I didn't have ah topped with mommy and daddy but one quick thing is we're gonna let them do what they do okay? So oh that's a great shot yet you're buried wonderful. Um all right, so I was going to start with a sitting post what I'm gonna do instead is adjust to what they're doing oh my goodness let me stop him lim stopping for you save him, bring him back friend and back are any old jabba okay now we're dangerously close to b itch wow yes your life daddy help help me drag doesn't okay and so in this situation I could do one of two things I can go with the chaos and roll around and play or I can say let's stop it for a second and calm it down all right let's start with just you let's give daisy a break to mercedes here I make that up yeah I made that okay ready oh that's good do me a favor can you jump higher than that there's no way that's the only jumping you khun dio there's just no way let's see what's higher than that that's really good can you go even higher? Yes all right let's see it wait I but I can't see you you have to jump this way how much did you get? Anything wait very good. Okay, so let's pause on that s o an image like this obviously if you can tell in this scene we have some been yelling at the top um normally we wouldn't have to worry so much about that but if I did have a situation like that I could crop at the top and bring it in so it's all kind of bright lighting um where did you a favor come here right clop on your watch I'm gonna throw you on the ground ready fun we'll jump right there oh well don't go off the edge eh don't go off the edge don't go off the edge right si si si teo teo yes very good excellent um and then one of things you'll notice as I'm shooting we show you this real quick um one of things you'll notice is that I'm not terribly concerned about the composition as I'm shooting kind of wildly because I know I can go in I'm shooting with enough resolution this I'm shooting right now with the g eight hundred I know that I can crop to make this exactly though what in terms of the final composition can you add can you and you had can you place can you wait oh I know I'll have a mall rain on you you ready you stay there and they're gonna rain on you you ready this is going to rain here we go okay ready should I reign this with your dad raised him dad mom either one all right ready we're gonna have it rain so see right here obviously I have to work but I'm in a position myself so I'm not in the light I love it so I don't like this um I'm going to go does this crop in oh it doesn't crop what I show okay yes so we're going to go in like this and I'm gonna crop outwards full in but I'm gonna go up and now okay. I've got a good idea let's do a swap will you command her just grammar scrapper pull her out for a second clever too bad you're so shy about this alright must switch my eighty five um amedeo couple portrait of desmond who does not go by dizzy dead it's close I see so one of things I have to dio because I don't know dead yet is to look at him and say hi dad no it's not required but how can you not ready to get up a little bit try you just like this just you know being your baby self okay, ready here we go. All right, ready? What? Ready, ned he's okay what's happening right now is he's calling from I'm right over here and then mommy if you wanna maintain him so hold him right here for a second and all you're going to keep him in position. All you do is keep him in position yet and when I say again you're gonna pull him down and do the same thing and you're gonna drop him ok not you know, not literally drop him let's let him you know yeah no why is that so it matches what it works definite does it? It works quite well it does so then I'll take a break and I'll manage face liquids don't you? Yeah on and then I could have this and this and this and this and this yes yes ok mommy come back please okay if you could stay right there and we're lifting him up a little bit and do me a favor across his one leg of his other left him all the strays even go on then chris one leg overs other ah oh okay does he not look like what do we wear oh gorgeousness ah well don't go off the edge all right uh mommy you want to get one with him so let's try so you were able to see those real quick has take two seconds to look at those let's go back showing a little too much mama okay um and then something like this I know that I have room to go really in set up the shots. Okay, so let's try something what? I would like to try as one of you and him directly with each other and I'm gonna be shooting overhead so it's kind of a bird's eye view it's gonna kind of look like wow, you're right there but it will little frame really well so if you're going to try I think with this lighting what I would love is for your head to go here and imagine just like do you feel comfort just laying on your back and the shot I'm envisioning is you guys facing each other um so let me just show you real quick, so you're going to go like this, and you're going to like this, and he'll be right here, and we're gonna make him look at you, and then I'm gonna shooting top down. You see it? Awesome. So, what you're saying is, I needed over short rest. Nada, we're on decency patrol here, trying to help out appreciate that. All right? Oh, my goodness. You are being so cute. Okay, so for this, what? I definitely with eighty five. And you give me the thirty five, please? No, actually, twenty four, seventy police. Um, I obviously don't want the eighty five for a couple of reasons. One it's too close in, but the other reason why is it's not the fastest lens? It's a chris clean, sharp, beautiful wins, but it's, not the fastest lens. All right. And then what I'm gonna do and this is to be a little weird cause I've got this tether line that I normally wouldn't have kamu scooch down. One of things I see in your head is so close to the edge and then on the composition is going to cut off really quickly to floor, and what I want is some nice, smooth room up there, so lift your head up one more time and then go down and then do me a favor, turn your head that way and then so what I can do is check and see how this looks and see if she needs any additional nope, you're perfect, and I mean, perfect every time, every time I shoot overhead, I put the strap on like I've had times where came a slip and you do not want that? They're heavy, so okay, I'm coming in when someone position this little bit a little bit. Gus, would you mind jumping up for helping out position this lights with a little closer and then facing them directly? The high? Well, hello there. Okay? And then already. So just this position is silly enough that I can get a lot in here. Ok, obviously have completely changes that lighting right there. You put down just ah, move it for just a little. Is it clicked all the way on high there, okay. And then with hair, I'll do a little bit of adjustment with hair. I love this. This kind of flowy look. Oh, yes, beautiful. They're all right. And then I'm checking everything's what I what it is okay, here we can't so what did I do I start out with um composition and setting and have lighting everything set and now I'm going to go for all the details which is just fixing hair just a little bit and then I'm gonna d'oh you do it now will you grab his hand and say that and then let go and after you pull into your cheek let go of your hand basically quits face nick and then it's not a bad thing to reposition so you're exactly doing beautifully hope he did it he repositioned he was done ready okay good idea let's keep going viewed roll beautiful grab because you get a reflector let's pull him right back down um if you could see what I'm getting yeah so we're gonna have basically I see this light up here I want to pull it back a little bit I want more catch lights in his eyes and it's going to be like this um can you does anybody see his eyes you don't have to I'll show you the shot did me a favor um hold it back here must take one shot of his eyes as is come back come back don't walk off okay that's as is and then let me show you with the reflector already can you hold it just like this ah tilt it down just a little bit yet uh hold on one second what I see is it there and then all right so let's look at the difference with the eyes so you see how we have catch lights here and then let me go to the other one and do you see how they were so much darker here with shadowing it makes a huge difference so just that additional little light reflecting and then changing his angle to shift the lighting okay let's try it one more of those you're doing really well okay there you go teo teo teo do they give a kiss on the cheek and they deserve bert doesn't make you deserve you know those are you know that that's hossam actually you want to bet when we're done let's get a space this way give me a little push you know it actually here's the trick gonna have hold your have your hand hold him like this okay see yep got to keep him in position and we're gonna wait we're gonna come around it's really hard to compete with a camera crew love that do that when we're talking really well by the way you're doing very well okay you know let it live let it live let it go we're gonna push it too far but I got what I wanted all right good thank you thank you alright take two seconds all right if you want to jump off for a second and then we'll just kind of try this can you get me a pillow right there love it, tio. Weird. I lighting, go. Oh, we moved it. Um, we're gonna try the reflector, please. Okay, so let's, try. We're gonna reflect that light, so switch it to this gold side or whatever it is. Yes. See, okay, you see how the waves come across that's, the waves of light, the waves of light. Hi, hello, very going. Okay, okay, you know what, let's, let's, do a hold on this, because I'm a little concerned about craziness.

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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This is my first creative live course, and I was really sceptical that I would be getting my money's worth. But I can honestly say that this has been a brilliant investment. Not only is Tamara amazing, but the content is fantastic. I feel like I got more than I bargained for as I even learnt some things in Photoshop I didn't know. Big double thumbs up!

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