Children's Posing Guide

Lesson 22 of 37

Shoot: Rooftop with Madeline

 

Children's Posing Guide

Lesson 22 of 37

Shoot: Rooftop with Madeline

 

Lesson Info

Shoot: Rooftop with Madeline

Welcome back to children's posing guide with tamerlan key here on creative live we are out here on the roof I'm gonna hold on make sure that tammy does not go flying away and we are going to get into some shooting here but first I am going to give away the final prize of the day and that is a tamer lackey bundle which includes several folks buy this lovely lady right here the books are the opposing playbook, the capturing life media set and envisioning family you talk about that? Do you know anything about those? I know what about those? Um the posing playbook is the book said the movie was inspired from s o the posing but but playbook it's an e book that is meant to be a mobile product you're meant to refer to it on shoots I actually built it because I was referring to it all the time I still you'll see me why shoot? I take a break and I refer to different images and also it's not just the poses it's not like just here's how it opposed somebody by the way, I wouldn't do this it's not ...

just here it's that oppose somebody it's also what do you want to think about when you start losing subjects like this or that or when you've got a shot that's almost there and a little tweak could have a huge difference. It helps remind me, because I get very lost in what I'm doing, and I need a moment to pull back and get other ideas so that's what that that posing playbooks all about capturing life through better photography is for everyday shooters who want to get better using not additional equipment, just additional skills and techniques, and that's, a book and a dvd and a quick, quick reference guide and envisioning family is purely focused on family portrait's everything you needed it. Everything you need to know to photograph families together, groups together, technically as well as kind, the emotional component behind it fantastic. And that that bundle is a one hundred ninety four dollars bundle, which is amazing. So congratulations to marshal tabatha, who entered on facebook and marshall's, quote, was it's not about the job it's about the anticipation of the jump, and that is the moment that has impact. I love that it was actually a big moment for me, too, so I really enjoyed that. So thank you, tamara, for that, for those prizes, and we also want to mention that triple scoop music has very, very generously offered to give a one song royalty give away for the first sixty purchases of the opposing playbook, so if you go to your site tamer lackey dot com and click on the photographer's page then you can pick up the book there and triple scoop will give you a free song that is a sixty dollar value yep it's a lifetime license and if you're not familiar with triple scoop they have what I love about double scoop is I've used a lot of world to free music in my life and they actually have really good free music and that they have independent artists and singer songwriters and images images songs I'll play in my car often just cause I really like the sound of them have actually found really cool records through some of the artists on trouble scoop music which I'm a big fan of fantastic so if you want to be able to use that song for slide shows or videos or anything for your clients you will have the rights to do so for life for life so remember go to tamerlan key dot com click on photographers and pick up that book so you get the book which is wonderful and you get that special giveaway so thank you triple scoop for that thank you tamara and then it's just taken away okay okay um we're on the roof huh? Harry down in san francisco um what we're gonna do is I'm gonna step over here into better lighting let you adjust for the color of the change and I'm gonna talk a little bit about how we went through the last couple of days the system of posing the ten steps for the system of posing in those ten steps we had I'm gonna recap for you look just in case you don't have it memorized yet um in the download I don't think wayward chat about that the download for purchase includes all these steps in all that details of quick um be able to have on hand to reference every time but the ten systems step supposing for the system is number one set expectations uh I'm literally going to do this very pedantic, lee I'm gonna read the line the step and then I'm going to do it obviously this all happens fairly quickly or it happens over time in terms of setting up your client uh but I'm not a real time to show you what I'm talking about. So setting expectations hello I am tabara what is your name actually knew that but we'll pretend I didn't tellem aranda say hello to the people's some ready you're gonna be our model today, right? We're gonna start with you and I'm literally going to use you as a tool final knowledge to the people is that okay with you? Yeah okay, wonderful so we're going to set expectations this is what we're going to dio I'm gonna kind of move you in positions and have you pose a little bit and look towards me and I'll do a little kind of instructions like try this try this try this and you will do that does that sound good? Yes awesome all right so we just said expectations that was easy I'm clothing review normally we haven't met yet we're talking on the phone we're talking about ideas and I'm saying things like trying fun patterns and I love the way this mixes in denim is gorgeous and great you did it we just need a clothing review right it's actually a lot more it's actually a lot more detail we but we went over that ad nauseum yesterday and it will be in the download back to where wass in addition I love that when you get directions offset um third location we're going to pick a spot you're not you're not potty training anymore right wait could be up here on the roof that's great. Um the other ideas for location is how do we get something that's kind of fun we're gonna mere a little bit of what we do in the studio in a photography studio yeah just stay with me we're gonna hear a little bit of what we'll do in a photography studio and we're gonna do that up here in terms of using a wall and using reflector and using lighting we've got is the floor going right into it then we're going to manage mood. What kind of mood are you in how do you feel like inside scared scared that way have a real time reading okay are you scared because this is weird all these people in front of all these cameras and you're on a roof it's kind of weird right? And you just met me like four seconds ago and I'm very directly talking to you it's kind of awkward, right? Yes, we know what the mood is all right, so what I want to think about is how can I calm your fears and make you feel like you're more interested in this right? So I'll say something like this how are you? How are you so I'll beat you so you could get to me go ahead we'll even out see, we're already feeling better camaraderie I just manage removed it's done ok then we do the minimum three point lighting what that is is basically I want to think about my main light I want to think about my fill light and only think about my rim or hair light in this instance the main light is absolutely the sun we talked before about how light doesn't move all around it always goes in a straight line there's the sun right there it's lamb and right down on us here this is my main light when I move her over into the shade factory matty does anybody call you that? Okay, so when I move maddy over into the shade um that light is gonna be coming boom boom so I'm gonna have to account for that um I also use a fill light have a master you like matty better okay, master so when we're ever here with master and I have got a phil like what I'm doing is filling in the shadows that the main light will definitely produce um although when we're in that the shade shade will have calmer shadows here we've got really harsh contrast delight and I'd have to work harder with the film. I'd need a more powerful phil um and then lastly we need a hair for hair I could do one of two things since she has a little bit darker hair we've got a darker backdrop I could either move her from the back, drop a little bit or have some sort of sliver of light coming through just so there's no chance that she's up against and we lose her hair goes into backdrop and only her face is popping out and you look like some sort of alien we don't want that right now now um and then we're gonna talk about technical settings I'm gonna set up the shot in my camera for I s o aperture shutter speed I'm gonna duel that before I even think about the next step composition I want to think about how this is where I get into the posing part how do I want to set her up in the shot do I wonder like this so I won like this do I wonder like this don't like this uh we'll go ahead and compose her in the frame and consider where she is to the other elements in the shot um next number eight is framing what angle am I gonna choose when I'm shooting and I'm going to go down to low to the ground I'm gonna be right with her butt all the way back in terms of angle be right with her butt all the way back am I going to shoot birds eye all those different things we talked about all the different views options um and then details do you know what details are what exactly small thanks lots of small things yes you're exactly correct it's all these little things you've got to think about that's exactly correct master so things like she's got these gorgeous freckles I want to keep the hair out of her face as much as possible if it's just a couple tendrils going across for effect that's fine if it's her hair full all over the place and it distracts I don't want that uh the other thing I'm gonna think about you don't hear that do you? I don't either the other thing I'm gonna think about is like the little thing like as I'm about to take a shot a detail I might want to manage is her coat one of the coats in like this and one down like that as we're running around that's really easy for that to happen here go ahead, hold this so when I interview you we can hear your responses you were just saying that it needed us you're just saying how awesome I am go ahead, repeat that you are okay, so then we have little details like this that I would just go ahead and fix it the last second, you know and make sure that everything set and that includes face liquids but I don't think you'll have that many face liquids that's like, you know things go down your nose or drool or like you're just crying because it's so weird like we probably won't have that right? No, so we wouldn't have even worry about the face look what's detail step and then lastly, his expression or spirit and that's where we kind of say hair you into this? Yeah, perfect all right that's it that is our system opposing that's the ten steps of course I will never come on to a shoot and say, hey, subject, I'm going to have to do the following things in his order I'm not gonna do that I know this because I've got enough time that that it's wrote but if you're not doing this it's really helpful to reference it and you get it in the daleks um it's very helpful to reference that when you're on the shoot just you know you have everything worked out before you click okay do you want to start doing this actually taking some photographs all right good. How are we on the camera do we think our cameras in a place where I can I can do it almost awesome awesome um when you say that you have some fear you want to explain that this is gonna be we're gonna jump on the camera two seconds but I just want to be really clear here we have it an unusual insight into the mind of a child right master um when you come have you done photo ship sessions before sort of and then what does it feel like when you show up weird so what do you think I'm like right here gus is pointing that camera at you right what does that feel like to you from your side what's it feel like uh like it freezes you up yeah yeah it feels like huge and intimidating yes now the master question guess we will you will you lift the camera to your face again mr guests and do me a favor and move the camera way so we should see your face does that feel less weird yep so if he were to take photographs and move the camera away that hat head pretty frequently you would feel more comfortable with him wouldn't you yes that is one of the reasons I do that very frequently I hold a camera way for my face so that I can maintain a comfort level do you wanna go ahead and try out a few portrait we wanted way won't even snap a shot but just try out a couple poses to see how you feel all right let's do it any questions on that ten steps by the way before we go over you see there's a little bit delay because of uh because of being out here so if there were any that coming I don't I don't see them yet you exactly uh do you guys have any questions no it's that good and then I love that okay, ready we're going to start over here for the ease of setting us gonna stay right here you're doing really well in the face of just a lot of chaos um I'm gonna grab the opposing playbook that I used for opposing just to show people what I d'oh you wouldn't look at you okay all right and then um and I'm gonna show you exactly what I would like to set up okay and did you say that you wanted uh to see this okay? Okay, so already we're gonna try booth for a moment and then I'm gonna do a little let me know what I can turn the right so this might be an image that I pull up when I'm on a shoot and then I will say, hey, master, let me show you this and then she's got a visual eye on what I want but why I like the playbook even more than that is that I also have all my smile technical settings and there I know exactly where to start from on a normal kind of quality lighting day, which is outside and I usually tend to shoot around the same lighting every time I choose his early morning the best lighting times a day so have less to combat with contrast the light um and then I know that I can shoot with these technical settings that metering option I'm gonna hit the ground running I also know what else I could dio um within seconds, I know that switching to a vertical composition and giving a slight command shift will completely change the shot and then I will do that as well. I also know kind of what I'm starting from if I'm starting from a problematic place which is very, very common, you kind of give give a child an idea of a pose and then they strike it based on their best guess then you gotta shift a little bit so I kind of have an idea of how to get it to the next spot um and then the reminder if I'm not remembering are ready to do things like smearing and visual simon says and and the way I illustrate the commands and then actually verbalize them things like that right? All right, good. So that that's a rough idea of how I use the posing playbook I know that question came up quite a lot um also just a quick question how old is the master master? You're forty to how old are you? Ten I was way off that's so embarrassing she's dead she's dead. I really have an age thing. Okay, so we're gonna try something like this, okay? All right. And that's basically, look, we're gonna go although well, this this moves that's kind of funky were to go all the way to the ground yet and then you see how we're gonna be like this. Yeah, right. Very good for the sake of comfort while you put your right foot out just a little bit more and then you see how I'm gonna turn this way. You turn towards me like I turned towards you like this yet and then drop your shoulder a little bit and then lean forward a little bit yep, and I do this you can't do this I do this wonderful and this would be a place I would start to from which is extraordinarily close to oppose I wanted um and then I know that from here I could do quite a lot of different things that could do this from a horizontal shot I can I can shoot it vertically and then I could have a tilt a little bit I can have her put her hand down, cross her leg across this leg over this leg you're just gonna be like a mobile device for me, right? Is that ok? Yeah, I might transmit some messaging threw you a curve like this and then of her hands this man you're leaning forward on your chin up within four seconds I've got four different shots and we can keep going. You can crash arms around yourself like completely go over your actually no, you know what you did it better like this. Yeah, awesome. We got that shot and we could just keep going with this now in that system opposing right before I snap. Of course I do that all the details thing and what I see from this angle if I were shooting for right here is I do not want that backdrop and I wanted a little farther from the backdrop so I'm gonna move that those things out of the way I believe those things include my extraordinarily expensive lenses I'm gonna knock that out of the way um and then I also think it might get a shoe with a shallow depth of field or a narrow aperture if I'm shooting with a shallow depth of field I have a fair distance away from that couch and I don't mind that but I'm gonna switch it to choose an angle so that the couch line's not cutting for the mill of her head not literally cutting your head that be disgusting but like if I'd be shooting like down here lo I should hold a camera I do this I think I'm gonna do that in a second but what? I don't want to do a shoot straight on and have something jutting out through the middle of her head. The other option, of course is to separate her strongly from the backdrop to move her all the way up here also shoot from that angle and then whatever might be behind her is so out of focus that it doesn't matter yes ok, you want to get started? You didn't know that you haven't started yet, did you? Um and then from a lighting perspective I'm gonna definitely bring a reflector right here let me grab a reflector okay, so let me show you real quick there are two reflectors I'm using two very different types this is not a reflector per se it's the ability to create shade for myself and it's a diffuser so what I can do will you do me a favor go out um if you want take two more minutes I could show this off just see if we get it we're gonna we're we're gonna throw a hail mary and david met matters all right so this is actually a significant portion of the shooting so I do want to stop and show you this uh if we're do me a favor faced the sun can you guys see her? She faces this way no that's completely the opposite of where your cameras are all right you're going to like that um do me a favor master look back my way yet okay when I'm looking at it directly from this angle can you see it from this angle she is half in shade and half brightly lit that is a contrast you look I want to avoid that all the time what I could do in this exact situation is create a lovely diffuser boom done shadow gone mom, can you hold this that that'll be with that what what I do or dad, can you hold this that'll be what ideo um I now have a lovely light this is very big so I wantto hold it like that so it's not always falling on her it's gonna be a tighter shot you guys see that um having a very large option like this is extraordinarily handy to be able to create shade wherever you go I don't necessarily need thatjust the diffuser option many of the reflectors have a diffuser and then you can zip off ah flag and you can zip off um the actual reflector parts you have three and one that's what a three and reflective one reflector often is it allows you to have a reflection option it allows you to have a defusing option and it allows you to have a black thick flag and there when you want to block light altogether um so the other option of course is just reflective you look at her face right now and I hold up just the white you can see it does two things they're bright it brightens up consider really but it also makes her squint so just literally the proximity to subject is the stronger the light so if you see that was specially light eyed subjects I'm just torturing you look at me, I will bring it out and then until I see the squint go away I'll soften it but that is significantly better than that. Do you see that this first just a slight this doesn't make her swim when you look straight out of them? Yeah, that doesn't make her squint but look at the different screen this just a light amount of light and that its dramatic that's a very cool tone that's what the golds or four if I come in like this, this is gonna be a lot brighter and sharper. I'm gonna back up a little bit and I'm not gonna go right in her face because I will blaster but I'll have a little of the offshore that light kick up to her and on a windy day, its arms and legs baby, you're holding all that see this the lightest skimming across her I'm not going on her cause all blaster, but without it I've got nothing with it. I've got that skim and that nice warm bounce and his beautiful this is surprisingly educational. I didn't plan to do this. Yes, so that's very helpful and then if I had and I'm sure it's probably somewhere here just got tipped off thie other option again is the flag, which just blocks light. I don't want it and that's really useful if you've got somebody in a bright bright white and they've got a darker skin tone and you want to block the light from hitting the white part, um so that you can have a more even exposure without battling some sort of highlight issues, okay, uh, you were doing so well at this and I really appreciate you okay uh and I actually mean that as cheesy as it sounds all right, so I'm gonna move this over here. Yeah, I think that and then if I could grab uh somebody to help me with the reflector who wants to be okay and then we'll take turns and then I'm gonna start here that one shot I showed you I'm gonna back up a fair bit I'm gonna shoot with the seventy, two hundred to eight lens and I'm to show you what you can dio with a wide boca and a fantastic subject and I'm gonna move this guy out of the way go master remember that position we just did you think you could try to recreate it when you sat on the ground you held your knees? Yeah, okay waiting all right, we dried. All right, I'm going to switch to the seventy, two hundred to eight lens I'm shooting in the shade um it's a it's a good idea, teo do two things one when you're changing lenses outside uh do me a favor. Hold this tio try teo, keep your camera down and not up. It's really easy to get dustin the sensor with your camera wide open and up like that, especially when you do beat shoots it's extraordinarily likely that you will get an issue, so just try to keep that in mind um you know what rest earlier I was slapping you with mai lin's my lens think you see what I did it's the lens up but you're hot what is this called when you clean off your lens cloth lens cloth I was I was oh, there it is thank you um I get in the habit and I think it's a fantastic habit every single time wipe it down right before you start every shoot down all your lenses it's like very annoying to find a little speck on it somehow that you didn't plan for um I'm gonna ask you a favor you want to help me move this over without dropping lens? Mmm I look atyou so strong and mighty alright that's wonderful. Okay, so in a case like this don't you worry what I could do that um neal if you could go like this and I'm gonna go back here place the camera strap on I'm not in any sort of shade um I choose to have lens hood's on in two options for two reasons one I'm in bright sun and I'm gonna get unintentional lens flare and I don't want it's um too I have a child who will lick my lens or attack me or throw a rock at it um I don't think you wanna lick my lens no yeah you find that offensive I understand, eh? So I'm not gonna worry about that here I am set up for um a five hundred and then you two sit miss um and I'm gonna try to things and to try the horizontal shot that I told you about first um I met one two one two fifty if we go this way so I'll get the camera in the shot all right do you need to relax that light on her can you relax that letting her just a hair awesome I'm at two eight so uh did you get that on the settings yes yes okay so I've got everything all set up though what do I not have she is there's years oh my goodness beautiful so I did my horizontal and now I'm going in nice and tight um do me a favor and just wash her down with that reflector like just wave it out or like a fan just super fast like just yep yet more like just attack her with it yes that that mat like you're scarier they're lovely you two samoas I love it very good um is it possible I've tried to do some oh we're going try together but we don't know how it's gonna go all right we'll see how this goes just hope it doesn't stick this won't stick the focus will you we're going to see if the sticks the focus we're hoping not what do you think did it stick the focus do you like it what are you feeling? Okay we're gonna sue the tellers working okay do you know what tethering is it's basically where what what I photograph in here travels all the way to this tiny little cord all the way onto sunscreen I need you to pull back a little bit get away kneel like I gotta get her to her feet all the way like into a screen somewhere and then it's put onto the internet yes and then they broadcasted on icarly or something that's that's what tethering is it's fantastic gore just all right now I'm gonna come in here and shift the look a little bit beautiful love the wildness of issue do you realize that while the shooters there's a lot of insanity going on all right I need to pull it up um nico I need to pull it out for you to see right all right can you see that the shot I just got not yet wow, you can't believe how good it looks on my camera if only you could the feelings you would have. All right, so I'm gonna leave it up just in case and I'm gonna try exactly as you are going to try a completely different look do me a favor and pull your knee even closer to test yet exactly and then pull your hair out your face and then I'm gonna just do this a little bit if you don't mind all right uh you look awesome. You really dio lovett and then hopefully you guys were getting let's try this way like all the way here so what I'm gonna do right now is switch to heavy for ground you know what that means? It means that everything that's in front of you is going to be really had a focus they were going to do kind of a split screen composition which is one thing we talked about earlier and in order to do that what I see what I'm looking through the viewfinder right here is it all it's an awesome split screen this is heavy foreground she's half on the other side but that couch is in my way a little bit we jump up and scratch the couch out of the way. Damn thank you. Um this these are the little shift I physically do all the time because when I take a beautiful shot and everything is good except it's marred by this harsh contrast he shape behind me I want to change that and I will do that. Thank you. That was that was perfect. Thanks so much, neil. That was exactly under the part of all the details. So beautiful look at you just back off hello I was like I was never going away anyway that's lovely try to chain a little bit more towards me yet right and since it would be a nice tight shot we can go on like that right flip it did you see this massive lighting shit that's happen outside move move it back here temperate do you favour close your eyes for just a second and why your eyes are closed lift your chin ever so slightly ever so slightly very good beautiful and then stop chewing the inside of your lip and then let it be there awesome beautiful I love that alright wonderful let's let's jump up we're gonna try something different where did I check my phone too wonderful um I want to show you something different you ready to try something kind of funky are you up for funky yeah yeah all right so do you see this yeah we're gonna try something like that so I'm gonna move that red share in all right we're gonna go right here the red share you have that red share please not you you're the model all right so uh strikingly heavier than it appears it's okay all right so you darlin I got to go right in here and out that way and then has a fit good. All right that's that's one radio um where is my eighty five one four please? If someone could bring me that eighty five one four I'll show I'll start with the one o five to eight um without a problem okay sister you look really good so trite can you go to the side and I'll scoot you around a little bit I know it's obviously an awkward sit um yeah and then go ahead and pull your legs all the way up yeah, I love it and they were gonna shoot like this and you're gonna come up this way just a bit wonderful and then um with your hands imagine like here like imagine that see my hands try this yet yeah and then the thing to think about is imagine your hands are like asleep like oh there's sue sleepy they're not they're just asleep yet but a sleeper ticket there their best friends their burton ernie all right very good try just like that oh love away alright, I'm shooting with the water five uh two eight macro until we find my eighty five let me go and get the shot cause it's really? I love it and did you see high position her away from the backdrop um that's that separation I told you about we have a ton of bounce coming in because it's so bright here that I don't mind it okay, look at me oh yeah, I love it now look at me even look at me like, um I am not putting a camera you yes, look, are you like that so much better uh gorgeous okay she's making this job really easy that's popping up real time for clothes I love the suspense that we've built into this you want to go over a hint of real time chattering ah that's okay all right we're gonna try something with bright backlighting you want to try that come on over this way you see the super bright sun here yes all right can you face directly here yet and can you do this without it like being knocked over all right here's the trick to be there put your hands back like this yet and leaned forward yeah like that and then have maybe your your feet out a little bit like this is that hard alright do the same thing that put your kick your little your hip this way yeah like that very good and then go ahead and drop your one arm and then twist your body exactly perfect but the other way that was it that was it and then when I say I'm ready you're going to go ahead and completely ignore the fact that your hand is back there you're gonna let it go right you know that means that means we're gonna drop that hand that's behind you gonna drop it entirely like a hot coal go I love it when you get a little reflector on the scene all right hey matt sir could you uh raise your foot for a second? Just let those court go and one more nicely done that's beautiful what I'm seeing in my frame and from this angle you can probably see it is I've got these great compositional lines behind her I've got this roof coming down I've got that roof coming down and that the big sky taking about three quarters the image and I've got her from the chest up wow would you want to tune in tomorrow morning to see this um and now on a little bright light on it excellent I could either grab my lens cover to manage any sort of sun coming in um or I can hold and I do this a lot if I'm moving in and out of light I'll just hold my hand over it but watch us or here we go a lot of people don't want to put there take the time to put their lens hood's on and off I do this all the time okay so we'll put that they're going to go out and um to be fair shake back and forth more more more more more more more more mar mar, mar, mar state oh build of all that was awesome is now working I'm told it's alright so hopefully big applause thio niko and yeah that was not easy alright let's try the tethering again is it onto you see? Maybe you can see the real time image yeah okay mansour come on ever we're trying something new we're gonna try something where you're going to be up against this wall you're going to be standing I'm gonna be shooting from over there and you're gonna do this you do it you see my whole line I've got this here I've got this do you see how this isn't like this it's just resting right try that can you sure let us know yes okay I was just shooting crazy bright light I was one five thousand three two and now I'm jumping over here and I'm going to switch so I'll tell you my real time switch I'm going to switch back teo s o uh four hundred and then I'm going to be dialing that er shutter speed way down because this is dramatically darker seeing then over there you know I love to know you're white balance oh my white bounds right now I'm set to specifically remember I said earlier that I like to shoot with a lot of ah little bit more of a cool function can you see the tethering doesn't show you as I just the back my settings is it? No, no, it doesn't. Okay, so basically I'm at the auto mode and I'm shooting with a nikon d for today I'm instead of the g eight hundred and I switched my white balance to the auto but it's got a pop closer to blue so it's a bit of a cooler cup color. So with the with the d for and I leave a couple there the models you the option of choosing an auto white balance that as a little more cool or a little more warmth? And so I shoot one step towards cooler on any sort of urban shoots like this. And if I were shooting out dot door outside, it was really green and warm. Then I would switch it to regular auto or of course, adjusted if I needed tio with any of the other custom white balance options. Alright, you are you are doing it. Wow, you are doing it all right, so we're gonna be just like, ok, the light just changed again huge cloud, huge light change I'm now going to go with the, um the light that's coming up and as I said that it changed again like that right here. Boom, right? You are holding this pose like nobody's business? Like if our if our business I'd be nobody's that's how you're holding this? I love it all right, ready? I, uh this is so good, all right, and people who are watching at home get to see just how good it is, so, like you're real time to the world showing how good you are you feel it, don't you? You like I am that good, aren't I? All right, so I'm gonna hold that on so you could see it. Can the interweb see it? Isn't she remarkable? You're very good at this. All right? So as you're doing that right here, I want you to switch and go like that when you put your legs all the way down. But you're not you're not sitting yet. Hands your pocket. Oh, you don't have a pocket it's a false pocket. Okay, you don't need that. But you already that stinking pot you know what air pockets good for anyway. Other than holding things um, alright and holding hands for great posing. Okay, so instead of that we're gonna do this, I'm going to lower though lower hips. Yeah, I'm going to do that like almost like we're sitting have a conversation. We need to get to see each other, right? Yes. And then you're going to do this like aa lot like dramatically, like in a way you would never normally d'oh? Yes, maybe a little has really good. Um and then just here. Okay, great gonna read refill it wow, crazy like change savers desk alright, alright, we're right like this and then we're gonna do again we can't do the full blast of light because that'll knock her out but we're gonna do a slight and keep it do me a favor keep an eye out because it will shift again and then we'll blind her not literally like I won't I wouldn't really do that I'm caring for you I'm carrying for your need to be covered in taking care of okay this is really good now we try you're not smiling at me it all ready? You've noticed that her smile me? Yep that's really good. Very close but you're still gonna look in my general direction you still are making eye contact. You're not you're lying man a v you know all right, just a little bit now try try it do this two huge nile drop it now come in slowly to it really slowly alright that magda back a little more slowly get their sector I am I right? I always yellow parents like that too they love it. All right slowly bring it back up lik e this detail I saw was that our lips looked a little dry, which is really normal when you round about and you having them lick their lips saves you a lot of time and photoshopped all right, here we go now, where were we oh, yes, there's. No, no, like that. We're not like that. You were doing doing that. Look, chin was down. Just a hair chin down just to hear like this. Just a little bit. Yep. And your backup. Now we'll show big eyes and that's. Not that big maria. Try justice. I said that's it that's it that's it that's it it's beautiful. I love the way that hair's going with wait for it to drop out of your eye there and wait for it again there. Can you hold it? Can you hold it? This is exhausting. How are you still holding this? Look, this's crazy. Crush your eyes and come back to me. Come back! More good. Very good. Thank you. Ah, that was really good. Okay. Can you see that? That is that we went to a softer smile. See, that was bigger. Smile. Oh, that was the windblown look, I love that look. You see that you like it. All right, you want? Take a little break before I bring you back out? Yes. Go save yourself a great job. Okay?

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.

Reviews

Charlene Goldsmith
 

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!

Mari Sierra
 

Tamara is so good at what she does... Plus funny! This class was great and I learned so much from her... It's one of my faves and in my wish list!

Maira Azhar
 

This course will change the way you...it won't just change the way you take pictures but the way you interact with kids and families...the x factor that takes you from being good to great. Tamara is the greatest in that regard! First of all, she is a great teacher...I wasn't bored even once and by the time the course ended, I wanted more! I love her style, her wit, her pragmatism and most of all...her energy! Honestly, what does this woman have for breakfast that she is so positively charged :) Secondly, she teaches you tips and tricks that will be hard to forget - when there is sooo much information out there and its hard for you to recall everything, you will hear Tamara's voice and it will guide you in some way or the other - she's that good! I would definitely recommend this course - in fact, this was my first course with CreativeLive and now I'm hooked!