Children's Posing Guide

Lesson 26 of 37

Shoot: Rooftop with Rowan

 

Children's Posing Guide

Lesson 26 of 37

Shoot: Rooftop with Rowan

 

Lesson Info

Shoot: Rooftop with Rowan

All right, where's rohan all right, you ready? We're gonna try something a little bit different here come here buddy, this is rohan. You are ten, right? Yes. This's rohan he is ten years old. Where were you born like in a hospital in the floor of the hospital ok robot is gonna be our model today and how are you? Okay, we get the micro quick part of why we do wanna have a little bit of chat is simply because we want to set up okay? We're working with posing children and so much opposing children is interaction so I don't need the mic so I'll just give it to you um how do you feel that this somewhat nervous somewhat nervous tell me what you're nervous about. I don't know is it is it more like you want to make sure you do the right thing or is it just it feels weird with a bunch of people are staring at you second one this feels weird too much so if you felt like they weren't staring at you this would be like it's just you and I and we were like in a park how would you feel about that? Wo...

uld you feel less nervous? Okay then you could just kind of play and everything alright do you think we could use the power of our imagination to just wipe them out okay, okay, wow you're good. All right let's do that they're gone all right so we're gonna come over here I would love to arrange for this turquoise blue. This is nothing more then an insulation board purchase for what? Eight bucks at home depot um with the outer plastic stripped off and then paint slopped on top that's all that is and then it's it wass nailed into some plywood. Okay, we're gonna use this as our backdrop. Nice, very good. Okay? And then we're going to try to think beautiful. So did you hear all that stuff we were just talking about? What did you think of it, it's going to be e? I like how honest you are. Really like that? Um let's see, like this right here. Um, one of the things I'm noticing is a hint of dry skin right here. Um, what I can say is do their liqueur and then you go like this right down here. Look it right there. This is the best form of lotion ever. Human liquids beautiful. Do one more right here. Yes, uh, dry skin on kids crazy common. They're very common. Very common. You can lead them up and lotion an hour later like word that dr patch come from all right that's gorgeous on dh then I'm gonna grab my reflector yet yes, and we're gonna try what I call full frame image that means your face is like the whole picture you don't have to do anything different all I'd love for you to do is put your weight on your back foot kind of like yep yep exactly but think about that like you can actually pull your right your your right foot up you don't have to but that's how much weights on the back foot that's how your whole body is hanging on the back foot yet and then try just go ahead and try one hand a little bit loosely in pocket and then lean in a little bit towards me like this yeah and then shut up beautiful there in nice and then I am going to do two things one going to readjust my s o and two I'm gonna provides and feel like can you see ok with that really crazy what late for teo alright, good uh huh they're beautiful. Um can you, uh do I'm gonna do one back here and then go grab my one o five for the extreme close up, huh? Trying to think we have so what I'm seeing right now is as I'm literally setting up the shot a big swath of light hits right here um again I'm not normally gonna shoot in super bright light, but if you could grab that diffuser real quick I would prefer the diffusion over the um over the phil because I'll get phil from the diffuser yep we're gonna hold that up yeah there you go and it's going to be sideways the reason why that matters is the bounce will hit his face differently if it's completely over the bounce is actually going down and causing more shadows when it's to the shot aside I'm getting a better usage of the reflector um okay um someone run me the one oh five real quick all right, this is I'll go and shit with this one waiting wow parmelee you're like you wouldn't be working here there you go beautiful. You look so good and you know what else you're doing really well here heard the term rolling with the punches that's what, like you're just like anything happening is fine with you you're gonna go with it. Would you say you're normally like that? No no, really. What do you do have a fit? Try um try this jenna believe it just like that don't smile at me all oh yeah that's fierce I love it I give me a little bit of us there we go beautiful good. All right let's do the place of the people's conceit e and I'm gonna move this out yes, thank you so much alright, alright and then now when did exactly what you were doing? Not pull this in a little bit more. Yep. The closer the diffuser is to the face, the more blockage I'm getting. And I find that it's still a little hot on his left cheek, so I want a little bit more defusing. Good. And now we're gonna go full frame. So let me adjust your yes, and then we need to move the diffuser much closer. Look here. See that and tilt it down. Yes. Thank you. Oh, beautiful. And then because I am this close to him, I'm gonna completely switch my amateur to a five o because I'm shooting this at one two. I've got all I've got like nothing and focus their beautiful oh, you look angry. I like that. Like you're just like you're mad about the whole situation. That's alright, you could be angry on a rooftop in san francisco what's this all that you know for love it all right, can you see how you're looking like that? So I very much like this. One of the things I want to do with this full frame image is I want to go ahead and enhance that. I like what I got I could very easily tweak this and photo shop to be great but I could just throw one more reflector on here and have it beat like exactly what I want out of camera um gus, would you mind bringing that reflect forever? You stay as you are, um one of things I'm seeing with this review is that his eyes look great we've got a lot of light bouncing through can you see that? See how good you look, but we have still a little bit of a soft under the eyes, which is so normal and that would be solved by this, so basically what we're doing is putting you in a box just like this, please, thank you. And now I also have significantly sharper catch lights beauty full like what a difference that made tremendous why are you like, yeah, what's this what is that? You can't stop doing it now, you lovely and if you notice I'm shooting from a little bit of ah higher camera angle and the reason for that is because I really want to showcase his eyes because they're still looking on and that's what I get when I do that. So can you see the difference uh, from the moving, creating the box, a situation where we use the reflector and before we did when we didn't have it it's a pretty strong difference, alright, you want try something different we did our full frame let's go ahead I'm gonna show you an idea I had that I think would be great especially with your outfit and what you got going on here ready see that so I'll show you what I'm talking about ready this is you and you're gonna be like this you're gonna be like this you go like this and like this alright try crossed but very nice but we're gonna do just like that yeah and then here and then back here and then you see how you like this way got this going on I kind of want to just like this just resting yeah maybe this maybe this yeah I like that good very good and then state I'm gonna hold you ready no that wasn't it I couldn't do it I thought I could I thought I could lift you I can't write good and I'm gonna change the hair just a little bit one of the things I like to do is uh not have the exact same hair look every time um so just kind of switch it out a little bit this boys and girls and then this is just wow you're doing so well all right let's get our box back and then just like this your weight still on your back foot still back here and then this one's almost at yeah and drop it just a little yeah. Very nice work. Okay let's do it I love and then guess would you mind coming in low and I'm gonna do three quarter probably yes do you see the dramatic difference to his eyes with that that's what happens? Ah lot would you use when you use larger reflectors with lighter eyes? Okay oh, I like that I don't know what look you're giving right there but I enjoy it was fierce very good I I love that tried to the left and back in really nice very, very handsome excellent. You see this? Do you like that? You do? I could tell all right? We're gonna try something really far away from the blue you ready? Come all the way to me from all the baby now what we're gonna do is shoot him significantly far from the backdrop and for the backdrop full steam like textured and right behind them it'll seem like some milky something in the distance and it changes the look very much I'm going to switch to a seventy two, two hundred and I'm going to separate myself from the subject and simply by doing these two things distancing the subject from the backdrop and distancing myself from the subject I changed the entire look of what I'm capturing I'm now going to switch to the seventy two, two hundred to eight lengths I'm trekking back here I'm sure that last one was one two thousand I saw four hundred three five now kick my s o down to about two fifty because the slightest just cries and would you mind holding the diffuser again I want to reiterate for everybody at home that we're using diffusers of reflectors to combat a tricky lighting situation that we're only shooting in to be able to show you real time normally I would not have to have all these extra things because I wouldn't be shooting in turkey lighting I'd be choosing kind of the ideal things obviously you can still do it um good luck holding that future this way all right radio and then everything is so good accepted the fact I'm not really on there okay uh try your hands in your back pockets yeah hands you back like text all the way in huh and you're right me and like this can't your back pockets legs apart like this and leaving forward a little bit yeah just like this very nice okay do you think you could get there very nice okay and then gus do you think you could do a little reflecting on ok and then just a little bit lower though just simply for the frame of reference very good oh and we even have wind I'm so happy this is uh my s o two fifty one sixteen hundred and a three five I'm gonna kick that down to two h I want more milky I don't know that that's a technical term but I'm using it very nice I'm gonna come in a little bit oh and you're just staying exactly as it is archie rohan look at you you're a beast you're annam of the pose you're amazing come in a little bit more this's why rip up all my knees? I guess let's bring that up a little bit. We're gonna really pop that light up yet is that making you squint? Do you ever look at them over there? Yes and laugh in the face of them hi laugh in the face of you come back to bay. Lovely. All right, let's, try something over here. Shall we rowing how am I doing in time? Overall got about half an hour I've not great. Alright, so everyone see this? Um do we have an extra shirt? We throw that over shirt on him real quick. Uh, this is about where I would want to do a little bit of a scene change in terms of looks and in terms of what he's wearing such instead of doing an outfit change entirely we're gonna throw on over layer over him just to kind of change the look a little bit and break up these shots um we've been going with solid colors and we're gonna try a pattern would you mind terribly if I took off your necklace just to change the look you know how to do it I love this necklace by the way love it did you get it from anywhere special the academy of science open cashes a tooth what kind of visit did you take it right out of the shark's mouth now? Okay. All right. Thank you. Uh but a little bit yep absolutely. Um why don't we do this in this please okay, uh would you mind what you want the diffuser so we could take a shirt off and shit give them a little privacy? All male models deserve privacy. All right, I know I'm gonna do a superfast ready watch june you were barely chested. Thank you very much for bringing the change of clothes that's really cool. Yes, thank you. Excellent. All right, we're gonna have you over here, please, and then I'm going to switch to the eighty five one four and what? No, I'm switching to the thirty five simply because of space considerations uh thirty five one for which I use as you can tell fairly frequently. All right, all right. So here, what I would love for you to do is if I'm you it's like this no, no, no if I'm you on this yeah, what I just did as I started doing a pose and then realized I had to make it more masculine because I was giving him is kind of like a more female pose and he's clearly all man you're gonna lean in like on their yep like that that's not very comfortable for you, is it? Let's try this instead yeah yeah there we go I love that with your legs just like that exactly as they are now that you have them yet I want to do this try your right hand right here does not initially be in your pocket but just kind of tucked in comfortably yes, yes, very good. And then would you mind giving us some diffusion really close yet like a little bit of ah, but close and rounded kind of like that, please wonderful. And gus, can I ask you for more reflection in our life? Yeah, very good. Oh, nice let's go a little bit higher, georgie okay, and then you look great. Do you see your right collar? Can you flip that down yet when you're giving posing direction with kids be really specific about there side so you stay on my left side that's just crazy. So very good. Yes. Oh oh what did yes that that what you just did? I love it that looks so good going to bring this in on and all I'm doing is adjusting the light the light just changed a lot so we need to change reflector a lot very nice. Oh, I like that look, it kind of looks like you're totally bored with me just a little bit. I love it. You can feel free to let your lips open. Yeah, yeah, lovely. Uh, so good. Stay as you are, please and just kind of followed me with your chin. Yeah, and they weren't adjust this. Oh, yeah. That's so good. Wow. Can you guys see how good this is? Yes, we have tethering you that's exactly the point right? You you look wonderful growl at me. Go ahead. Lovely, great job. Alright, give yourself a break, everybody thank him so much. You did so well. What are the questions? All right, tamara from enlightened is asking when you take a two thirds facial view of a child wide open at one point four does it bother you that the farthest I might be out of focus? Yes, that would bother me. How would you? What I would then do is then step back further from the subject because the further away the lenses from the subject, the wider your field of focus. So if I was extraordinarily close to you and shooting at one two it's extremely likely I'll get four eyelashes and focus maybe half of your eye and not the other side um, I have absolutely done that I looked at it afterwards and back on, so I, you know, and that's, one of the things I recommend people do a lot is really scan your work, and then if you're finding that you have a problem, find a way to correct it that's why classes like this are really good at the end, of course, is that I tune into I I get so much out of it. So the quick fix to that if you want to shoot very shallow is just simply back up more from the subject. And then of course, you want to consider plane of focus. Um, so if I'm looking right at you directly this way, it's a lot more likely that the camera's gonna get all this and focus all this in focus, but if I suddenly go like that, then this is gonna be in focus, and this is in another plane with a shallow depth of field and it's going to naturally be out of focus it's the same mindset when you're photographing families, ifyou're going, photographing five people together and there's a baby in front and you're shooting at a very shallow depth of field, you're either going to get the baby soft right or the family soft unless you move them back into that kind of same plane of focus or you have a narrow aperture and step back sure fantastic that way just in case there you go perfect. Uh mary ellen says how do you help prevent I squint and smooshy face from like being out in the sun yes a diffuser having it some sort of diffuser overhead help significantly when I see that I know what I see with squint is stream so if I see that one of things I know is that I'm bouncing far too much light that's what I'm talking about skimming a little bit having some sort of diffuser overhead like we used yesterday which will soften the light and then soften the need to squint or restrained or move into him or even like where that that becomes less of an issue but I don't ever try to adjust kind of power through and shoot it into a whole session with squints because I'm not getting very natural looking session I'm getting a strange looking session yeah wait over here yesterday when you were telling us compositions you're talking about compositions and from you give us one shot full frame yes and you had specifically mentioned that you know this is not just that we just don't go and shoot there's some posing goes into it and then you take the shoot but it's up in close and we can see the posing because it was closed could be see how I'm doing that with throwing right now specifically because I you know, with the two things one one of things I know somewhere downstairs he's got a really striking I hair combination and full frame is really interesting there he's a very handsome kid which isn't shy you're embarrassing them all on and that's one of things I want to do with the blue behind thank you that yes, absolutely um so julie is wondering do you ever use a stand toe hold your reflector? Yes stand especially in the studio I don't ever go to the effort of doing that on location because I'm moving so much I don't set up a studio in one spot because I'm just keep going I also dont shoot with a tripod on location because I just keep moving but I stabilize my shots otherwise by of course having image stabilization on my lens or vibration reduction or being short toe pick the right lens for the shot as you notice, I'm switching out pretty fairly frequently because I know that some will hold the focus better than others in kind of a chaotic situation. Um snot photog would like to know how do you keep your image is so chris he feels that when he uses the back button it tends to blur his subjects you know it's funny because live on camera just looks like why won't she stop moving thiss s o the question wass how do I keep the images chris and and the fear was using back focus is what blurs the subject okay, so I haven't had that experience back but focus, but it might also depend on the rest of your settings um one of the things that's great about using back but focus or basically just to clarify that separate that separating the focus function from the shutter click that's using back, but but focus basically allows you to confirm your focus and then click whatever you want to and not have it all being the same finger area. Why that button focus could be extraordinarily useful is if you're in a setting where you've got at least for me what I find is what I'm photographing multiple people and there are distractions that can occur like I'm photographing a, uh family to park and then someone throws the first being a dog drops in the shot and I finally have the family all doing what I want and then the dog tracks my drags my focus um separating out focus from shutter clicks will enable you to be able to get really clear, precise shots without having to worry about your focus being dragged uh but if you're finding that you're having soft images shooting with back but focus, I would look at the rest of your settings and your lens and most primarily your shutter speed I see it very, very commonly that people will stoop to lower the shutter speed, thinking they want to bring in more light and and blurring their subjects unintentionally.

Class Description

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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.

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